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Mavis Gallant's Short Fiction: History and Memory in the Light of Imagination

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Mavis Gallant's Short Fiction: History and Memory in the Light of Imagination MAVIS GALLANT'S SHORT FICTION: HISTORY AND MEMORY IN THE LIGHT OF IMAGINATION by NEIL KALMAN BESNER B.A., McGill University, 1972 M.A., University of Regina, 1974 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Department of English) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April , 1983 (c) Neil Kalman Besner, 1983 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Abstract Since 1944, Mavis Gallant has published over one hundred short stories. Her position as Canada's foremost expatriate writer is sub• sumed in her importance as a major short story writer of the postwar era: I claim that her stories enact the distortions of history and memory caused by the social, cultural, and political upheavals of the second world war. Her stories depart from their realist ground to register impressionistically these fissures in time; style and structure teach readers to discern Gallant's theme in the forms of characters' returns to and evasions of the past. As Gallant traces these returns to moments in memory and history, her fiction modulates between apparent documentary realism and transparent impressionism, between scrupulously accurate representation of ,a historical world and reflexive commentary on memory's processes of invention. The structure of Gallant's fiction formulates characters' returns to missed moments of insight, returns which imply time's fractured progress in their circular eddies between present and past. Studying Gallant's fiction chronologically, I trace in Chapters One through Five the articulation of a broken dialogue between history and memory which begins with characters fleeing from history's reports into memory's fictions. This dialogue develops as postwar history swamps memory, stranding individuals in an attenuated present tense, and it culminates i i in characters' realization of history's moment as memory's home. In Chapter Five, I examine how these dialogues between memory and history resolve themselves in Gallant's Linnet Muir stories. I show how these lines of development underscore transformations in narrative structure, in point of view, treatment of time, and creation of character, and how the stories' settings evoke an opposition between North American and European visions of history. In Chapter Six, these analyses lead to a concluding study of imagination in Gallant's stories as a light which illuminates the con• vergence of history with memory, enabling characters to imagine a home• coming in time. Gallant's stories invite readers to consider the ways in which memory's objective portraits and subjective inventions develop into comments on the writer's art of calling the past into being. Table of Contents Page Title Page i Abstract ii Table of Contents . iv Acknowledgements . , . v CHAPTER I Reading Gallant's Canon 1 CHAPTER II The Other Paris: Memory's Fictions Against History's Reports ..... 31 CHAPTER III My Heart Is Broken: Ghosts in Memory's Mirrors, Heartbreak in Memory's Voice . 84 CHAPTER IV The Pegnitz Junction: The "Corruption of Memory," the "Interference" of History .......... 126 CHAPTER V The Light of Imagination: History's Moment, Memory's Home 178 CHAPTER VI Home Truths: The Districts of Imagination. ..... 223 APPENDIX Bibliography of Works By and About Mavis Gallant . 244 BIBLIOGRAPHY 271 Acknowledgements I wish to thank Professor Bill New for his constant guidance in all the stages of the dissertation. He was unstintingly generous with his time, and his theoretical counsel and practical advice were indispensable. I am also indebted to Professor Ronald Hatch for his always constructive criticism and for his insights into the problems of developing an approach to Gallant's fiction. Professor Laurie Ricou was very helpful at the project's beginnings, and Professor Donald Stephens kindly consented to read and criticize the dissertation in its later stages. I also wish to acknowledge the assistance of the Social Sciences and Humanities Research Council of Canada, which granted me doctoral fellowships in 1979-1980 and 1981-1982, and of the English department, which provided me with teaching assistantships in 1978-1979 and 1982-1983. v 1 CHAPTER I Reading Gallant's Canon From 1944 until the late 1 970's, Mayis. Gallant's career developed quietly but steadily. Her first two published short stories, "Good Morning and Goodbye" and "Three Brick Walls," appeared in 1944 in Preview;^ in 1944, Gallant also began work as a journalist for the Montreal Standard. Over the next six years, she wrote over sixty feature articles for the Standard, as well as photo-stories, reviews, captions, and (from October 1947 to June 1949) a weekly column about radio, "On the Air." Gallant published another short story, "A Wonderful Country," in the Standard in 1946; she left Montreal and the Standard in 1950 to try and make a living 3 and a life writing fiction in Europe. In 1951 Northern Review published "The Flowers of Spring," and "Madeline's Birthday" became the first of Gallant's stories to appear in the New Yorker, which has been publishing her stories regularly ever since. To date, Gallant has published some ninety-seven stories and two novellas, most of them appearing first in the New Yorker.^ She has also written two novels, Green Water, Green Sky (1959), and A Fairly Good Time (1970), and four groups of her stories have been published as books: The Other Paris (1956), My Heart Is Broken (1964), The Pegnitz Junction (1973), and From the Fifteenth District (1979). The six "Linnet Muir stories" form an important fifth group, comprising one third of Gallant's latest collection of stories, Home Truths, which won 5 her the Governor-General's award for fiction in 1981. 2 The history of critical attention to Gallant in Canada is all too quickly told. The first article on Gallant's fiction, a study of her three "novels" by Peter Stevens, appeared in 1973. Douglas Malcolm completed his Master's thesis, "The Theme of Exile in Mavis Gallant's Fiction," in 1975, and has since published a comprehensive bibliography of works by and about Gallant.7 In 1978, an issue of Canadian Fiction Magazine was devoted to Gallant, with an interview by Geoff Hancock, articles by Robertson Davies, George Woodcock, and Ronald Hatch, and an updated o version of Malcolm's bibliography. This CFM issue remains the single most valuable source of material on Gallant. Hancock's interview, although his questions and comments are not always as productive as they might be, is still the most wide-ranging and informative discussion with Gallant to 9 date. In addition to Ronald Hatch's four other articles on Gallant, there is Grazia Merler's book, Mavis Gallant: Narrative Patterns and Devices (1978), a very recent article on My Heart Is Broken by David O'Rourke, a scattering of reviews and interviews, and entries on Gallant in several surveys of Canadian literature.^ One can only speculate on what this paucity of critical discussion indicates about Gallant's fiction or about the Canadian critical community. Perhaps the difficulty has been that Gallant writes stories which resist interpretation almost successfully. After praising her, as most reviewers do, as a fine "realist," and for her faithful, exacting transcriptions of setting, her precise renditions of the nuances of cultural surrounds, her fine ear for dialogue and her sharp eye for detail, interpretation has come to a dead end.^ Close readings of Gallant's stories can bog down in a mass of details, all significant, none representative. Thematic interpretation, which usually begins by calling attention to Gallant's 3 recurring focus on exiles, expatriates, and refugees, adrift in European pensions, villas, and hotels, leaves too many unanswered questions about 12 form in Gallant's fiction. The form of Gallant's stories reflects her fiction's tendency to return to moments of potential insight—readers' and characters1--moments which might restructure the "situation" in which 13 Gallant says most of her stories begin. Reviewing From the Fifteenth District, V. S. Pritchett calls Gallant a "circling storyteller"; Gallant herself comments to Geoff Hancock on the structure of many of her stories: 14 "The story builds around its centre, rather like a snail." The centre of a Gallant story typically consists, not only of a "locked situation," but also of a moment of potential revelation. The significance, the presence of these revelatory moments, however, is often missed by characters engaged in a many-voiced dialogue with the past. These dialogues are most often broken, cut short, interrupted, as memory reaches for languages with which to transcribe, reorder or recreate history evaded, or history encountered. One line of development in Gallant's fiction runs from early stories with characters who*, in retreat from history, miss the significance of these moments entirely; to characters dimly aware that such moments are "taking place" in time; to characters who tell stories which explore the potential revelations within these moments. This line of development culminates in the Linnet Muir stories, in which Linnet recreates living moments within memory and within history. The most important interpretative journey for readers of Gallant's fiction involves constructing the potential revelations inhering in these moments.
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