Macmillan2020.Pdf (1.227Mb)

Macmillan2020.Pdf (1.227Mb)

This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. “The Stories We Tell Ourselves to Make Ourselves Come True”: Feminist Rewriting in the Canongate Myths Series Harriet M. MacMillan A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature University of Edinburgh March 2019 2 I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgment, the work presented is entirely my own. Signed ________________________________________________________ Date ___/___/___ 3 Abstract In 2005, Canongate, an Edinburgh-based publisher, launched the first volumes in the Canongate Myths series, a project which commissioned renowned authors to retell ancient mythologies for contemporary audiences. Securing novellas from authors including Su Tong, Philip Pullman, A.S. Byatt and thirteen others, the project explores what is understood by myth today and how mythology remains relevant for a twenty-first century audience. It also asked female writers to engage directly with ancient mythologies which have perpetuated misogynistic narratives for millennia, encouraging those writers to self-consciously consider representations of gender contained within their selected source myths. This thesis uses the female-authored Greco-Roman mythologies in the series, from Margaret Atwood, Jeanette Winterson, Ali Smith and Salley Vickers, as a unique corpus in which to locate arguments regarding the efficacy and effect of a ‘feminist’ approach to rewriting mythology. Critical opinion has been split regarding whether a ‘feminist rewriting’ is, in fact, attainable, with some detractors asserting that any revision necessarily replicates the language and structure of the original. Yet by looking at the individual retellings and at the project as a whole, this project will argue that when viewed as a collaborative, ongoing process, engagements with ancient mythologies may in time yield results which are beneficial for representations of femininity and may, in turn, help to destabilise the masculinised model of the subject. The thesis contends that mythology can act as a framework through which female authors can evaluate the gendered implications of the personal, public and meta aspects of mythmaking and storytelling more generally, by considering the time and context-bound production of both the source myths - from Homer to Ovid, Sophocles to Freud - as well as the revisions themselves. The Canongate Myths series also serves as a distinct source for considering the character of rewriting within a post-postmodern literary landscape. With all four texts indicating a preoccupation with questions of ‘truth’, ‘reality’, and ‘authenticity’, the Myths series contributes to ongoing critical discussions regarding the shifting critical climate of twenty-first century literature. In particular, the texts selected from the series suggest an ongoing relationship with modernism and its engagements with mythology; the thesis helps to advance current discussions pertaining to contemporary literature’s relationship with its modernist past. These references, and each myth’s presentation of a distinct theoretical perspective, indicates that despite Lyotard’s assertions, we have not yet seen the death of all metanarratives. These self-consciously constructed novellas show that questions around 4 metanarratives of patriarchy and mythology are ongoing and that feminist rewriting continues to have a relevant role to play in their dismantling or recalibration. 5 Lay Summary In 2005, Canongate, an Edinburgh-based publisher, launched the first volumes in the Canongate Myths series, a project which commissioned renowned authors to retell ancient mythologies for contemporary audiences. Securing novellas from authors including Su Tong, Philip Pullman, A.S. Byatt and thirteen others, the project explores what is understood by myth today and how mythology remains relevant for a twenty-first century audience. It also asked female writers to engage directly with ancient mythologies which have perpetuated misogynistic narratives for millennia, encouraging those writers to self-consciously consider representations of gender contained within their selected source myths. This thesis questions what may be understood as a feminist rewriting of mythology and whether or not the four female-authored, Greco-Roman myths included in the series (from writers Margaret Atwood, Jeanette Winterson, Ali Smith and Salley Vickers) are in fact feminist in their approach to revision. The broader implications of the process of rewriting myth are considered and these four novellas are also linked back to modernism, suggesting an ongoing relationship with our modernist past. 6 Acknowledgements The first and most important of my thanks go to my wonderful supervisor, Dr Carole Jones. I would not have been able to write a word of this without you. Thank you for offering my first real introduction to feminist theory back in 2009 and thank you most particularly for being a dependable, thoughtful and caring constant throughout the past 3 and a half years. I am so grateful that although many other aspects of the doctorate have been extremely challenging for me, your support has made it possible. Thanks also go to my second supervisor, Dr Jonathan Wild, who always made himself available to me if needed and approached both me and my project in a kind and thoughtful way. Thank you also to Dr Suzanne Trill for the thoughtful remarks she provided throughout the review process. Many thanks to my examination committee as well, for taking the time to read and appraise my work and for their willingness to be part of this process. I would like to extend my gratitude to the Sir Richard Stapeley Education Trust for the grant they gave me in 2017. In terms of financial support, thanks also must go to all of the attendees of my wedding whose generous gifts contributed to my tuition! I apologise for the lack of thank you cards – this will have to temporarily suffice. I was able to pursue this degree because my colleagues at Edinburgh Law School were so supportive and flexible. Particular thanks go to the wonderful Simone Duffy and Toby Beveridge. As this is a thesis which considers women in communities, I would like to thank all of the women in my community: my numerous aunts, my sister (by any other name) Maggie Dunbar, my friends and colleagues. My beloved grandmother Maggie Mackintosh, who died at the beginning of this project and who is still present in everything I do. Thank you all for being an enriching, enlivening, encouraging and inspiring part of my life. There is no way that this project would ever have seen completion without the incredible support of my fellow Womensplainers. Maria-Elena Torres Quevedo, Niki Holzapfel, Sara Stewart, Vicki Madden, Hetty Saunders and Robyn Pritzker have brought me solace, joy, insight, inspiration and many board game nights. There was never a question so stupid that I didn’t feel I could ask you. I’m sorry for all of the stupid questions. Two particular Womensplainers deserve a special mention: Anahit Behrooz, for always being ready to distract me with coffee breaks or to listen to my meandering thoughts. Thank you for co-chairing the FLFF2017 conference 7 with me; it was an experience I will always treasure. To Bridget Moynihan: you have been a constant source of deep insight, unwavering support and my companion for many adventures. Your late intervention into my referencing process by introducing me to Zotero may have saved my life. To both of you: we have visited Paris, Lisbon, Italy, London, Oxford, St Andrews and Electric Circus together. Our friendship will remain one of the most important legacies of this thesis. Thank you to Jim Benstead for being a wonderful friend, for showing me how to use the NLS and for your unique insights into the restorative powers of Berliner Luft. Thanks also to Jilly Luke, who has been a brilliant addition to my life and who has generously given her time to help proofread this thesis, in exchange for my Dolly Parton insights. Thank you to all of my friends for your understanding and support throughout this very challenging process; I am very blessed to have you in my life. Warmest appreciation to Sarah Burnside, Gareth Parry, and Kat and Alex Stevenson for hosting me during my conference visit to Australia and to Phil McNulty for hosting me for my conference in Paris. My final thanks go to the most important people in my life and I present them here with sincerity and solemnity. To my family: my parents, John Archie and Mary, my brother Matthew, my father-in-law Willy and my brother-in-law Tom. Thank you for giving me a life filled with love. Matthew – thank you for being a brilliant brother and for never allowing me to develop too much of an ego. Mum and Dad – thank you for everything. I know all of the sacrifices you have made to enable me to study, first at Edinburgh, then at Oxford, and now at Edinburgh once more. I have never had to doubt for a moment that I could call upon you for love, support and guidance.

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