Patriarchal Representation and Domestic Liberation: The Home in Kate Chopin’s Short Fiction Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in Literature at The University of North Carolina at Asheville Fall 2009 By VICTORIA HICKS ____________________ Thesis Director Dr. Blake Hobby ____________________ Thesis Advisor Dr. Erica Abrams Locklear Hicks 2 “Today a woman who is lucky in her choice of a husband can have both—marriage and self-direction. But since in Chopin’s fictional world that option does not exist, she makes a powerful plea for it” (McMahan 35). Kate Chopin, a pioneering feminist writer, was writing at a time when women were confined to the private sphere of the home and were often denied participation in the public. Patriarchal attitudes dominated the minds of American people in the nineteenth century and Chopin’s work encouraged women to look at their situations from a critical point of view, one in which women were unfairly treated because of their status as female. In her short fiction, Kate Chopin portrays the oppression of women in the patriarchal society of nineteenth-century America through the quintessential Southern plantation home. By representing the domestic sphere, Chopin portrays women unable to fully embrace their own feminine ideas and express their own desires. A constant image in her stories, the plantation home is an image of domesticity that locates Chopin’s desire for women trapped in the private sphere to be able to have voice, portraying their fears and delusions as tied to a patriarchal society. In addressing how these women characters cope in domestic settings, Chopin both shows how these characters exercise agency and also how they are denied agency in nineteenth century America. The nineteenth century fostered the growth of the “Cult of Domesticity” in American society. Alison Kemper, literary scholar and critic, explains: “the workplace was increasingly more centered outside of the home. Therefore, the family residence came to be regarded as a haven from the greed and corruption of the modern world. Many felt that women, as keepers of this refuge, should be set above, yet apart from, such a world” (11). These ideas brought about the idea of the public and private spheres of society in which the man went out into the public sphere to work to support his family while the wife stayed at home to take care of the domestic duties. Kate Chopin Hicks 3 chose to highlight this facet of everyday life because this was the life that she had been exposed to the most. In the beginning, she was confined to the domestic sphere simply because she was a female. These distinctions, however, were beginning to change as Katherine Joslin argues in her essay “Finding the Self at Home”: Kate Chopin’s theme of female suffocation in the home arose from cultural changes taking place around her. The creation of separate spheres of life in nineteenth century America, the doctrine that relegated men to the world of work outside the home and the woman to work within, broke down late in the century. No longer content with the role of domestic angel, women grew more educated, more forceful, more visible outside the house (167). Chopin was an example of the changing atmosphere in society as she began going against those conventions in her own life by smoking cigarettes and dressing unconventionally before women were allowed to do so. Chopin’s surroundings created a tension that would lead her to write about the liberation of women. Her stories showed that finally women were beginning to realize that the patriarchal society that they lived in was the problem, the reason that they were being treated in a way that was less then men. The world that Chopin creates in her stories was obviously influenced by her own life as shown in the characters and the settings of her various works. Kate Chopin uses many of her own experiences to shape her fiction and her views of female independence. Born on 8 February 1851 to an Irish immigrant merchant father and an aristocratic French-Creole mother, Katherine O’Flaherty was born into a secure and socially prominent St. Louis family. Growing up Chopin received an education from the Sacred Heart in St. Louis. Here she was “exposed to Catholic teachings and a French educational emphasis upon intellectual discipline” (Inge 90). She participated in St. Louis society as a belle for two years but was Hicks 4 introduced to the feminist social issues of the time and became very rebellious. When her father died in a train accident, Chopin’s life was affected greatly because her mother was put in charge of keeping the family together and making decisions about her education. Chopin scholar Allen F. Stein states: “[Chopin’s] parents’ marriage provided the first indications to Chopin that the struggle for power is a grim fact of existence and that women are particularly vulnerable in the struggle” (2). This struggle was, to Chopin, a struggle being fought by women for female autonomy. Her views on life changed after her father’s death as Helen Taylor explains: “She was brought up…in a household dominated by a great-grandmother, grandmother, and mother, none of whom remarried after widowhood” (141). By being constantly surrounded by women, Chopin learned to respect their independence, intelligence, and courage (Taylor 141). Figures such as these helped provide subjects for Chopin’s work and many of her family members can be seen as characters in her later stories. In 1870, when Chopin was nineteen she married Oscar Chopin in New Orleans and they eventually had six children: Jean Baptiste, Oscar, George Francis, Frederick, Felix Andrew, and Lelia. The family eventually moved to a cotton plantation near Cloutierville, Natchitoches Parish, a reoccurring setting for her fiction. Oscar Chopin died in 1883 of swamp fever and Kate Chopin could not keep the family business from going under. She decided to move back to St. Louis with her mother who died a year later. A close friend and physician, Dr. Frederick Kolbenheyer, urged Chopin to start writing fiction because of the descriptions and details of the letters she wrote to him about Louisiana. Through these fictional stories Chopin was able to accurately describe the landscape and people of central Louisiana while also beginning to overcome the loss she felt after the death of her husband and mother. It was a combination of “her gift as a mimic with her talent as a musician” that allowed her to capture the “distinctive cadences, nuances, gestures, and diction of the residents of Louisiana…” (Davis 59). She wrote poems, short Hicks 5 stories, and long fictional works throughout her life but was condemned at the end of her career by the public for her “candid treatment of a young married woman’s sexual and spiritual awakening” (Bloom 1). Chopin died after a visit to the World’s Fair in St. Louis, Missouri from a cerebral hemorrhage on 22 August 1904. The dominant attitudes that surrounded Chopin about women and independence helped to cultivate the person that she became and undoubtedly affected the work that she produced. If Chopin had not experienced such a strong female presence in her life then her work would not have been as radical. She would not have had the courage to explore female independence if she had not been surrounded by it herself and shown that this was an agreeable lifestyle for women. Modern readers of Chopin’s work consider her to be a local color writer. This distinction can be made because, as Marie Fletcher describes, her works “make use of the most colorful subdivision of Louisiana’s culture and realistic presentation begins to replace the earlier romantic concept of Southern womanhood” (119). This earlier concept was based on the writings of other Southern writers such as George Washington Cable and Grace King. Authors such as these helped to usher in the movement of Southern literature and Fletcher states, “the woman’s place, these works would assume, is still in the home rather than in politics or the professions” (118). This idea is prevalent throughout Chopin’s work because her women characters never really stray away from the home and when they do they are met with conflict; yet, when they stay in the home they are met with a desire to escape. These conflicting feelings are at the forefront of Chopin’s work. While she experimented with various forms of fiction, Chopin’s “post-1891 work focuses more and more on the oppressiveness of womanhood ideology and the arduousness of woman’s quest for self. This development is particularly striking when one considers the popularity of her less adventurous work, her local color stories” (Papke 51). Kate Chopin began to go against the Hicks 6 romantic portrayals of Southern womanhood and chose instead to examine “the ideal southern woman as not just an imaginary distortion of male demands but a realizable construct of immense value to the patriarchy” (Papke 32). She chose to explore this societal construct through her short fiction by placing women within the home and exploring how this negatively affected their lives and livelihood. When Kate Chopin began writing she did not choose to write controversial stories that were condemned by literary critics and the public, like her final novel The Awakening. Instead, “early in her [Chopin’s] career, when she wrote charming Creole stories with happy endings, she had little difficulty finding publishers…as she developed herself as a writer, however, she found herself testing the limits of her publishers and her audience” (Cutter 18).