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The Daughter's Consolation: Melancholia and Subjectivity in Canadian Women's Paternal Elegies

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The Daughter's Consolation: Melancholia and Subjectivity in Canadian Women's Paternal Elegies The Daughter's Consolation: Melancholia and Subjectivity in Canadian Women's Paternal Elegies Tanis Louise MacDonald B.A., University of Winnipeg, 1998 M.A., University of Manitoba, 2000 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of English 0Tanis Louise MacDonald, 2005 University of Victoria A11 rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. The Daughter's Consolation: Melancholia and Subjectivity in Canadian Women's Paternal Elegies BY Tanis Louise MacDonald Doctoral Candidate Department of English University of Victoria Supervisor: Dr. Smaro Kamboureli Abstract This study investigates the redefinition of female filial piety and the negotiations of female subjectivity in paternal elegies written by Canadian women. It sets Freud's theory of the work of mourning against the potential for a "work of melancholia" in order to read the elegies as inquiries into the rhetoric of mourning as it is complicated by father- daughter kinship. Examining poetic texts by P.K. Page, Jay Macpherson, Margaret Atwood, Lola Lemire Tostevin, Anne Carson, and Erin Mourk, this study considers these "daughterly elegies" as literary artifacts that adopt politicized subjectivities that grow from the poets' investigation into the function and limitations of elegiac convention. Debating the elegiac trope of consolation as potentially oppressive, this study contrasts the social expectations of mourning against the libidinal politics of paternal authority, including the daughter-mourner's desire to delineate, and perhaps dismantle, the fidelity demanded by the father's death. This analysis proceeds from the idea that these paternal elegies revise the premises of the familial compact by examining the work of female poets who practice a determined melancholia as a literary act of infidelity to the Father as social and cultural law. While each poet pursues her own discovery of subjectivity and consolation, it is possible to conclude that the paternal elegies explored in this study are united by their location of elegy as the poetic site of energetic challenge to patriarchal authority. These poets inquire into the elegiac mode's ability to speak women's experience of loss and possible consolation, by searching for ways to elegize the father without resorting to encomium, to memorialize the father without sacrificing daughterly subjectivity, and to re-think a daughter's position within the rhetoric of paternal mourning. Table of Contents Abstract iii Table of Contents v Acknowledgements vi Introduction The Daughter's Consolation: Melancholia and Subjectivity Chapter One "Hid fiom his daughter:" P.K. Page and the Work of Melancholia Chapter Two "Absence, havoc": Mourning the Alchemist Father in the Works of Jay Macpherson Chapter Three Alterity and Inheritance: Margaret Atwood's Morning in the Burned House and Lola Lemire Tostevin's Cartouches Chapter Four The Pilgrim and the Riddle: Kinship in Anne Carson's "The Anthropology of Water" Chapter Five Elegy of Refusal: Erin Mourk's Furious Conclusion Towards a Rebellious Rhetoric of Mourning Notes Works Cited Acknowledgements My thanks are due to many people who provided assistance during the composition of this dissertation. I am grateful to my examining committee for their expertise; my supervisor, Smaro Karnboureli, whose keen editor's eye and insight into the writing process were invaluable; Misao Dean and Jamie Dopp, whose teaching inspired and whose support was unfailing; Ingrid Holmberg of Greek and Roman Studies, for being so willing to read poetry; and Lynette Hunter of the University of California, whose "outsider" perspective and breadth of knowledge was much appreciated. Other professors contributed their attention to the completion of this study. Iain Higgins took up supervisory duties in times of professorial scarcity. Eric Miller and Dianne Chisholm recommended Carson's Plainwater and Tostevin's Cartouches, respectively. I was offered excellent advice with good humour by Professors Lisa Surridge, Janelle Jenstead, and Stephen Ross at the University of Victoria; Brenda Austin-Smith and Dennis Cooley at the University of Manitoba; and Mavis Reimer, Keith Louise Fulton, Neil Besner, and Deborah Schnitzer at the University of Winnipeg. Thanks are also due to those who listened to my ideas in less formal venues: over meals, after classes, during conferences. I particularly wish to thank my fellow doctoral candidates - Frances Sprout, Chris Fox, Suzan Last, and Karina Vernon - whose good company and practical advice always had a buoyant effect. My students in English 115 and 125 asked questions that kept me thinking about love, death, and literature. Finally, I wish to thank my parents for their eclectic reading tastes, and John Roscoe for his unflappable nature. Introduction The Daughter's Consolation: Mourning and Subjectivity Begin then, Sisters of the sacred well, That from the seat of Jove doth spring. Begin, and somewhat loudly sweep the string. John Milton, "Lycidas" Restless and challenging, [the elegiac imagination] makes and unmakes ethical codes, ritual, and liturgy. It rearranges even as it disturbs the patterns of civil government and ecclesiastical hierarchy. Although its themes are the puzzles of life and the riddle of death, it settles down neither in the tavern nor in the churchyard. 4bbie Findlay Potts, The Elegiac Mode Beginning a study of Canadian women's paternal elegies by quoting Milton's 1638 poem "Lycidas" may appear odd, but Milton's elegy in memory of his fiend and fellow Cambridge scholar Edward King, who drowned at sea at the age of twenty-four, is considered by poets and elegy theorists as the exemplar of the elegy, the pdetic touchstone to which all subsequent elegists and all who discuss elegy as a genre must answer. But in the above quotation, one of the major precepts of "Lycidas," the homosociality of one young man grieving the death of another young man, joins with an elegiac convention, the invocation of the muses, to trigger the question that begins this study. What happens to the elegy when it is no longer a homosocial exploration of the loss of one man as mourned by another man? What happens to the elegy as a genre when women, instead of accompanying the poet-swain's song of grief, "loudly sweep the string" of their own grief and, in doing so, question the rhetoric of mourning? I quote Milton's invocation to the Muses, those "Sisters of the sacred well" with irony, in the hope that Milton's classical reference may be borne out as unintentionally prophetic about the urgency of women's elegies in the latter half of the twentieth century. The Muses, I suggest, have been replaced by, or transmogrified into, women who "loudly sweep the string" to assert the legitimation of their love and question the rhetoric of mourning in the late twentieth century. Abbie Findlay Potts, in her 1964 study The Elegiac Mode, asserts that the elegy is less sorrowful than "skeptical," and more concerned with "revelation" than with affective closure (2). Playfully naming the muse of elegy, Potts claims that "Elegeia" imbues the elegist with an unflagging energy for the activities of "sorrowing, challenging, questioning" (1 I), and it is within Potts's energetic view of anagnorisis as the defining term of elegy that I would like to situate the poems of this study. Potts takes her definition from Aristotle's Poetics, and I take it as my working definition of the elegiac mode. Anagnorisis involves an elegy's defining revelation or discovery "through the display of feelings aroused by memory, by reason or inference, fictitiously by false reference or intended deceit or - best of all - out of the nature of previous events or antecedent discoveries" (Potts 37). For the purposes of this study, the "nature of previous events or antecedent discoveries" will be assumed to be the tensions and social expectations of father-daughter kinship, and the need to redefine female filial piety in the twentieth century elegy will be the "ethical code" that is changed through the poets' discoveries. In this study, I concentrate on the ways in which the urgency of the twentieth- century elegy combines with contemporary feminist theory in Canadian women's paternal elegies. Certainly American elegy theorists have begun to regard the parental elegy as a subgenre, and both Melissa Zeiger and Jahan Ramazani have produced studies that work towards an American elegiac theory that claims a definite stake for female elegists. Rarnazani, in Poetry of Mourning, claims that '"the personal act of mourning the father is politically charged, and the politics of resistance begins at home" (264), noting that female poets who have written "the American family elegy" from mid-century onwards have "been more than willing to use the genre to exorcize, slough, divorce, defame, even annihilate the dead" (263). Warning that the contemporary elegy may contain more ''iiactured speech" than outright lyricism and more "memorable puzzlings" than consolation, Ramazani situates the elegy not only as a genre that defies the "acid suspicions" of a cynical citizenry but, also, as a poetic distillation of those same acid suspicions in poetic form (x). In the twentieth century, the elegy is most often discussed as a literary artifact that charts Freud's "work of mourning," a theory that is attractive for its promise of completed mourning, but remains problematic for the same reason. There is a frequently reductive tendency for the late twentieth-century elegy to enact a slavish obedience to the letter of completed mourning, but remain distant fiom any revelatory experience, a tendency to ignore the anagnorisis that is axiomatic to the elegiac mode. Elegies that fall into this genre trap become merely conventional,-ratherthan thoughtfully conventional. As a literary display of mourning that "has persisted," as Sandra Gilbert phrases it in Inventions of Farewell, ''though massive cultural and theological turmoil" (25), the elegy maintains its energy by engagement with the twin devices of inquiry and discovery.
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