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Where Is My Happy Ending and Why Am I Looking for It? the Romance Myth in Contemporary Popular Australian Women's Fiction

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Where Is My Happy Ending and Why Am I Looking for It? the Romance Myth in Contemporary Popular Australian Women's Fiction Where is my Happy Ending and Why am I Looking for it? The Romance Myth in Contemporary Popular Australian Women’s Fiction Author Tokley, Anne-Marie Published 2010 Thesis Type Thesis (PhD Doctorate) School School of Arts DOI https://doi.org/10.25904/1912/3725 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366892 Griffith Research Online https://research-repository.griffith.edu.au Where is my Happy Ending and Why am I Looking for it? The Romance Myth in Contemporary Popular Australian Women’s Fiction Anne-Marie Tokley BA (Literature), MA (Literature), Massey University School of Arts Faculty of Arts Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy October 2008 Abstract This thesis examines the presence of the romance myth in contemporary popular Australian women’s fiction. Even after decades of feminism, the repetition of the love story discourse presents readers with a single relationship ideal: heterosexual monogamy. This thesis performs a discourse analysis on a variety of texts published before 2000 to establish a context of Australian women’s fiction, and on four texts published after 2000, in order to ask the question: how is the love story represented in the twenty-first century? Romance is always examined as a genre; its construction within texts of other genres has never before been analysed. The Introduction outlines the discourse analysis methodology, based on the work of Michel Foucault and James Gee. Chapter One provides a literature review and discussion of how romance has been treated by critics. Chapter Two examines second-wave feminist perspectives of romantic love and the perspectives of later feminists – ‘woman’ as sexualised object appears to be the current trend – as well as the significance of feminist literary theory to popular texts. Chapter Two also discusses the work of cultural studies in relation to this thesis. Chapters Three and Four outline a brief history of Australian women’s writing in order to highlight the recurrence of the love story discourse communicated in 150 years of fiction. Chapter Three provides an historical overview of the presence of the romance story in Australian women’s writing. Chapter Four examines the use of fiction for a specific political purpose: short stories published in The Australian Women’s Weekly during the 1940s which supported the Weekly’s overall aim to steer women towards strictly gendered roles for the good of the nation; literature that conflicted with the heterosexual monogamous ideal was banned from publication and circulation in Australia because it was considered deviant and unpatriotic; and short stories in contemporary issues of The Australian Women’s Weekly which still focus on women as wives and mothers and as concerned only with romantic love. Each of the remaining chapters considers a contemporary genre’s use of the romance myth. In Chapter Five, an examination of a Harlequin Mills & Boon novel, Dr Blake’s Angel, reveals romantic love as being an integral part of community life and a woman’s desire to nurture. Examined in Chapter Six is Three Wishes, a chick- lit novel that follows the romantic difficulties of a set of triplets. Each triplet must ii learn humility and, therefore, acceptable femininity, before they can achieve a successful heterosexual monogamous relationship. Chapter Seven analyses The Tower of Ravens, a fantasy novel also advocating conservative femininity and demonstrating a close relationship to the love story discourse. Rhiannon, although uncivilised and violent, becomes a heroine through her total devotion to Lewen. Chapter Eight investigates a crime novel, Malicious Intent, where the love story discourse is employed to distract the heroine from solving the crime. Anya is seen to believe wholeheartedly in the romance plot, as are all the victims. All women, then, are presented as perpetual victims, and all women lose because all men pose a threat. Romantic love is something to aspire to, but it cannot be achieved. Why am I looking for a heterosexual and monogamous happy ending? As this thesis shows, the love story discourse has been presented consistently through women’s fiction that focuses on relationships. Despite the decades of feminist intervention, contemporary popular Australian fiction constantly and consistently presents heterosexual, monogamous relationships that preferably lead to marriage. The heterosexual, monogamous happy ending, or its deliberate critique, is present not only in romance fiction but also in most texts written by women, in genres that do not require a love story plot. iii Statement of Originality This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Signed__________________________________________________ iv Table of Contents Where is my Happy Ending and Why am I Looking for it? ........................................... i The Romance Myth in Contemporary Popular Australian Women’s Fiction ................ i Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy . i October 2008 ............................................................................................................... i Abstract .......................................................................................................................... ii Statement of Originality ................................................................................................ iv Table of Contents ........................................................................................................... v Acknowledgement of Extent and Nature of Assistance ............................................... vi Introduction: Why am I looking for a Happy Ending? .................................................. 1 Part One: The Romance Discourse ................................................................................ 1 Chapter One: Romance Reformed? The Romance Genre and the Love Story Discourse ................................ 23 Chapter Two: Ways of Capturing the Cultural ‘Work’ of Romance ........................... 53 Chapter Three: Past Loves ........................................................................................... 77 Chapter Four: Love and Crisis: Australian Women's Fiction in the 1940s ............... 128 Chapter Five: Dr Blake’s Angel: A Harlequin Mills & Boon Romance................... 161 Chapter Six: Three Wishes: Chick-lit and the ‘Post-feminist’ Problem ................... 191 Chapter Seven Fantasy and Fulfilment: The Tower of Ravens ................................. 220 Chapter Eight: Sisters in Crime: Writing with Malicious Intent ............................... 249 Conclusion ................................................................................................................. 295 Works Cited ............................................................................................................... 308 v Acknowledgement of Extent and Nature of Assistance Firstly, I would like to acknowledge the assistance of Dr Francie Oppel, my principal supervisor. Without Francie, I could not have managed. As well as ensuring that the structure and argument of my thesis was presented clearly and accurately, she provided extremely important moral support and encouragement. Francie helped me focus my energies during the difficult times, and, even from the other side of the world, she kept me motivated and feeling positive. Professor Kay Ferres, my second supervisor, made sure that I did not forget the all-important theoretical discussion, which I had been avoiding, and her knowledge of Australian women’s writing was invaluable. I would also like to acknowledge the support of my parents, Dulce and Ray Tokley, who were very good at not talking about my PhD and providing me with a calm environment during my frustrated rages. My partner, Kane, and my friend, Kirstin, were likewise very helpful in encouraging me to work when I did not want to. Kirstin, too, provided me with excellent reading material, some of it even by Australian women. As a result of research acquired during my doctoral study, I have been able to submit papers to and attend four conferences: • “Australian Women Writers of the 1940s Building a Nation: Christina Stead, Kylie Tennant, Eleanor Dark, and Eve Langley.” AULLA, Victoria University, Wellington 2003 • “Ella Norman and Phoebe Marsden: Two Australian Colonial Romances.” Australian Perspectives Conference, La Trobe University, Melbourne 2004 • “Creating Working Women: 1940s Australian Women’s Weekly Fiction and Women’s Identities.” ANZCA, Christchurch 2005 • “Exploring Citizenship and Identity in Australian Women’s Novels.” Sites of Cosmopolitanism, Griffith University, Brisbane 2005. I have also had published the following refereed journal article: “Ella Norman Versus Phoebe Marsden: Two Australian colonial Romances and Their Happy Endings.” Australian Perspectives 1: <http://www.latrobe.edu.au/australianstudies/journal/Issue%20One/issue1.htm >. vi I would like to acknowledge my own efforts using MLA referencing, since Endnote was not available on the computers I was using, and so had to do all citations and Works Cited pages manually. Thank you again to all who helped me keep sane through the PhD process.
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