1.9?.>4>492 ?30 >071, . >?@/A ;1 .7.>/.4= 2=.A!> !7.9.=6!" !'+*( 5.9490!" !>;80?3492 70.?30=! .9/ !<;;= ?3492>! 0UB 8BQS^NFY 4C]_FY . ?IFRJR >TCMJSSFE GOQ SIF /FHQFF OG <I/ BS SIF @NJUFQRJSX OG >S$ .NEQFVR '+++ 1TLL MFSBEBSB GOQ SIJR JSFM JR BUBJLBCLF JN =FRFBQDI->S.NEQFVR,1TLL?FWS BS, ISSP,%%QFRFBQDI#QFPORJSOQX$RS#BNEQFVR$BD$TK% <LFBRF TRF SIJR JEFNSJGJFQ SO DJSF OQ LJNK SO SIJR JSFM, ISSP,%%IEL$IBNELF$NFS%'&&()%(+)' ?IJR JSFM JR PQOSFDSFE CX OQJHJNBL DOPXQJHIS Fantasising the Self: A Study of Alasdair Gray's Lanark, 1982 Janine, Something Leather and Poor Things Eva Martinez Ibanez A thesis submitted for the degree of Doctor of Philosophy in the University of St Andrews May 1999 Abstract ii Abstract This thesis explores the use of fantasy in Alasdair Gray's major fictions: Lanark (1981), 1982 Janine (1984), SomethingLeather (1990) and Poor Things (1992). The main purpose is to study the way Alasdair Gray borrows elementsfrom Gothic different forms of fantasy - magical realism, pornography, the and science fiction - in order to explore and resolve the internal conflicts of his characters. In the introduction current definitions of fantasy are surveyed.Also explored is the concept of magical realism, as one of the objectives of the thesis is to demonstrate that some of Gray's work, particularly Lanark, presents some of the characteristicsof this branch of Postmodernism. The first chapter concerns Lanark. The juxtaposition of fantasy and realism is explored in order to show the fragmentation of the self represented by the figure of Thaw/Lanark. Also paradoxesand contradictions at the heart of this work are investigatedfrom the point of view of form and content. Of particular importance is the conflict betweenthe individual and society. In the chapter dealing with 1982 Janine, the conceptof deidealisationis introduced to show how Jock deals with the figures in his past, Scotland and himself Jock's personal conflicts and damagedpsyche are explored through his pornographic fantasies. by In chapter III SomethingLeather is comparedto works Sade, homosexualfantasies fon-n particularly their use of sadomasochisticand as a of social subversion. Abstract iii Chapter IV discussesPoor Things from the point of view of how characteristics typical of the Gothic novel are parodied to explore genderissues such as the construction of female identity by a male Other. Parallelisms betweenthis novel and Salman Rushdie's Midnight's Children and John Fowles' A Maggot are also explored. In the conclusion the main concernsand obsessionsof Gray's fiction are explored through a discussionof his shorter fiction. Declaration I% Declaration 1. 1, Eva Martinez lbdfiez,,hereby certify that this thesis, wlilcla is approximately 83,500 words in length, has been written by me. that it is the record of work carried out by me and that it has not been submitted in aiiv previous application for a higher degree. Dateo-ý.0 .... signature of candidate ii. I was admitted as a research student in September, 1995 and as a candidate for the degree of Doctor of Philosophy in September, 1996; the higher study for which this is a record was carried out in the University of St. Andrews between 1995 and 1999. 22N. J.9. ý Date.c, -. signature of candidate ill. I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Doctor of Philosophy in the University of St. Andrews and that the candidate is qualified to submit this thesis in application for that degree. /. Dateýý' -9, / signature of superviso Declaration In submitting this thesis to the University of St Andrews I understandthat I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to aiiý- copyright vested in the work not being affected thereby. I also understand that the title and abstractwill be published, and that a copy of the work may be made and supplied to any bonafide library or research worker. signatureof candidate %I Am is padres Acknowledgments vii Acknowledgments I owe special debt to ProfessorDouglas Dunn for supervising this thesis and for his encouragement.I would also like to thank ProfessorRobert Crawford for providing some material for this thesis, ProfessorGustavo San Roman from the SpanishDepartment of the University of St Andrews for his useful suggestions and bibliography and Professor SusanSellers for reading chapterIV and making useful suggestions. I am also grateful to Anthony Storr for advice on bibliography for Chapter 111,to Mr JamesKidd of St Andres University Library for his help with bibliography on Alasdair Gray and to the staff of the Manuscript Section of the National Library of Scotland. I would also like to thank Sam for forcing me to forget about Alasdair Gray from time to time and Kirsti for putting up with my whingeing. I am particularly grateful to Rupin for his help with word processing,and to Ray for reading countlessdrafts of the chaptersand for his encouragementand interest in my work. Most of all I want to thank my family for their unquestioning support, patience and encouragement.This thesis is dedicatedto all five of them, including Pipo. List Contents of viii List of Contents ABSTRACT DECLARATION IV ACKNOWLEDGEMENTS Vil LIST OF CONTENTS Vill LIST OF ABBREVIATIONS Ix INTRODUCTION 1 CHAPTER 1: LANARK: MAGIC IN HELL 41 CHAPTER II: DEIDEALISATION IN 1982 JANINE 87 CHAPTER III: SOMETHING LEATHER, SADE AND THE SADOMASOCHISTIC HOMOTEXT 130 CHAPTER IV: PLURAL AND PARTIAL IDENTITIES IN POOR THINGS 178 CONCLUSION 219 APPENDIX 1 245 APPENDIX 11 247 BIBLIOGRAPHY 251 List Abbreviations of ix List of Abbreviations (L) Lanark V) 1982 Janine (SL) SomethingLeather (P7) Poor Things (AM A Maggot (Fowles) (MCh) Midnight's Children (Rushdie) (S Of 0) Story of 0 (Reage) (PNE) The Passion offew Eve (Carter) (USA4) Unlikely Stories, Mostly (TTT7) Ten Tales Tall & True (AHM A History Maker (LI) Lean Tales (FKR) Fall of Kelvin Walker (MB) Mavis Beýfrage x A man sets himself the task of drawing the world. Throughout the years he fills a space with images of provinces, kingdoms, mountains, bays, ships, islands, fish, rooms, instruments, stars, horses and people. Shortly before he dies, he discovers that the patient labyrinth of lines traces the image of his face. J. L. Borges. El hacedor (Epilogue) Introduction I Introduction I assume that things which excite and depress me sexually, socially, intellectually, politically, will have a similar effect on others, so if a story moves in me a certain way as I write it then the reader will be similarly moved. Put it another way. I am essentially the same as other men, women and children, so if I am careful and I talk honestly to myself they will be able to hear me.' The candour of this comment by Alasdair Gray conveys one of the main attractions of his work. However, as is customarywith Gray, matters are never as simple as they appear at first sight. The directness, the simplicity of the message seems strangely at odds with the highly elaborate nature of much of his work. Indeed, with those few words, Gray seems to dismiss all suggestion of artificiality or, to use a riskier term, of Postmodernism. In fact, some of his fiction is rather Spartan. At times it even displays a deadpan quality. An example of such style is some of his short stories, particularly those included in the appropriately titled Lean Tales and short novels such as The Fall of Kelvin Walker and McGrotty and Ludmilla. In 1978, he remarked in connectionwith his style: "I am trying to make my writing very clear and definite, with a grammar 2 which looks as simple and ordinary as possible". In any case,there is a contrast between the simplicity of what Gray intends and the structural and imaginative artistry present in some of his best works, particularly in the novels discussedin this thesis. 1Alasdair Gray, "Interview with Alasdair Gray", interview by Carol Anderson and Glenda Norquay. Cencrastus 13 (Summer 1983), p. 7. A typescript of this interview can be found in Accession 9247, folder 52 (a). National Library of Scotland. Edinburgh. 2 Alasdair Gray, "A Resident Reports", Feb-March 1978. Gray reporting on his first six months as writer-in-residence at Glasgow University. Accession 9247, folder 44, MS page 1. National Library of Scotland. Edinburgh. Introduction Usually, Gray tends to dress his disturbing honestý- in the alluring fantasy, be costume of it the creation of dystopian worlds, pornographic clich6. grotesque monstrosity or science fiction. There is a clear connection between such strategies and the exploration of the individual's psychological conflicts. Referring to pornography Peter Michelson points out: [W]e forget that contemporary pornography is a natural product of the contemporary moral and aesthetic imagination. Our sense of the beautiful has become too psychologically complex to permit its reduction to either moral idealism or artistic formalism. For Plato the True was necessarily the Beautiful. For us the true is much more likely to be the ugly or grotesque.3 Pornography, as a form of fantasy, can be used to examine personal and social dilemmas. However, readers and critics who have not cared to go beyond the texts' fagadeshave very often been offended by such tactics. What I shall do in this thesis is examine how behind postmodern stylistic pyrotechnics an apparent intention to shock the reader is confronted with a penetrating and unadulterated exploration of the individual's personal monsters. Of particular interest here is the treatment of the self in some of Gray's fiction. He employs different types of fantasy to explore his characters' psyches. Fantasy in the form of dystopia, pornography or Gothic fiction is vital in order to understandthe protagonists' identities, their conflicts and their strugglesto attain self-knowledge.