Disenchantment: a novel for young adults With a discussion of representations of Indigenous Australians and Native Americans in books for children and young adults Rebecca Louise Hazleden BA (hons), (Leeds) MA, (Leeds Metropolitan University) PhD, (Exon) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History 1 Abstract This thesis is in two parts. The first is the creative project, a love story called Disenchantment, which is a speculative fiction novel for young adults. The novel consists of the testimony of an imprisoned girl, indigenous to a fictitious island, explaining how she has ended up in a prison cell condemned to hang for a murder she did not commit. As she relates her story to a visitor, a tale emerges of love and betrayal set against a backdrop of colonialism and violence. At first, Neka is an awkward and fearful little child, suckled by a half-dead mother and weaned by a bitter old Healer. The adults remark what a pity it is that the bright light of her mother was snuffed out by such a dull child. But then she is chosen as assistant to Elu, the beautiful and vibrant rebel girl from another clan, who is to be the new Healer. They embark on their training together, drawing closer, learning the secrets of the clan, healing the sick, talking to the dead, encountering the god of lightning, and awakening the god of spring. Neka starts to find her place in the world, and her love blossoms – love for her land, her people, and most of all for Elu. But then their island is invaded, and the land violently taken. The most powerful new settler is the Administrator, George Addlington, whose affection for Elu seems to hold the power to save them all – but at what cost? The second part of this thesis is a critical essay and exegesis entitled “Savages and stockings: representations of Indigenous Australians and Native Americans in books for children and young adults”. This academic exploration arose from the background and setting of the novel – that of colonialism. It traces postcolonial discourses around representations of indigeneity, provides a textual analysis of a selection of novels, and gives an exegesis concerning the ways that my academic research changed my approach to my creative project. It argues that attempts to posit an authentic indigene against inauthentic white representations are doomed to failure, and that it is more productive to examine how stereotypes and clichés come to be perpetuated, and thus how they might be avoided. 2 Drawing on the work of Clare Bradford and Nikolas Rose, the essay examines a small selection of recent books written for children and young adults that deal with ‘first contact’ between indigenous and settler characters in America and Australia. I argue that representations of indigenous people have moved beyond the simple racist stereotypes of the past and that these recent works show ambivalence towards (post)colonial power relations, and indeed to the notion of ‘race,’ in line with liberal values that emphasise commonality between humans. The essay makes an original contribution to the field by examining liberal western values through the Foucauldian concept of governmentality to analyse representations of indigeneity in fiction for young people. In particular, it looks at the ways in which authors are faced with the challenges of dealing with the on-going impact of discourses that treat European values as objective, and, also in line with liberal values, still promulgate as universal the ethical values of western-style rationality, individuality and self-actualisation. The essay then demonstrates some ways in which my academic studies have aided my own creative work, and shows some of the techniques I used in an attempt to avoid some of the pitfalls discussed, when writing my own work. I especially address the following: self/othering; idealisation and fetishisation of the indigene; the ‘Othering’ of the indigenous body; ‘invisible whiteness’; the promulgation of western style ‘rationality’; portrayal of the indigene as static and unchanging; and above all, the understanding of the indigene as being of the past. 3 Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly- authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the General Award Rules of The University of Queensland, immediately made available for research and study in accordance with the Copyright Act 1968. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. 4 Publications during candidature No publications. Publications included in this thesis No publications included. 5 Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree None. 6 Acknowledgements I would like to thank my supervisors, Veny Armanno and Stuart Glover, for their long patience, good humour, unwavering support and invaluable insights and advice. Other members of my cohort also provided helpful feedback on the creative project, especially Nicole Holyer, Siboney Duff, Kirril Shields, Fiona McKean and Felix Calvino. My writer friends Carody Culver, Michelle Dicinoski and Sue Pearson also took the time to provide me with very helpful feedback. Malcolm Brown provided emotional, financial and scholarly support, and he has proved to be a very talented editor and cook. Anastasia Visoiu Bickel helped me with my research for the novel, and was an insightful first young adult reader. I am very grateful to the University of Queensland and EMSAH for awarding me the scholarship that enabled me to continue my studies, and to EMSAH for awarding me the AEE Pearse prize, which gave me something very rare indeed – a substantial financial reward for an academic paper. 7 Keywords Speculative fiction, fantasy, children’s literature, young adult literature, Native Americans, Indigenous Australians, governmentality, postcolonialism. Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 190402, Creative Writing, 80% ANZSRC code: 200526, Stylistics and textual analysis, 20% Fields of Research (FoR) Classification FoR code: 1904, Performing arts and creative writing, 80% FoR code: 2005, Literary Studies, 20% 8 Table of contents Thesis Abstract Page 2 Declarations of author Page 4 Acknowledgments Page 7 Keywords, ANZSRC numbers, FoR Codes Page 8 Disenchantment: a novel for young adults Page 10 Critical Essay: “Savages and Stockings: representations of Indigenous Australians and Native Americans in books for children and young adults.” Page 224 Abstract Page 224 Introduction: Defining CYA literature Page 226 Key themes Page 236 Section A: Postcolonialism and the problem of authenticity Page 240 1. Juxtaposition of indigene/not-indigene, self/Other Page 243 2. The noble savage and the physicality of the indigene Page 249 3. Invisible whiteness and credulous natives Page 251 4. The impact of invasion and consignment to history Page 257 Section B: Textual analysis Page 262 Books selected Page 263 Methodology Page 265 1. Juxtaposition of indigene/not-indigene, self/Other Page 266 2. The noble savage and the physicality of the indigene Page 268 3. Invisible whiteness and credulous natives Page 275 4. Impact of invasion and consignment to history Page 279 Section C: Exegesis Page 283 1. Juxtaposition of indigene/settler, self/other Page 283 2. The noble savage, and the physicality of the indigene Page 286 3. Invisible whiteness and the credulous native Page 292 4. The impact of invasion and consignment to history Page 294 Conclusion Page 297 Works Cited Page 299 9 Disenchantment: a novel for young adults Official transcript of the testimony and confession of the native girl aged approximately 15 years, known as Neka or Nicky Clay Island of New Devon, 1854. I cannot give you the confession you ask for, my friend. I have nothing to confess. And whether I explain myself to you or not, my fate will be the same. But you have been a friend to me these past few days, bringing me candles and bread and your company – so I will tell you what happened, to fill these last hours, and I will allow your doctor friends to measure my head and fingers, and record the contours of my skull. And yes, the clerk may record my words, scratching the paper with those black marks that Elu learned to understand. To my eyes, they still look like lines of angry ants. You are also in this story, my friend, though you do not yet realise the consequences of your actions. If I am to tell this story, I will not spare you. The whole truth and nothing but the truth, as I would have said if they had granted me a trial.