happily ever after demonstrates the fulfilment of the ,~
indomitable desire that Jackson writes of. These novels,
the forerunners of the contemporary fantastic text, can
therefore be seen to both express the fears and
frustrations of their readers whilst also offering a
satisfaction of the desire for auto~my and
self-determination that they felt. In The Romance of The
Forest by Radcliffe, Adeline the heroine eventually escapes
incarceration in a castle, literally and metaphorically in
the middle of nowhere, and the evil intentions and sexual
desires of the Count, to marry the good soldier and live
happily ever after. Her virtue in the face of oppression is
rewarded:
Their former lives afforded an example of trials
well endured-and their present, of virtues greatly rewarded; and this reward they continued to deserve-for not to themselves was their happiness contracted, but diffused to all who came within the sphere of their influence. (363)
Some critics such as Pitt (1973) have suggested that if marriage is substituted for murder in the Gothic text, we/ can see expressions of a fear of being forced to marry ~and assume a role in life that society had designated for young women. The fact that the Gothic heroine is often unaware of the true danger facing her and is always looking the wrong way when she could discover what is really going on demonstrates the frustrations that many women may have felt at being unaware of what society was forcing them into until it was too late.
This dual operation of both fear and desire can also be seen in many contemporary~works such as Doris Lessing's The Memoirs of a Survivor.~This novel is set in the last days of the breakdown of a society that we can recognise as that of contemporary North America. Social order is collapsing and society is reverting to a ~ore primitive structure of the survival of the fittest. Food is scarce and murder, gang warfare and looting are common place. The disenfranchised and brutalised such as the horrific gangs of children we meet towards the end of the novel are returning to wreak chaos and vengeance on the world that has let them down and forced them to the margins of society. Whilst we can see this as a fear of what the future might hold for western society as we know it, there
are also some~very positive aspects to the collapse of the
old order. ~There is still an elite within the community, the administrating class or The Talkers, which some members benefit from such as the Whites who live in the same block of flats as the narrator, but they are a group who are in danger and must keep their status secret; their power is diminishing. In a time of crisis, love, loyalty and responsibility become essential and eventually the narrator, Emily and Gerald, escape into the other world behind the wall, symbolic of the past, and whilst not idyllic, certainly a long way from their brutal, empty present. This novel operates on many levels, some of which are unfathomable to many readers, but the coexistence of both horror and a positive outcome are clearly visible.~Even in Margaret Atwood's The Handmaid's Tale which offers a vlew of a dreadful future (with flashbacks to a recognisable present) ~in which fertile women are few and '~v''~. far between due to environmental pollution and so are given as property to "The Commanders" and have no rights at all. They live in a brutal totalitarian state which classifies all people and punishes with death any that transgress. Sexual behaviour is severely controlled and there are informers everywhere who prevent almost any chance of resistance to the State. It is not difficult to see how this fantastic world might be an expression of anxiety at the direction the author sees North American society to be taking, but despite the overwhelming repression, the narrator, Offred, is able eventually,
through great personal danger, to find a member of the underground resistance and through this female solidarity she is presented with an opportunity to escape and work for the overthrow of the repressive system she is forced to live under. Although we never discover whether she does in fact escape, the fact that even under this degree of repression she is able to achieve solidarity and have a chance of liberation is very positive and demonstrates the ~ overwhelming desire for this.
The disintegration or metamorphosis of civilization as , we recognise it is a frequent theme in women's fantastic writing, and the most obvious explanations for this would appear to be twofold; an anxiety that the patriarchal system which oppresses and excludes women will become even worseand an expression of the frustrations felt by the author at the present situation of women within it; as in ~ , The Handmaid's Tale, and also that the collapse of society and the creation of a new order by the author offers new opportunities and the removal of the constraints ~ to limit oppressed groups such as women in the real world. In a fantasy world anything is possible, and this is therefore a very attractive situation for the creative writer.l(We see this this effected in Angela Carter's The Passion of New Eve where Evelyn, the male protagonist of the novel is turned into Eve, the 'ideal' woman of his masturbatory fantasies. He has to face the trials and tribulations of being a woman in the society he has helped to sustain. In another view of the North America of the future, Carter
envisages different groups which are diametrically opposed struggling for control of society. These range from ultra-radical Christian groups to the extreme feminist group which is wreaking revenge on the male half of the population and which takes Evelyn and turns him into a woman as an experiment to prove that "Mother" can do it as part of the master plan they have to feminise the world. They have created the beginnings of the opposite of the male oriented and controlled society of the present which allows Evelyn to use to his own satisfaction ~and then discard the young woman he has impregnated. ~
Although it is debatable whether what the women have created is particularly desirable, it is certainly a society outside patriarchy which they run and in which they make the laws and are completely free of the oppression of men. The creation of a space outside patriarchy is frequently found in the fantasy writing of women and this may be one of the main reasons that it appears to be an important genre for women writers. Fantasy is used in Marilynne Robinson's Housekeepinq and in Jeanette Winterson's Oranqes Are Not The OnlY Fruit to express states of mind and to illuminate the protagonists' quest to achieve an existence outside the strictures of the society they find themselves in. In Housekeepinq, Sylvie has to return from her life of vagrancy to look after her orphaned nieces. Whilst small town life goes on around her she sinks further and further into a fantasy world in her need to create a space for herself outside the civilization that
surrounds her.~ ittle by little Ruth, one of her charges, is drawn into this world and as the pressures to conform increase on them, Sylvie takes Ruth into the hills. When they are there, both women escape into an imaginary world where they start to see the children and life of a now derelict cottage. Once Ruth is able to see as Sylvie does, they are ready to escape and finally they fake their own deaths and disappear into the life Sylvie has created for
herself, living as a vagrant outside the society she cannot
fit into. Sylvie is not the only person to live this way
and the author gives the lmpression that many other unseen~
people also exist like this. Fantasy is used here as a
means of effecting escape into a space outside patriarchy,
and in Oranqes it is also used to the same ends in a
slightly different way. In Winterson's novel, fantasy is
used at times when the heroine of the story, Jess !- iS in
transitional periods and states of mind in her struggle to
escape her ultra-religious upbringing and create an
identity for herself as an individual and as a
lesbian. There are two distinct fantasies displayed here;
the fictional accounts of the princess who is led by the
wizard to another,better land, and the visions of the orange demon that Jess sees at moments of importance in her development.~The princess
expresses the state of mind and the stage Jess has got to
in her mental escape from her surroundings)and the demon is
an inversion of the demon that the Pastor claims has
invaded her when he is told of her lesbianis~. The demon
becomes a positive force which is really her own mind
guiding her through times such as the cleansing of the spirit the church members inflict upon her.~It expresses what she cannot yet say or consciously think: it is an externalisation of her unconscious.
The expression of that which the muted group within society (in this instance women) are not allowed to feel or express by the society around them may indeed be one of the most powerful points of fantasy. It becomes the voice of the "Madwoman in the Attic" that Gilbert and Gubar write of. It is the metaphorical equivalent of Bertha Mason, Jane Eyre's alter ego, escaping, rather than being consumed by
the fire she has started. Helen Zahavi's Dirty Weekend ,~
demonstrates what happens when the madwoman's fantasies ~
that she supposes to be within all women become reality. It
is a fantasy of revenge against the people who oppress the
protagonist. Men who transgress the boundaries that she now
sets, as opposed to the ones patriarchal society sets for
her, meet with the ultimate punishment; humiliating,
painful death. The humiliation and pain that awaits the
woman who transgresses societies repressive limits is
turned upon its head and now befalls the perpetrators of
these sanctions. Whilst the fantasies of a large part of
the female population probably do not include serial
killing, the expression of these desires for revenge and
the wish to set the ~mits themselves seems to touch a
nerve in many women. However, the book was met with a very
mixed, if almost always passionate response. The disgust
that many women felt at the externalisation and putting into effect of these desires may indeed show a deep seated fear of how we all ~ght behave if the restrictions of ( society fell away; if we all had a dirty weekend of carryin~ out our own inne~ ost fantasies, if the madwoman within us was let loose. Therefore, whilst Dirty Weekend appears to be a fantastic novel which is best served by the statement of Jackson's in the title, it may indeed express an even deeper fear of no longer being able to behave in the way society deems acceptable. The truly shocking aspect of the novel may indeed be that one woman's fantasy becomes, reality in the story recounted. The protagonist of the v novel (it is even difficult to call her the heroine) also defends the tramp woman that she encounters; the attack upon her is symbolic of attacks upon all women who fail to abide by society's strictures.
A vision of the possibility of being in control of one's destiny and no longer a victim of the controlling | group s (in this case men s) desires is what the novel ! above offers, and in my opinion this maxim can be widely ~' applied to women's fantasy writing in general. It expresses '~ the~unexpressable and in the world created by the author, old limits no longer apply. Anything is possible. The fantasiser can create her own identity and control her own destiny. This is the~indomitable desire written of by Jackson and also the reason why the fantastic text is and will continue to be a central and crucial medium for any muted, oppressed group within a civilization.
BIBLIOGRAPHY
Atwood, M./The Hand~aid' 8 Tale (
Carter, A./The Passion of Ne~ Eve (Virago,
Jackson, R/Fantasy (1993)
Kelly, G./English Fiction of the RoJantic Period (Longman)
Radcliffe, A./The Ro~ance of the Forest (Oxford 1986)
Robinson, M./Housekeeping (Faber 1991)
Winterson, J./Oranges Are Not The Only Fruit (Vintage 1991)
Zahavi, H./Dirty ~eekend (Flamingo 1992)