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DAY-DISSERTATION.Pdf (1.077Mb) NARRATIVE INTIMACY IN CONTEMPORARY AMERICAN FICTION FOR ADOLESCENT WOMEN A Dissertation by SARA KLASSEN DAY Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2010 Major Subject: English Narrative Intimacy in Contemporary American Fiction for Adolescent Women Copyright 2010 Sara Klassen Day NARRATIVE INTIMACY IN CONTEMPORARY AMERICAN FICTION FOR ADOLESCENT WOMEN A Dissertation by SARA KLASSEN DAY Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee, Claudia Nelson Committee Members, Mary Ann O‟Farrell Lynne Vallone John Lenihan Head of Department, M. Jimmie Killingsworth August 2010 Major Subject: English iii ABSTRACT Narrative Intimacy in Contemporary American Fiction for Adolescent Women. (August 2010) Sara Klassen Day, B.A., Loyola College of Maryland Chair of Advisory Committee: Dr. Claudia Nelson This dissertation offers the term “narrative intimacy” to refer to an implicit relationship between narrator and reader that depends upon disclosure and trust. By examining contemporary American fiction for adolescent women by critically- and commercially-successful authors such as Sarah Dessen, Stephenie Meyer, and Laurie Halse Anderson, I explore the use of narrative intimacy as a means of reflecting and reinforcing larger, often contradictory, cultural expectations regarding adolescent women, interpersonal relationships, and intimacy. Specifically, I investigate the possibility that adolescent women narrators construct understandings of the adolescent woman reader as a friend, partner in desire, or “bibliotherapist,” which in turn allow the narrator to understand the reader as a safe and appropriate location for disclosure. At the same time, the novels I discuss offer frequent warnings against the sort of unfettered disclosure the narrators perform in their relationships with the reader: friendships are marked as potential sites of betrayal and rejection, while romantic relationships are presented as inherently threatening to physical and emotional health. iv In order to interrogate the construction of narrative intimacy, I rely upon a tradition of narrative and reception theory concerning the roles of narrator and reader. I also turn to other cultural representations of adolescent women and their relationships, from films, television, and magazines to the self-help and nonfiction literature that provides insight into current psychological, sociological, and anthropological understandings of adolescent womanhood. Ultimately, I argue, the prevalence of narrative intimacy in fiction for adolescent women reflects a complex system that encourages adolescent women to seek intimate interpersonal relationships even as it discourages the type and degree of disclosure that is ostensibly required in the development of intimacy. The narrator thus turns to the reader because the “logical gap”—to borrow a term from Peter Lamarque—between fiction and reality allows for a construction of the reader as a recipient of disclosure who cannot respond with the threats of criticism, judgment, or rejection that may be presented by other characters within the text. The reader, in turn, may come to depend upon narrative intimacy as a space through which to vicariously explore her own understanding of intimacy. v DEDICATION To my first and favorite teachers, James and Rosemarie Klassen vi ACKNOWLEDGEMENTS I have been a student for so long that it only seems appropriate to begin by expressing my thanks to the teachers who have helped me reach this point. I am indebted to Pat Mendina, Dr. Cathy Civello, Dr. Mark Osteen, and all of my professors here at Texas A&M University. I am also grateful for the teachers who taught me outside of the classroom, especially my godmother, Sister Mary Brian Bole. In turn, I want to thank my students from Immaculate Conception School and here at A&M, all of whom have helped me understand myself as a teacher and constantly reminded me of how lucky I am to find myself on this path. I could not have completed this project without the support of the faculty and staff of the English Department, particularly Paulette South and Amelia Reid, both of whom, I am convinced, know everything. I would also like to thank the English Department and the Melbern G. Glasscock Center for Humanities Research for the financial support of grants and fellowships. I am so thankful for the support and guidance of my committee members, Dr. Mary Ann O‟Farrell, Dr. Lynne Vallone, and Dr. John Lenihan. You have all offered me so much of your wisdom and enthusiasm, without which this project would not have been possible. And I am especially grateful for the hard work and strong example of Dr. Claudia Nelson, my dissertation chair. Your patience, advice, and support have meant so much; thank you for all you‟ve given me. vii The members of my writing group—Emily Hoeflinger, Emily Janda Monteiro, Sarah Peters, and Sonya Sawyer Fritz—have inspired and motivated me from the beginning of this process. Ladies, your work has made my brain tingle; your friendship has helped me stay sane. Thank you for the long talks, the clear direction, and especially the laughter you have shared with me. Sarah, you in particular have taught me so much and have been such a positive part of my dissertating life; I hope you know that I‟m not kidding when I say that you are my hero. Tracy McLawhorn, Chris Zieger, Anne-Marie Womack, Stacey Branham, Bob Wyckoff, Karyn Smith, Christina Cedillo-Tootalian, Kim Cox, and all of the other Aggies who have shared these past six years with me, thank you for the support, commiseration, and laughter. Thank you also to Melissa and Shawn Devereux, Cher and Brian Cope, Will and Amberly Buchanan, my ICS girls, and all of the friends who have patiently waited for me to finish this degree and offered stress relief along the way. I also have so much love and gratitude for my three most intimate friends, Jacquelyn Brown, Jennifer Haley-Brown, and Anna Hall-Zieger. Jum, our friendship plays such an important role in my life and my work; even if you never read this—I know you don‟t care for books—you are an integral part of it. Jen, my kindred spirit, thank you for all the long talks that have helped me keep my balance and find my way through this whole graduate school experience. Anna, for the past six years you have unhesitatingly opened your heart and home to me, and I love you a lot for it. My families, the Klassens and the Days, have offered me endless love and support. Nana and Poppa, all the aunts, uncles, and cousins, Lynn and Carol, Angy and viii Bud, Dan and Kim, and Andy and Annie, the copy of this dissertation that lives on the bookshelf at Nana‟s house is for all of you. In particular, I am so grateful for my sister, Jessica, who as a child put up with my preferring books to games and who as an adult has become one of my best friends (just as the aunts said she would). And I am forever indebted to my parents, James and Rosemarie Klassen. I have always been so proud to be your daughter. And of course I want to express my gratitude to my husband, Jeremy, who patiently supported me throughout this process, who listened to my rants and celebrated my tiny triumphs, and who made so many sacrifices so that I could pursue this dream. Thank you most of all. ix TABLE OF CONTENTS Page ABSTRACT .............................................................................................................. iii DEDICATION .......................................................................................................... v ACKNOWLEDGEMENTS ...................................................................................... vi TABLE OF CONTENTS .......................................................................................... ix CHAPTER I INTRODUCTION: “SHE IS A CREATURE DESIGNED FOR READING”: NARRATIVE INTIMACY AND THE ADOLESCENT WOMAN READER ............................................................................. 1 II “OPENING MYSELF LIKE A BOOK TO THE SPINE”: DISCLOSURE AND DISCRETION IN CONSTRUCTIONS OF FRIENDSHIP ....................................................................................... 35 III “HE COULDN‟T GET CLOSE ENOUGH”: THE EXPLORATION AND RELEGATION OF DESIRE ...................................................... 87 IV “SHE DOESN‟T SAY A WORD”: VIOLATIONS AND RECLAMATIONS OF INTIMACY ................................................... 141 V “WHAT IF SOMEONE READS IT?”: CONCEALMENT AND REVELATION IN DIARY FICTION ................................................. 200 VI CONCLUSION: “I‟M IN LOVE WITH A FICTIONAL VAMPIRE”: FAN FICTION AND THE REIMAGINING OF NARRATIVE INTIMACY .................................................................. 253 WORKS CITED ........................................................................................................ 271 VITA ......................................................................................................................... 288 1 CHAPTER I INTRODUCTION: “SHE IS A CREATURE DESIGNED FOR READING”: NARRATIVE INTIMACY AND THE ADOLESCENT WOMAN READER In a review of Meg Cabot‟s The Princess Diaries posted on Amazon.com, teenage reader Claire says, “When I read the book, I feel like my friend is telling me a story.” Reviewer Ashton identifies so strongly with Jessica Darling, the narrator of Megan McCafferty‟s Sloppy Firsts,
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