ENCHANTING THE PAST: NEOMEDIEVALISMS IN FANTASY LITERATURE by Shiloh Carroll A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English Middle Tennessee State University 2014 Dissertation Committee: Dr. Amy Kaufman, Chair Dr. Martha Hixon Dr. Ted Sherman ACKNOWLEDGEMENTS I would like to extend my warmest thanks to all those in the English department who mentored and supported me through this process, including but not limited to my committee members, Dr. Amy Kaufman, Dr. Martha Hixon, and Dr. Ted Sherman, as well as Dr. David Lavery and Dr. Rhonda McDaniel. I would also like to thank Emily Shearer, best friend extraordinaire, for taking this journey with me despite the hardships. Finally, my husband, Eric, who never stopped believing in me even when I nearly stopped believing in myself. ii ABSTRACT Twenty-first century people are fascinated with the Middle Ages for a variety of reasons and purposes, whether for a sense of nostalgia, a yearning for a simpler time, or the justification and foundation of contemporary politics and traditions. This fascination is perhaps most clear and evident in fantasy literature, which has a marked tendency to borrow heavily from the Middle Ages for settings, characters, themes, motifs, symbols, and ideas. Since the Victorian medievalist revival driven in part by authors such as William Morris and Lord Dunsany, medievalism in fantasy literature became commonplace and expected by the readership, especially after J.R.R. Tolkien’s contributions to the genre. This dissertation examines contemporary fantasy authors’ use of medieval themes, tropes, and material to construct their worlds and characters. Focusing primarily on late fantasy novels, I examine the authors’ visions and interpretations of the Middle Ages. Each author’s view of and approach to the Middle Ages provides insight into recent views of the medieval period as well as contemporary ideas projected onto the Middle Ages in order to explore political, social, and psychological phenomena in a space removed from the present. Through the lenses of various literary theories, including feminism, queer theory, ecocriticism, ecofeminism, and postcolonialism, I examine the works of George R.R. Martin, Marion Zimmer Bradley, and Tamora Pierce in order to illustrate specific examples of neomedievalism and the intersection of contemporary and medieval ideas and traditions. iii TABLE OF CONTENTS Page CHAPTER ONE: INTRODUCTION: NEGOTIATING HISTORY………………. 1 “I Thought We Were an Autonomous Collective”: Defining Medievalism and Neomedievalism………………………………………………………... 2 “Welcome to the Castle Anthrax”: Neomedievalism in Fantasy…………… 12 CHAPTER TWO: RELIVING HISTORY: GEORGE R.R. MARTIN’S QUEST FOR REALISM…………………………………………………………………….. 23 “Life is Not a Song”: The Princess Deconstructed…………………………. 30 “So Many Vows”: The Fallen Knight………………………………………. 40 CHAPTER THREE: SUBVERTING HISTORY: FEMINISM AND QUEERNESS IN THE MIDDLE AGES…………………………………………… 57 “You Think She’d Be Over This Warrior Thing by Now”: Female Knights in High Fantasy……………………………………………………………... 59 “Without Surprise or Shame”: Queer Encounters and Characters in Neomedieval Fantasy…………………………………………………….. 71 CHAPTER FOUR: REDEEMING HISTORY: RECOVERING MARGINALIZED VOICES THROUGH FANTASY…………………………….. 93 “Our Name Means Those Who Sing the Song of Earth”: Pre-Christian People and Ecology…………………………………………………………. 94 “The Eagle has Flown and will Never Return”: Difficulties with Postcolonialism…………………………………………………………….. 109 iv CHAPTER FIVE: EMBRACING THE PRESENT: THE IMPACT AND EFFECTS OF FANTASTIC NEOMEDIEVALISM……………………………….. 136 WORKS CITED……………………………………………………………………. 145 v 1 CHAPTER I Introduction: Negotiating History “On second thought, let’s not go to Camelot. ‘Tis a silly place.” --King Arthur, Monty Python and the Holy Grail (1975) Comedy troupe Monty Python’s film Monty Python and the Holy Grail takes on the Matter of Britain with a gleeful disregard for legendary or historical accuracy, mixing genres and time periods into a slurry that mocks Arthurian literature of both English and French origins, historians, and popular beliefs about the Middle Ages. While it would be easy to dismiss the entire film as an anachronistic mess, one must also consider that Terry Jones, one of the members of Monty Python and co-writer of the film, is an Oxford- trained historian, with several published studies on medieval history and literature as well as documentaries on historical topics such as the Crusades, the Roman Empire, and the lives of medieval people. So what is a viewer to make of the rampant anachronism in Monty Python and the Holy Grail? The various inaccuracies in portraying the Middle Ages in general and Arthuriana in particular are clearly not accidental, but purposefully crafted for comedic effect by a writer who is aware of not only the medieval literature on which the film is based, but contemporary reactions to and beliefs about it. Frequently, however, the Middle Ages are utilized in popular culture to make statements about the medieval and the modern in a more serious fashion, by authors whose credentials are not as readily available as Jones’s. If such an author includes a fact, assumption, or portrayal of the Middle Ages which could be seen as “wrong,” how is a reader to approach the text? And who decides which facts, assumptions, or portrayals of a historical period long past, which encompasses 1000 years and from 2 which relatively little extant material remains, are “wrong”? Likewise, which inaccuracies are acceptable and which make the work impossible to take seriously as an attempt at historicity? These are some of the questions that scholars have begun to explore through medievalism studies. This study will examine several twentieth- and twenty-first-century fantasy texts in order to analyze their use of the Middle Ages and how the various medievalisms reflect contemporary attitudes and beliefs about the Middle Ages as well as present-day society. To this end, various critical approaches—specifically feminism, queer theory, postcolonialism, and ecofeminism—will be utilized as lenses through which to view the authors’ approaches to the Middle Ages and the reflection of the present in the neomedieval. The works chosen for this study—George R.R. Martin’s A Song of Ice and Fire, Marion Zimmer Bradley’s The Mists of Avalon, and Tamora Pierce’s Song of the Lioness, The Immortals, and Protector of the Small—are works which have been mostly overlooked by the academy, yet represent approaches to the medieval which will allow for in-depth study of different types of medievalism. These analyses will show that fantasy literature’s medievalism is not necessarily sloppy or error-laden, but rather provides a mirror for contemporary society’s anxieties, beliefs, desires, and values. “I Thought We Were an Autonomous Collective”: Defining Medievalism and Neomedievalism Contemporary popular culture is enamored of the Middle Ages, with medieval or pseudo-medieval settings appearing in works of historical fiction, fantasy, and even science fiction texts. A comprehensive list of such works would easily cover several 3 hundred pages and include everything from retellings of Beowulf, various approaches to Arthurian tales, and high medieval fantasy, to time-travel stories and space opera. Although material portraying the Middle Ages is wildly popular, describing what exactly the Middle Ages were and how they affect contemporary society remains difficult for historians, literary critics, and laypeople alike. In order to explore the various interpretations of the Middle Ages, rather than the historical Middle Ages and its extant texts, historians and critics have had to develop a discipline specifically to study the interpretations without reducing those studies to questions of accuracy, anachronism, and error in those interpretations; this field has become known as “medievalism.” According to Clare Simmons, the term “medievalism” was first coined by John Ruskin in 1853 to refer to the Victorian interest in and enthusiasm for the medieval (1). Later in the nineteenth century, however, Leopold von Ranke introduced “scientific history,” which involved careful examinations of available texts to find out what “really” happened and began a new surge in the “scholarly quest for authenticity” (Simmons 9- 10). From this surge came a separation between Medieval Studies and medievalism, which Simmons defines thus: Medieval Studies: Professional; within the academy, research-based; objective; committed to discovering the authentic past. Medievalism: Amateur; outside the academy; based on cultural preconceptions; subjective; shaped by the individual’s needs and desires. (12) Although studies of medievalism are relatively new, medievalism itself began, as Simmons says, as early as the fifteenth century, when scholars began studying the Anglo- 4 Saxons and Arthurian legends (2). Much of modern medievalism is derived from Victorian medievalism, which was born as a reaction to the changes in society brought about by the Industrial Revolution. According to Charles Dellheim: The medieval search for usable symbols was part of a larger quest for cultural orientation. In the Middle Ages Victorians found markers that helped them orient themselves in an open-ended, unprecedented world: first by providing maps of continuity and change; second, by placing the “unfamiliar something” of modernity against familiar medieval myths and symbols. (53) By recasting and interpreting the