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The Intertextual Use of the Fairy Tale in Postmodern Fiction. SMITH, Kevin P The intertextual use of the fairy tale in postmodern fiction. SMITH, Kevin P. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20378/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version SMITH, Kevin P. (2004). The intertextual use of the fairy tale in postmodern fiction. Doctoral, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk V i u O O . lAasetts Centre Ci^ Campus Sheffield Hallam University Sheffield S1_W£ Learning and IT Services • Adsetts Centre City Ompi>: Sheffield Si “IW6 101 807 125 3 ...»-y«»«»uppernour ProQuest Number: 10701024 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10701024 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 The Intertextual Use of the Fairy Tale in Postmodern Fiction Kevin Paul Smith (N0' N & , H <Z*f6lS Y LEARN\H2^ November 2004 ABSTRACT This study investigates the intertextual use of the fairy tale in postmodern fiction. I contend that the fairy tale, whether Grimm, Andersen or Perrault, is an important intertext in many texts considered canonical postmodernist fiction, especially Midnight’s Children, Waterland and Nights at the Circus. I demonstrate that the fairy tale is used in novels to raise concerns that Hutcheon and McHale characterise as postmodern: questions about reality and representation, how language affects the way humans perceive the world, and the necessity of storytelling. The study first addresses issues of intertextuality, examining re-tellings of “Bluebeard” specifically. Drawing upon the theories of Genette and Bakhtin, chapter one defines eight elements of intertextuality. John Fowles’ The Collector &. A.S. Byatt’s Babel Tower are closely examined here, as is Margaret Atwood’s “Bluebeard’s Egg” and Kurt Vonnegut’s Bluebeard. Chapter two highlights that fairy tale intertexts can create magic realism. A close reading of Kate Atkinson’s Human Croquet leads to a discussion of the formal features of magic realism, informed by definitions of that genre from Chanady and Faris. Magic realism is also a theme in chapter three, where the concept of the storyteller is explained. This chapter examines fictions which depict oral narration, including Atwood’s The Handmaid’s Tale and Atkinson’s Emotionally Weird and notes the storyteller in these texts’ similarity to the archetypal storyteller of the Arabian Nights, Scheherazade. Chapter four explains why the process of storytelling is depicted, and highlights the metafictive effects raised by this feature. The final chapter examines how fairy tale revisions can be subversive by looking at how Terry Pratchett’s Witches Abroad critiques the “classic fairy tale” exemplified by Disney. The conclusion looks at how fairy tale film can be analysed in the same way that I have examined the novel, by briefly studying Shrek and its sequel, and Tim Burton’s Big Fish. Informed throughout by contemporary criticism of the fairy tale by Jack Zipes and Marina Warner, this study isolates the different ways fairy tale intertexts are used, and suggests reasons why they are important. Acknowledgements I would like to take this opportunity to thank my supervisors, Jill LeBihan and Steven Earnshaw for all their help and advice. I would also like to acknowledge the helpful suggestions given by my examiners Keith Green and Lucy Armitt. I am obliged to thank the Arts and Humanities Research Board for funding my PhD. study, and I am glad to do so, as I would never have had this opportunity without their generous support. I would like also to gratefully acknowledge the support of my family. Finally, my eternal gratitude must be expressed to my partner, Claire, who has suffered dutifully as breadwinner, proof-reader and sounding board for three long years. Table of Contents INTRODUCTION................................................................................................................................... 1 CHAPTER ONE: THE EIGHT ELEMENTS OF INTERTEXTUAL USE OF FAIRY TALES. 12 CHAPTER TWO: ARCHITEXTUAL/ CHRONOTOPIC INTERTEXTUALITY AND MAGIC REALISM IN KATE ATKINSON’S HUMAN CROQUET...............................................................72 CHAPTER THREE: METAFICTIVE INTERTEXTUALITY: DEFINING THE “STORYTELLER” CHRONOTOPE...............................................................................................113 CHAPTER FOUR: THE ROLE OF THE STORYTELLER IN A POSTMODERN WORLD. 147 CHAPTER FIVE: BATTLING THE NIGHTMARE OF MYTH, TERRY PRATCHETT’S FAIRY TALE INVERSIONS............................................................................................................ 190 CONCLUSION....................................................................................................................................234 GLOSSARY.........................................................................................................................................245 BIBLIOGRAPHY...............................................................................................................................249 INDEX..................................................................................................................................................262 Introduction “The novel in the nineteenth and twentieth centuries has always incorporated forms of myths and fairy tales” as A.S. Byatt writes in On Histories and Stories, “Fanny Price is Cinderella” (2001: 130). And Byatt is entirely correct, and perhaps even understates the case; the history of popular fiction, from Shakespeare to Shrek is suffused with fairy tales, those simple stories that function in the vernacular as a synonym for lies. In last three decades, however, there has been a perceptible shift in the use of the fairy tale by novelists and filmmakers. Rather than being something that underlies a narrative and informs its structure, or a handy metaphor, the fairy tale has become central to the work. Interrogating the fairy tale, examining the way in which formulaic stories hold a grip over the human imagination has become increasingly popular among novelists and film-makers, to the extent that it is necessary to examine precisely why the fairy tale has become so important. That is the aim of this study. I will contend that the fairy tale is being intertextually used for ends which can be called postmodern. The title of this thesis invokes three contentious categories: intertextuality, postmodernism and the fairy tale. Each of these terms is a battleground of interpretation, and familiarity with the debates raging in each subject area leads me to think that attempting to settle upon a unitary definition of “postmodernism”, “intertextuality” or indeed, “the fairy tale” would be the work of an entire book, leaving little space for the study of those texts that piqued my interest in this area in the first place. For this reason, the understanding of postmodernism I will use within this study is derived primarily from ‘historiographic metafiction’, Linda Hutcheon’s coinage in A Poetics of Postmodernism, although other theorists or critics of postmodernism will be mentioned when the need arises. Chapter one will demonstrate my approach to the term “intertextuality”, opting for a pragmatic view of how individual texts relate to others, rather than a view of all literature, all language in fact, as fundamentally interconnected. 1 The main area that needs to be addressed in this introduction is precisely what I mean when I use the term fairy tale. A working definition of fairy tale One of the problems of attempting to locate a fairy tale intertext, is the plurality and over-determination of the fairy tale. The term fairy tale itself is an ill defined construction lacking any sort of stable definition, much like the terms intertext and postmodern. The English term “Fairy Tale”, which has been part of the English language since the mid-eighteenth century, is a translation derived from the French Contes de fee, which was first used in the title of Madame D’Aulnoy’s collection of 1697. This was just one of the terms used to describe fantastic narratives based upon folkloric stories that caught on during the ascendancy of the fairy tale as a fashionable form at the court of Louis XIV, and was used interchangeably with other terms such as Contes des oye. As all critics invariably point out, when defining the fairy tale one of the main problems with the term is that many stories considered emblematic don’t contain a single fairy (Thompson 1977: 8, Carter 2001b: ix). J.R.R. Tolkien addresses this problem when he writes: The definition of a fairy-story - what it is, or what it should be - does not, then, depend on any definition or historical account of elf or fairy, but upon the nature of Faerie\ the Perilous Realm itself, and the air that blows in that country. I will not
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