STATION TO STATION: CONTEMPORARY BRITISH LITERATURE AND URBAN SPACE AFTER THATCHER by KIMBERLY DUFF BA (Hons.), Simon Fraser University, 2001 MA, Simon Fraser University, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) November 2012 © Kimberly Duff, 2012 ABSTRACT “Station to Station: Contemporary British Literature and Urban Space After Thatcher,” examines specific literary representations of public and private urban spaces in late 20th and early 21st-century Great Britain in the context of the shifting tensions that arose from the Thatcherite shift away from state-supported industry toward private ownership, from the welfare state to an American-style free market economy. This project examines literary representations of public and private urban spaces through the following research question: how did the textual mapping of geographical and cultural spaces under Margaret Thatcher uncover the transforming connections of specific British subjects to public/private urban space, national identity, and emergent forms of historical identities and citizenship? And how were the effects of such radical changes represented in post-Thatcher British literary texts that looked back to the British city under Thatcherism? Through an analysis of Thatcher’s progression towards policies of privatization and social reform, this dissertation addresses the Thatcherite “cityspace” (Soja) and what Stuart Hall calls the “deregulation of the city” (23) as these open my research to issues of spatially affected identities in literary representations of the British city at the turn of the century. My four case studies move from a broad discussion of the effects of the heritage industry on the city and the individual (Iain Sinclair’s Lights Out for the Territory [1997]); to the relationship between space, identity, and the rolling back of the welfare state as it plays out in the stigmatization and neglect of council estate housing (Irvine Welsh’s Trainspotting [1993]); to representations of race and entrepreneurialism in the Thatcherite city (Monica Ali’s Brick Lane [2003]); and, finally, to representations of space, gay identities, and class during a period of institutionalized homophobia (Alan Hollinghurst’s The Line of Beauty [2004]). The ii project takes as its aim the tracing of various tentacles of Thatcherism as they creep across the spaces of the British city in a way that draws attention to how the processes and flows of Thatcherite neoliberal policies circulate across the spaces of the city, forever altering the ways in which individuals move and form identities within those spaces. iii PREFACE A version of chapter four has been published in the collection Thatcher & After: Margaret Thatcher and Her Afterlife in Contemporary Culture. Eds. Louisa Hadley and Elizabeth Ho. London: Palgrave Macmillian, 2010. 180-198. Parts of Chapter One were presented at the ACLA Conference in 2010. iv TABLE OF CONTENTS ABSTRACT...........................................................................................................................ii PREFACE.............................................................................................................................iv TABLE OF CONTENTS .....................................................................................................v ACKNOWLEDGEMENTS ................................................................................................vi DEDICATION ....................................................................................................................vii INTRODUCTION: The Spatial Turn: Dialectics of Space and Identity ........................1 Thatcher in Space................................................................................................................5 The “Spatial Turn”............................................................................................................10 CHAPTER ONE: “The Script That Has Been Eradicated From the Street”: Iain Sinclair’s Lights Out for the Territory and the Mapping of Urban Heritage .................23 Heritage and National Identity: Theme-parked Identities and the Erasure of the Unmarketable....................................................................................................................27 “Nothing is erased”: Sinclair’s Urban Tracings...............................................................39 Ephemeral Transcriptions of the Urban............................................................................48 Conclusion, or After the Lights Dim ................................................................................56 CHAPTER TWO: “House Arrest”: Irvine Welsh’s Trainspotting, Thatcherite Council Estates, and the New Under-Class.....................................................................................59 Housing, Identity, and the Rolling Back of the Welfare State..........................................63 Irvine Welsh’s Trainspotting: The Spaces of Abject Identities........................................76 “Winter in West Granton”; or Another Winter of Discontent .........................................79 “It Goes Without Saying”: Neoliberalism, Historical Identities, and the Spaces of Addiction...........................................................................................................................85 “House Arrest”: Heroin, Family, and the Spaces of Kicking ..........................................91 Conclusion: The Production of Spatialized Identities ......................................................95 CHAPTER THREE: Space, Production, and Identity: Monica Ali’s Brick Lane and Powellite Englishness..........................................................................................................97 Community, Identity, and Space.....................................................................................101 Race and Class: Enoch Powell, the 1960s, and the 1970s..............................................105 Brick Lane, or How to Get Ahead in Tower Hamlets.....................................................118 Nazneen as Urban/ Urban as Process..............................................................................126 Conclusion: Domestic Production, or the Production of Home .....................................130 CHAPTER FOUR: Let's Dance: Alan Hollinghurst’s The Line of Beauty and the Spatialization of Thatcher................................................................................................136 Thatcher as Puppet, or the Puppetry of Thatcher............................................................138 Public and Private Shifts: Section 28, Thatcher, and the 1980s .....................................143 The Postmodern Investment: Nick, the Lloyd’s Building, and the Spaces of Identity...149 The Iron Lady, or the Lady Keeps on Turning ...............................................................154 Let’s Dance: Consuming the Thatcherite Body..............................................................162 Conclusion: Two Sides to Every Thatcher .....................................................................166 CONCLUSION: Thatcher in Space, or the Spaces of Thatcher ..................................168 WORKS CITED ...............................................................................................................177 v ACKNOWLEDGEMENTS Over the course of researching and writing this dissertation I have enjoyed a wealth of support and attention from many colleagues, mentors, and friends, without whom this project would not have been completed. This thesis was accomplished with financial support from the Social Sciences and Humanities Research Council of Canada, as well as numerous scholarships from the English Department at the University of British Columbia. I am indebted to the members of the English Department at UBC for their support and encouragement. Specifically, I would like to thank Mark Vessey, Patsy Badir, Vin Nardizzi, and Michael Zeitlin for their buoyant encouragement and conversation throughout my career at UBC. I also thank Louise Soga for her friendship and guidance. My supervisory committee has provided me with the confidence and energy that carried me through this project. I thank Nick Hudson and Ira Nadel for their close and thoughtful reading of my work. I am deeply grateful for Miguel Mota, my supervisor, who introduced me to contemporary British literature and Thatcherism during my undergraduate degree. Few words can express how much I have appreciated and valued his tireless attention and enthusiasm over the course of this project. My dearest friends Colleen Derkatch and Heather Latimer have been patient in their encouragement and advice, and indispensible to the successful completion of this work. My parents, Bill and Ruby Duff, and my sister Michelle, have avidly supported me throughout this process. And my dog Josh, my dear companion, whose friendship and hilarity gave me just what I needed at just the right time. And not least, my heart, Daniel Stephen Pendygrasse, for the discovery, the gratitude, and the “blue skies…” vi For my parents, always vii INTRODUCTION The Spatial Turn: Dialectics of Space and Identity [T]he social relations of production have a social existence only insofar as they exist spatially; they project themselves into a space, they inscribe themselves into a space while producing it. (Lefebvre,