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The Fluidity of Normalcy: Disability in English-Canadian Novels, 1984-2007

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The Fluidity of Normalcy: Disability in English-Canadian Novels, 1984-2007 THE FLUIDITY OF NORMALCY: DISABILITY IN ENGLISH-CANADIAN NOVELS, 1984-2007 A Thesis Submitted to the College of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Doctorate in Philosophy In the Department of English University of Saskatchewan Saskatoon By Adam William James Pottle Copyright Adam William James Pottle, February 2016. All rights reserved. PERMISSION TO USE In presenting this dissertation in partial fulfillment of the requirements for a Doctorate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this dissertation in any manner, in whole or in part, for scholarly purposes may be granted by Dr. Kathleen James- Cavan or Dr. Kevin Flynn, who supervised my dissertation work, or, in their absence, by the Head of the Department or the Dean of the College of Arts and Science. It is understood that any copying or publication or use of this dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my dissertation. Requests for permission to copy or to make other uses of materials in this dissertation in whole or part should be addressed to: Head of the Department of English Room 318, Arts Building University of Saskatchewan 9 Campus Drive Saskatoon, Saskatchewan S7N5A5 Canada OR Dean College of Graduate Studies and Research University of Saskatchewan 107 Administration Place Saskatoon, Saskatchewan S7N5A2 Canada i ABSTRACT Even though persons with disabilities have had their rights ensconced in the Canadian Charter of Rights and Freedoms, they continue to be neglected, ignored, and mistreated. Persons with disabilities comprise one of the largest minority groups in Canada, yet Canadians’ attitudes toward disability oscillate between what Michael Prince calls “pride and prejudice” (Absent Citizens 32)—that is, between progressive and discriminatory perceptions. These attitudes prompt a few questions: why is disability such a problem in Canada? Why is it riddled with uncertainty? How do we deal with this uncertainty? To help answer these questions, this study analyzes seven Canadian novels published between 1984 and 2007 with the intent of exploring how they represent disability. The novels are Timothy Findley’s Not Wanted on the Voyage, Guy Vanderhaeghe’s The Englishman’s Boy, Ann-Marie MacDonald’s Fall on Your Knees, Lynn Coady’s Strange Heaven, Rohinton Mistry’s Family Matters, Frances Itani’s Deafening, and Arley McNeney’s Post. Two key arguments arise from these novels: one, disability may be thought of as an identity rather than a stigmatized condition; and two, normalcy in Canada is not fixed, but fluid. I begin with Mistry’s novel, then proceed chronologically. While Mistry’s novel conveys the tragic consequences of a rigidly defined conception of normalcy, it does not quite present a progressive portrait of disability. Mistry’s depiction of Nariman Vakeel is a stereotypical example of the way disability is portrayed in fiction; in this manner, it serves as a foil to the novels that follow. Findley’s novel, a parody of the biblical flood, allegorizes the German and Canadian eugenics movements along with the ambivalent attitudes that Canadians appear to harbour toward disabled people. Noah, the novel’s cruel despotic figure, serves as an allegorical stand-in for German and Canadian eugenicists, while Mottyl the half-blind cat and the ape- ii children Lotte and Adam serve as stand-ins for the victims of eugenics. Vanderhaeghe’s The Englishman’s Boy presents disability within a complex and multifarious framework. Through the disabled narrator Harry Vincent, disability intersects with nationality, gender, and history; Vanderhaeghe’s portrayal of Harry, a Canadian working in Hollywood, exemplifies the fluidity of normalcy. Through his interactions with Hollywood personalities, he demonstrates that disability, nationality, masculinity, and history are all fluid concepts, as much imagined as they are socially constructed. MacDonald’s novel features another disabled narrator, Lily Piper, who reconfigures Gothic expectations surrounding the disabled body; through Lily, MacDonald challenges Gothic affirmations of corporeal normativity and offers a more fluid and empathetic model for conceiving the body in Gothic texts. In Strange Heaven, Coady demonstrates how a patriarchal society disables women; at the same time, she offers a fluid conception of mental illness. Bridget Murphy, the depressed protagonist, struggles within the Cape Breton society in which she lives. While the men in Coady’s Cape Breton present obstacles that in various ways disable her, the Cape Breton mindscape blurs the lines between mental illness, eccentricity, and reason. It is difficult to tell who is mad, who is eccentric, and who is rational, and in this manner Coady’s novel demonstrates fluid normalcy. Itani’s novel presents the development of Deaf culture in parallel with Canada’s development as a nation. Itani sets her story at the beginning of the twentieth century, and progresses through the Great War. Her protagonist, a Deaf woman named Grania, learns to speak and use sign language, and eventually marries a hearing man. Their marriage captures the fluid essence of Itani’s novel: the text functions as a buffer zone in which both hearing and Deaf people can equally participate. McNeney’s novel Post suggests that disability constitutes a type of normalcy. It presents the most overt challenge to a rigidly defined standard of normalcy: Nolan Taylor, a Canadian Paralympic basketball player, undergoes iii surgery to correct her faulty hip. Her surgery launches her into an identity crisis, prompting her to realize that disability was her norm, and that able-bodiedness has disrupted her sense of self. Overall, these novels, particularly those following Mistry’s, offer dynamic portraits of disabled characters and, as a result, deviate from literary convention, which states that disabled characters typically stand on the sidelines rather than the spotlight. These novels offer new ways of conceiving the relationship between normalcy and disability, suggesting that normalcy in Canada is an imaginative construct that can be constantly re-shaped and re-imagined. iv ACKNOWLEDGEMENTS I owe a debt of gratitude to my dissertation supervisors, Kathleen James-Cavan and Kevin Flynn. They held me to high standards of professionalism, and helped me see my research in new and refreshing ways. Their comments and encouragement buoyed me and sustained me throughout the process. I thank all those whom I met at conferences in Canada and the UK for stimulating my imagination and welcoming me into the disability research community. Vanessa Warne, Hannah Thompson, Georgina Kleege, Rosemarie Garland-Thomson, Tanya Titchkosky, and Rod Michalko were especially inviting. I am proud to know them. I thank the faculty members and students in the University of Saskatchewan’s Department of English, all of whom contribute to a wonderful learning atmosphere. I thank the students of my English 300 class for their spirited dialogue and intellectual camaraderie. I thank department head Lisa Vargo, who has been absolutely fantastic during her tenure. I thank Ann Martin, Wendy Roy, Doug Surtees, and Karen Yoshida for volunteering to serve on my examining committee and for reading my dissertation with vigilant eyes. I thank Peter Hynes and Allison Muri for their exemplary work as graduate chairs. I thank Amelia Horsburgh, Elyn Achtymichuk, and Tara Chambers for gutting it out with me in the trenches. I thank my mother-in-law, Melanie, for all the cups of tea and games of Mexican Train. I thank my mother Barb, father Rocky, and brother Taylor, for their continued support. Most of all, I thank my wife, Debbie. v DEDICATION For Debbie. Who else? vi TABLE OF CONTENTS Permission to Use………………………………………………………………………………….i Abstract……………………………………………………………………………………………ii Acknowledgements………………………………………………………………………………..v Dedication………………………………………………………………………………………...vi Table of Contents...........................................................................................................................vii Introduction: The State of Disability in Canada…………………………………................................................1 Chapter One: Age, Disease, and Disability in Rohinton Mistry’s Family Matters……………..........................22 Chapter Two: Cruelty in the Name of Power: Timothy Findley’s Not Wanted on the Voyage as a Eugenics Allegory…………………………...…………………44 Chapter Three: Disability, History, Nationality, and Gender as Postmodern Constructions in Guy Vanderhaeghe’s The Englishman’s Boy………………….…69 Chapter Four: Disability and the Reconfigured Gothic in Ann-Marie MacDonald’s Fall on Your Knees….………………………...…………………...97 Chapter Five: Coping with a “Goddamn cuckoo’s nest”: Mental Illness, Gender, and Fluidity in Lynn Coady’s Strange Heaven…………………..…...118 Chapter Six: Canadian Deafness and the “‘[H]earingness’” of Narrative in Frances Itani’s Deafening…..……………………………...…………………...140 Chapter Seven: Challenging Normalcy in Arley McNeney’s Post……………………………..……...………..169 Conclusion: Toward a Fluid Vision of Canada………….…………………………………..……………….192 vii Works Cited…………………………………………………………………………..………...203 viii Introduction: The State of Disability in
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