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'A Pale Expectancy': Female Mobility and the Post-War Space in the Novels of Jessica Anderson, Shirley Hazzard and Elizabeth Harrower

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'A Pale Expectancy': Female Mobility and the Post-War Space in the Novels of Jessica Anderson, Shirley Hazzard and Elizabeth Harrower 'A Pale Expectancy': Female Mobility and the Post-War Space in the novels of Jessica Anderson, Shirley Hazzard and Elizabeth Harrower NAOMI RIDDLE A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of the Arts and Media Faculty of Arts and Social Sciences UNSW Submitted for examination August 2014 ORIGINAUTY STATEMENT 'I heteby declare that U.S Slbnission is my own WOI1< and 10 !he best of my knowledge rt ccnlaCls no materials previously pul)lis/led 01 wntton by 8I"IC4he< pettOII, 01 - proportions of ma!enal wfjch have been acx:epled fOt the IIWIId of any - degae 01 di>Joma at UNSW 01 any - educatiOIIal llSb!Wln, except whant ckJe aaa-1edgemett is made 11 !he thesis. Arty CCII1tlb.cocn made 10 !he researth by othet$. with v.tlom I have worked al UNSW 01 elsewtlere, is elq)ilcitly ad<now1edged in !he !hesls I also declare lhat !he lllelec:tual conlenl of lhis lhe$i$ is !he producl of my own wort~. except 10 !he exlenllhat assislanee rrom Olhe<s in !he projecl's design and c:cnc:eplion oc in slyte, l>'esenlalion and linguistic expression is ad<nowleclged.' Signed . ~ ..... ............................. 0 81& ..~ .~/.9.f.h ~ .. :. .. ................................. .. COPYRIGHT STATEMENT 'I hereby grant the Unive<$~Y of New South wales or ~s agents the nghl to archive and to make available my thesis or dissertation in whole or part in the University libreries in all forms of media, OON or here after known, subject to the provisions of the~~ 1968 I retain all proprietary r9Jts, such as patent ~ts I also retain the <%tot to use in tw.e wor1<s (such as article$ or books) all Ot pan of d1is thesis Ot <issertabon. I also aulhorise U~ M~ to use the 350 wttd abslracl ol my thesis n Disserultion Abstlact lntemat.onal (d>is is applicable to dodoral "-only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restridion of the digital oopy of my thesis or dissertation.' Signed ~ ..... '" ... "' '" '" •................................ Date .1.':'!.b~../.!S:. .................................................. .. AUTHENTICITY STATEMENT 'I certify that the Libral'f depos~ digital oopy is a direct equivalent of the final offocially approved version ol my thesis. No emendation of content has occured and K there are any minor variations in fonnatting, they are the result of the conversion to digital format.' Sopd .. ~ .................................................... Date .!.1./.' .t!.1. I.L ..................... '" "' .............................. ABSTRACT This thesis will align the work of the three Australian women writers Jessica Anderson (1916-2010), Elizabeth Harrower (b.1928) and Shirley Hazzard (b. 1931) within the frame of post-war modernity. Their representation of space and place will be examined in order to reveal the implications of a disintegrating public and public divide, resulting in the reconfiguration of notions of female agency, mobility and gender relations. Therefore, this thesis will push Anderson, Harrower and Hazzard outside a specifically Australian context, instead focussing on a more international and large-scale preoccupation in twentieth century modernity: the female subject’s negotiation of the new spatial frames opened up in the post-war space. In order to chart this preoccupation, the thesis moves from a discussion of the construction of global space, movement and transportation, to the city-space and topographical memory, finally contracting to the representation of the house, ending with the claustrophobic and fractured domestic space. The motif of an unstable public/private divide, a modern in- between space, will recur across the thesis in order to expose a distinctive preoccupation by all three writers with a contradictory and multiplicitous female subjectivity – one that offers both mobility and freedom on the one hand, and a pervading sense of anxiety and stasis on the other. ACKNOWLEDGEMENTS I could not have done this without the support of my family, especially my parents, Kate and Kevin Riddle. Nor would this thesis have been possible without the continuing guidance and encouragement from my supervisors, Assoc. Prof. Elizabeth McMahon and Assoc. Prof. Brigitta Olubas. I am extremely grateful for the support, motivation and invaluable feedback given by both of them across my candidature. Both Assoc. Prof. McMahon and Assoc. Prof. Olubas have had a huge impact on shaping my ability to think critically and independently, whilst also showing me the value of this kind of careful and thorough work. I would like to extend my sincere thanks to the support offered by Maddie Barton, Lorraine Burdett, Dr. Laura Joseph and Mia Pinjuh throughout my candidature, and in particular, Benjamin Pritchard and Tim Bruniges, for taking the time to proof-read final drafts, often at very late notice. I would also like to take this opportunity to express gratitude towards the Association for the Study of Australian Literature (ASAL) for their continued support of postgraduate students. ASAL has not only provided a forum for presenting and receiving feedback on research throughout my candidature, but also provided me the opportunity to be a Postgraduate Representative and gain invaluable experience within the organisation. CONTENTS Introduction 1 PART I: The Globe Chapter 1 23 Masses in Motion Chapter 2 55 Refracting the Gaze: Shirley Hazzard and writing the globe PART II: The City Chapter 3 82 Memory-place: the City-space Chapter 4 118 The Tight-Rope Dancers: Jessica Anderson’s Sydney, from the shop to suburbia, and the space in-between PART III: The House Chapter 5 148 The Space Within: Retreat to the house Chapter 6 178 Turning Inward on Himself: Male hysteria in Elizabeth Harrower’s empty houses Epilogue 204 Works Cited 208 INTRODUCTION ‘I have set myself on a course. Don’t divert me. Don’t upset my balance. I mustn’t fall off my rope’ Jessica Anderson, ‘The Milk’ in Stories from the Warm Zone (1987), p. 128 ‘It could indeed be demonstrated that the Second World War, though fought in the name of national values…brought an end to the nation as a reality: it was turned into a mere illusion which, from that point forward, would be preserved for ideological or strictly political purposes, its social and philosophical coherence having collapsed.’ Julia Kristeva, ‘Women’s Time’ (1986), p. 188 ‘At the heart of the urban labyrinth lurked not the Minotaur, a bull-like male monster, but the female Sphinx, the ‘strangling one’, who was so called because she strangled all those who could not answer her riddle: female sexuality, womanhood out of control, lost nature, loss of identity.’ Elizabeth Wilson, The Sphinx in the City (1991), p. 7 Women writers across post-war modernity occupy a specific place in history, caught between the advent of early twentieth-century women’s suffrage and the second wave of feminism, occupying neither a specifically demarcated modernist or post- modernist period, instead often oscillating between the distinctions of both categories. The phrase ‘post-war space’ is used here, and deployed across this thesis, in order to incorporate the radical shift and reshaping of geography and mobility in a post- Holocaust and post-Hiroshima globe, in particular the new sense of agency and movement that was opened up for the female subject, a specific historical juncture that exists in-between feminist movements. Whilst this space is inevitably connected to the anxieties surrounding the Cold War, the jarring of political ideologies, and the reshaping of boundaries across Europe and Asia, the term post-war allows for the inclusion of shifts in the everyday, changes in living-space and routine. It is a space that gestures to the rapidly disintegrating public and private divide across the globe of late modernity, the overlapping between the very public ideological conflicts of the Cold War, mass mobility and transit, with domesticity, the interior and the household. As this space anticipates the rapid closing up of distance, the work of Australian post-war writers, positioned on the periphery, as outliers of Anglophone literature, provides a distinctive lens with which to (re)configure and (re)appraise the construction of the transitory spaces of post-war modernity, and their relation to the female subject. In order to examine women’s post-war literature, this thesis draws upon Australian literary critic Susan Sheridan’s claim that it is ‘possible to think of modernism 1 as a continuing project of responding to modernity, a project that includes both the Cold War debates and the postmodern movement.’1 Taking up this contention about the continuing project of modernism aligns this dissertation with the contemporary reframing of the parameters of modernism and the modernist project, which seeks to incorporate the tenets of modernism (experimentation with form, the disruption of temporality and space, a multiplicitousness) with works from across the twentieth century. Sheridan argues for the contradictory position that is specific to post-war women writers, as they oscillate between the public and private: [They are both] caught up in the massive changes that [take] place in everyday life brought about by the spread of post-war consumerism and media culture, and intellectuals who share with others concerns about nationalism versus internationalism, artistic modernism versus realism, and the political responsibilities
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