STORIES AND
IN
STORYTELLING
A L I C E MUNRO'S F I C T I O N
By
J.
CHRISTINE
B.A., Queen's U n i v e r s i t y
SOMERVILLE
a t K i n g s t o n , O n t . , 1959
A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF
THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS
in
THE FACULTY OF GRADUATE
(Department o f
We a c c e p t
to
this
thesis
the reguired
STUDIES
English)
as c o n f o r m i n g
standard
THE UNIVERSITY OF BRITISH COLUMBIA
April
©
Christine
1985
Somerville,
1985
22
In
presenting
requirements
of
B r i t i s h
i t
freely
agree
for
this
thesis
f o r an advanced
Columbia,
available
that
i n p a r t i a l
I agree
that
f o rreference
permission
scholarly
degree
may
be
a t the
shall
and study.
I
copying
granted
by
o r by h i so r her representatives.
understood
that
for
financial
gain
or publication
shall
n o t be
allowed
permission.
Department
o f
English
The U n i v e r s i t y o f B r i t i s h
1956 M a i n M a l l
Vancouver,
Canada
V6T 1 Y 3
Date
A p r i l 25. 1985.
Columbia
make
further
of this
t h e head
department
copying
University
the Library
f o rextensive
purposes
fulfilment o f the
thesis
o f
my
I ti s
of this
without
thesis
my
written
ii-
Abstract
R e f e r e n c e s t o s t o r i e s and s t o r y t e l l i n g
throughout A l i c e Munro s f i v e
short
1
THE
TO T E L L YOU, WHO DO YOU THINK YOU ARE? a n d THE.
MOONS OF JUPITER.
This
stories—mentioned
briefly
counterpoint
written
imitate,
t h e s i s contends
them t h r o u g h o u t
figures.
reflect
Occasionally,
on t h e d i f f i c u l t y
SOMETHING r a i s e s t h i s
stories
within
texts
rather
perspective
thenarrators
of expressing
i na l l five
discovering
than glimpses o f r e a l i t y .
order
that
By embedding
the workings
to her narratives
A feminine
emerges, i n w h i c h t h e
n o t as imposing
already
works
truth i n fiction,
h e r n a r r a t i v e s , Munro i m i t a t e s
sees h e r task
storytelling
a r e a w r i t e r and
repeatedly.
on n a r r a t i v e g r a d u a l l y
woman n a r r a t o r
l i f e , but
protagonists
issue
O r a l and
i d e n t i f y w i t h , and
o f memory; m o r e o v e r , s h e draws a t t e n t i o n
as
length—provide
I n L I V E S and WHO,
becomes c e n t r a l b e c a u s e t h e i r
actress.
at
f o r Munro's c h a r a c t e r s .
i n y o u t h , when t h e y e a g e r l y
fictional
that
or recounted
to experience
stories influence
especially
but
s t o r y c y c l e s : DANCE OF
HAPPY SHADES, L I V E S OF GIRLS AND WOMEN, SOMETHING I'VE
BEEN MEANING
an
appear
exists.
order,
b u t as
Table of Contents
Abstract
ii
Short
iv
Titles
Acknowledgements
V
Introduction
1
Chapter
One
7
Chapter
Two
43
Chapter
Three
73
Chapter
Four
102
Chapter
Five
126
Conclusion
164
Bibliography
168
iv •
Short
The
in
following
short
titles
Titles
f o r A l i c e Munro's works a r e u s e d
the text:
DANCE f o r DANCE OF THE HAPPY SHADES
L I V E S f o r L I V E S OF GIRLS AND WOMEN
SOMETHING f o r SOMETHING
I'VE BEEN MEANING TO T E L L YOU
WHO f o r WHO DO YOU THINK YOU ARE?
MOONS f o r THE MOONS OF JUPITER
V
Acknowledgements
For generously g i v i n g
wish
and
t o t h a n k my
so much t i m e
a d v i s o r , Dr.
judgement s u s t a i n e d me
throughout
For r e a d i n g the p e n u l t i m a t e
argument and
Blom and
Mrs.
style,
Marya
a c k n o w l e d g e Mrs.
I am
Finally,
E . Hardman.
has
the e n t i r e
advising
I also
ORPHEO and
I t h a n k my
h e l p e d me
whose w i t
project.
Howard
gratefully
One
I explore
the
Munro's DANCE
develops
mother, B e a t r i c e B r y c e ,
Munro f o r y e a r s , and
e v e r y b i t and
I
on i t s
Margaret
Alice
i d e a which Chapter
whom I have d i s c u s s e d A l i c e
h u s b a n d , who
and
thesis,
Stephens,
Hardman's s u g g e s t i o n t h a t
HAPPY SHADES, an
length.
draft
G.
i n d e b t e d t o Dr.
c o n n e c t i o n between G l u c k ' s
THE
Donald
to t h i s
at
with
Richard,
byte of the
OF
way.
my
•1
Introduction
Forrest
set
L . Ingram d e f i n e s
the short
o f s t o r i e s so l i n k e d t o one a n o t h e r t h a t
e x p e r i e n c e o f e a c h one i s m o d i f i e d
o t h e r s " ."^ The s e p a r a t e
greater
autonomy
bi-focal
individual
distance.
that
apparent
exhibit
but s t i l l
story
cycle
t o see c l e a r l y
o f t h e i n d i v i d u a l s t o r y must
the u n i f y i n g p a t t e r n
of the e n t i r e
of a short
story
consciousness
than n a r r a t i v e
(1971) and WHO
the n a r r a t i v e
story
between
be
work.
be
i s used) o r
setting,
A l i c e Munro has
1968 and
(1978) show a p p a r e n t u n i t y
focusing
( 1 9 6 8 ) , SOMETHING
cycles
voice).
one,
c y c l e may
(where t h e s t o r i e s a r e l i n k e d t h r o u g h theme,
short
both the
t o o , t h e f o r m i s a demanding
t o Ingram, t h e u n i t y
five
form
r a n g e and t h e e n t i r e work a t a
pattern
imagery, r a t h e r
LIVES
i n a novel,
i n order
(where a s i n g l e n a r r a t i v e
published
of
For the w r i t e r
against
According
or
at close
the inner
balanced
hidden
story
as "a
the reader's
the c y c l e
For the reader of a short
v i s i o n i s required
cycle
by h i s e x p e r i e n c e o f t h e
stories within
t h a n do c h a p t e r s
a u n i f i e d whole.
in
story
1982.
as a r e s u l t
on a s i n g l e p r o t a g o n i s t ;
(1974) and MOONS (1982) e x e m p l i f y
DANCE
hidden
unity.
This
explain
as
s t u d y o f Munro's
why
t h e word
" l e g e n d " and
As t h e s e words
short
"story",
"tale",
recurs
story
as w e l l
cycles
seeks to
as r e l a t e d words
so f r e q u e n t l y
i n her
such
fiction.
p r o l i f e r a t e , they s i g n a l the importance of
2
stories
i n the l i v e s
repeatedly
own
is
text
of Munro s c h a r a c t e r s .
mentioning
as a t e x t ,
s t o r i e s , she draws a t t e n t i o n
and r e m i n d s t h e r e a d e r t h a t
an i n t e r p r e t e r o f t r u t h whose
entirely
objective.
so
point-of-view
to her
the
narrator
i s not
By o f f e r i n g numerous r e a l i s t i c
t o h e r r e a d e r s , Munro b r i n g s
But,
M o r e o v e r , by
1
them c l o s e
the s t o r i e s her characters
tell
to her
details
characters.
one a n o t h e r a r e o f t e n
e x a g g e r a t e d , g r o t e s q u e , o r o t h e r w i s e u n c o n v i n c i n g as t o
draw t h e r e a d e r b a c k f r o m t h e t e x t
and a r o u s e h i s
skepticism.
Frequent references
cycles,
t o s t o r i e s appear
in a l l five
e s t a b l i s h i n g a m o t i f w h i c h o f f e r s a way
prose, which, while g e n e r a l l y
a d m i r e d by c r i t i c s
readers
q u a l i t y that
a l i k e , has an e l u s i v e
Even t h e a u t h o r h e r s e l f
how
h e r s t o r i e s work.
w i t h Tim S t r u t h e r s ,
claims
into
Munro's
and g e n e r a l
baffles
analysis.
t o be u n a b l e t o u n d e r s t a n d
Discussing
Munro s
1
1981
interview
Eva-Marie K r o l l e r observes t h a t
Munro
2
seems r e l u c t a n t
I t may
to
be t h a t
that
craft.
of priestess
As she a d m i t s
her e a r l y
talking
of her c r a f t .
Munro i s u n a b l e , r a t h e r
a n a l y s e h e r own work.
like
of
to a r t i c u l a t e the secrets
than
Her a p p r o a c h t o w r i t i n g
to sacred
i n an e s s a y
spring
i s more
than craftsman to
she w r o t e t o accompany
s t o r i e s i n THE NARRATIVE VOICE,
about w r i t i n g
unwilling,
"Writing
two
or
makes(herj s u p e r s t i t i o u s l y
3
uncomfortable".
of
gratitude
Her a t t i t u d e
for gifts
responsibility
to the c r e a t i v e
received;
f o r inventing
she n e i t h e r
process
i s one
claims
her s t o r i e s , nor i n q u i r e s
into
3
the
wellspring
always claims
tribute
to
of her
writing.
i s that
their
narrator
the
she
i m p o r t a n c e by
past,
or
that
truth.
a character
reciting
She
at
length,
retelling
an
when
a poem f r o m memory, r e a d i n g
reading
a letter.
may
book t i t l e
mentioned
i n conversation
or glimpsed
as
myth o r
reference
a metaphoric pattern
a
may
story cycles
meaning
i n h i s memories.
writer,
actress
succumbing
or
to the
than the
storytelling
that
The
appear i n the
suggest, i s a
other
artist—differs
temptation
self
or
aspires
recounting
an
and
a
shelf.
story
with
a
to t e l l
immediate
t o be
his
looks
story
family.
Of
applied
artist
to the
t r u t h through t h e i r
fictions.
assumption t h a t
essence of being
i n which to t e l l
Therefore,
only
wider
stricter
average
the
s h a r e a common d e s i r e
alive
to
is
one's s t o r y u n d e r l i e s
words a r e
in
course,
a n e c d o t e ; however, b o t h
the
for
to a
a r t must s a t i s f y
discover
Munro's f i c t i o n .
storyteller
from o t h e r s
p e r s o n and
a voice
the
past,
ordinary
having
on
a
professional s t o r y t e l l e r — t h e
s t a n d a r d s t h a n w o u l d be
storyteller
The
c r y p t i c as
which runs p a r a l l e l
b e c a u s e e v e r y o n e remembers h i s own
aesthetic
other
fairytale.
Everyone, these
audience
as
from
a
At
to s t o r y t e l l i n g
the
be
the
incident
reference
cycle
pays
anecdotes
the
E v e n more s u b t l y ,
she
fiction.
newspaper s t o r y , w r i t i n g o r
times,
thing
giving narrative
treats storytelling
describes
one
s t o r i e s embody t h e
prominence i n a l l her
Often
The
respected,
held
a l l of
4
almost
and
i n awe:
they are i t a l i c i z e d ,
meanings d i s c u s s e d ;
misunderstand
t h e y p u z z l e c h i l d r e n who
p e o p l e go
u t t e r words.
on t a l k i n g
A senile
a conversation w i l l
presence
by
f o r m words c l e a r l y
i t ; a man
In t h e s e
longer carry
t o a word s a i d
has
lost
the a b i l i t y
of a stroke w i l l
o f s p e e c h . Even
on
i n her
still
when t h e
as t h e once g a r r u l o u s F l o does i n WHO,
to
grunt
aged
their
and
learn
personalities
i n chronological
about
and
LIVES
of
a young w r i t e r ,
s t o r e up memories.
(1974), i n which
p o i n t - o f - v i e w and
stories
Del Jordan.
MOONS ( 1 9 8 2 ) ,
stories
Storytelling,
through A l i c e
Chapter
reveal
Two
the
Three
i s devoted
development
analyses
with
storytelling.
(19 7 8 ) , i n w h i c h
Finally,
f e m a l e ways o f
Chapter
of
children
form
Munro e x p e r i m e n t s
becomes a c o m p u l s i o n .
i n which
them,
Chapter
One
influence
influence
e x p l o r e s the l i m i t s
e x a m i n e s WHO
Chapter
stories
the world around
(1971), i n which
Four
order.
(19 68) , i n w h i c h
to
SOMETHING
published collections
1
c o n s i d e r s DANCE
male and
c a n no
s t u d y examines M u n r o s f i v e
separately
Chapter
the
l o n g as t h e y a r e a b l e t o
who
as a r e s u l t
and
i s eloquent.
This
as t h e y
as
respond
anh-anh-anh, i n a t r a v e s t y
silence
the confused.
o l d woman who
still
spelling
stop t a l k i n g ,
and
sounds
misuse
them; t h e y c o n t i n u e t o s t r u g g l e o u t o f
mouths o f t h e o l d , t h e s i c k ,
stories,
repeated, t h e i r
storytelling
Five, discusses
differences
between
thinking.
t h e n , i s a common t h r e a d w h i c h
Munro's f i c t i o n .
runs
Frequent r e f e r e n c e s to
5
stories
by
show how,
stories
as
children,
they hear or
her
r e a d and,
characters
as
adults,
are
become
storytellers
t h e m s e l v e s when t h e y remember and
their
At
past.
individual
narrative
circular
Without
the
same t i m e , h e r
places within
incorporates
and
the
the
characters
larger
story
them, a s t o r y
take
cycles
and
f r o m books appear, i n Munro's f i c t i o n
i n the
imitates.
memories o f
influencing
them i n ways t h e y may
influencing
them
powerfully.
not
her
Oral
is
or
w o u l d be
i t i s memory t h a t
they r i g h t l y belong
the
myth.
augment
memory, and
stories
their
i n which
classical
embedded s t o r i e s w h i c h e i t h e r
she
interpret
whose s t r u c t u r e
whose themes r e a c h b a c k t o
u n d e r c u t e x p e r i e n c e , Munro's s t o r y
influenced
less
stories
because
characters,
understand,
like
but
6
Notes
1
F o r r e s t L Ingram, REPRESENTATIVE SHORT STORY CYCLES OF
THE TWENTIETH CENTURY
(The Hague: Mouton, 1 9 7 1 ) , p. 13.
2
E v a - M a r i e K r o l l e r , " C r a f t and C r i t i c i s m , " r e v . o f
PROBABLE FICTIONS: A L I C E MUNRO'S NARRATIVE ACTS .ed. L o u i s K.
M a c K e n d r i c k , CANADIAN LITERATURE, No. 103 ( 1 9 8 4 ) , p . 129.
3
A l i c e Munro, "The C o l o n e l ' s Hash R e s e t t l e d , " i n THE
NARRATIVE VOICE, e d . J o h n M e t c a l f e ( T o r o n t o : M c G r a w - H i l l
R y e r s o n ) , p . 183.
7
C h a p t e r One
How
S t o r i e s Shape P e r c e p t i o n ,
Beguiled
fifteen
by a c c u r a c y
short
stories
drawn i n t o t h e r u r a l
imperceptibly,
P e r s o n a l i t y and Memory
of d e t a i l
i n the s e t t i n g s of the
t h a t c o m p r i s e DANCE, t h e r e a d e r i s
Ontario
kitchens
domestic order
o f t h e past?"
g i v e s way t o w i l d n e s s
violence
a s f o x pens and meat h o u s e s b e g i n
linoleum
and r a g r u g s .
specific
details
Although A l i c e
to refer
the reader
place—Southwestern Ontario
forties—she
references
gives
reality
to stories
mythic
ORPHEO, b a s e d on t h e c l a s s i c a l
For
up
to displace
Munro s e l e c t s v i v i d
t o an a c t u a l t i m e and
s i g n i f i c a n c e through
and l e g e n d s .
the e n t i r e
and
i n t h e n i n e t e e n - t h i r t i e s and
HAPPY SHADES, f o r example, p o i n t s
which c o l o u r s
Almost
The t i t l e ,
to the Gluck
DANCE OF THE.
opera,
myth o f Orpheus and E u r y d i c e
collection.
the mainly youthful
protagonists
o f DANCE,
growing
means d i s c o v e r i n g t h e l a y e r e d t e x t u r e o f r e a l i t y .
narrators
are r e s o l u t e l y unsentimental:
their
pasts
Helen
sums up i n "The P e a c e o f U t r e c h t " :
nostalgia,
courageously,
trying
striving
they
to avoid
l o o k b a c k on
the t r a p which
"Cowardly
t o g e t back t o a g e n t l e r t r u t h "
memories, b u t o n l y
tender
(p.202).
T h e s e n a r r a t o r s n e v e r manage t o l a y t h e g h o s t s t h a t
their
The
haunt
t o r e i n t e r p r e t them f r o m t h e
8
perspective
of
maturity.
"Images",
"Boys and
a r e t h r e e key
remembered
appears
stories
stories
t o her
experiencing
comparing
surpasses
to convey the
protagonists.
i t with
i t into
female
observed
For
m a t r o n i n "The
and
also
r e f l e c t i n g upon
t h e y have r e a d , h e a r d ,
the
raw
the o u t e r world,
not y e t hardened;
own
but
they
are
and
of
to
their
have
as w e l l
history
stories
as
and
Not
is
harmful
e x p e c t a t i o n s based
Although
i s the
creating
experience.
l i v e s with
in that their
young
personalities
folklore,
limited
their
satisfy.
the
characteristic
f a m i l y legends,
f r e q u e n t l y higher than
can
lives,
p o s s i b l e c h o i c e s . At
i n the process
domaine f r o m
comparing
as w e l l as h e l p f u l ,
their
are
deeper concern
lives, their
supplement t h e i r
circumstances
daily
G i r l s " , and
Sharing
their
natures
in their
i n the p u b l i c
are
and
the n a r r a t o r s attempt
Therefore, private
surprisingly,
fiction
invented
c h r o n o l o g i c a l s t a g e s : the c h i l d i n
determination,
stages
literature,
or
experience,
m a t e r i a l of t h e i r
Peace o f U t r e c h t " .
these
stories
experience,
p r o t a g o n i s t s i n the chosen s t o r i e s
of t h e i r
identity.
only
recognizable narrative patterns.
inner world
early
Munro u s e s
them, l i v i n g i s n o t
"Images", t h e a d o l e s c e n t i n "Boys and
understand
Utrecht"
t e x t u r e o f r e a l i t y as i t
hunger f o r d i r e c t
at d i f f e r e n t
curiosity
Peace o f
T h e i r l o n g i n g f o r meaning i n e x i s t e n c e
minds c o n s t a n t l y s c a n
The
but
stories
even t h e i r
rearranging
"The
w h i c h i l l u s t r a t e how
the world,
themselves.
G i r l s " and
on
actual
the p l e a s u r e s
and
9
corresponding
the
as
literature
well
that
her
as
tend
but
abiding
to
also
pattern
awareness of
and
g r o w i n g up,
sensibility
heroines
relating
of
the
to others
p h r a s e s and
A l t h o u g h the
voice
powerless are
subtle
see
use
of
i s an
still
earlier
evident
explanations
she
from the
express h e r s e l f well
living
the
to express
narrator
the
and,
language.
when
of being
almost from the
moment she
as
she
her
words
the
reveals.
ears
older
being
self
example,
for
the
the
destructive
to
protect
cannot
sense
under a s p e l l .
of
It is
is finally
able
earlier.
time i n e a r l y
becomes c o n s c i o u s o f b e i n g
of
contradict
desperately
senses, but
suffered
the
her
from a d u l t s
enough t o a r t i c u l a t e
she
medium f o r
"Images", f o r
whose remembering v o i c e
dread
growing
sense of
P h i p p e n , whose
tries
d a n g e r she
"Images" e x p l o r e s
first
Joe
She
inside a fairytale,
older
to
e y e s and
and
do
narrative
the
observations
receives
b e h a v i o u r o f Mary McQuade and
strongly.
In
own
only
out
as w e l l
whose c o n f u s i o n
impressions.
Not
draw a t t e n t i o n t o
a d u l t woman's, t h e
painfully
fantasy
Repetition
language, which conceals
i s h e l p l e s s when h e r
parents
l a n g u a g e as
of
capture
and
protagonists'
italics
a child
her
fact
living
forming a s e l f .
a child's,
feels
weave o f
t h e m s e l v e s as
her
power she
Canadian w r i t e r s
i n DANCE i s t h e
and
a staple
o f b o o k i s h young g i r l s .
relates
reassuring
are
t h e y become h y p e r - s e n s i t i v e
the
of
frequently
few
preeminence of
slipperiness
are
self-dramatization
Munro does t h e
i s the
patterns,
An
dangers of
life
when t h e
s e p a r a t e from her
knows she
has
child
mother,
a self,
learns
10
to fear
death.
indirect
to
and
form
Sense i m p r e s s i o n s
r e f e r e n c e s t o myths and f a i r y
a continuous
out of the text,
allegorical
"Images" i s more t h a n
squares
which i n v i t e
concentrates
on
illusion.
the f a t h e r ' s .
Since
leading the reader
story.
suggests
illusion
form
conclusive
text,
death,
and
views,
the range o f p o s s i b l e
Instead,
implications
n o t outward, b u t back
inside
again
is itself
a
o f t r a n s c e n d i n g s u b j e c t i v i t y and
o f "Images" d i c t a t e s
ending:
i t s three
t h e m a t i c a l l y through
the absence o f a
s e c t i o n s , separated
f u n c t i o n a s do s t a n z a s
i n a poem.
their
and m e t a p h o r i c a l l y t h r o u g h
Joe Phippen.
these
t h e r e i s no r e s o l u t i o n o f
at objective truth.
The
related
when he c o n c e n t r a t e s
because the d e s i g n
comment upon t h e d i f f i c u l t y
the
L i k e t h e b l a c k and w h i t e
The p e r s i s t e n c e o f p a r a d o x i n t h e s t o r y
optical
arriving
i n the
does n o t n a r r o w i n t h e e n d , a s i s u s u a l l y
the p a t t e r n i n s h o r t s t o r i e s .
the
of a c h i l d
Yet
v i e w o f what i s h a p p e n i n g
t h e d i s c r e p a n c y between t h e i r
multiply,
mind.
one i n t e r p r e t a t i o n when t h e v i e w e r
the c h i l d ' s
interpretations
t h e way
m o r t a l i t y ; i t i s the verbal
on t h e b l a c k , and a n o t h e r
the white,
contradicts
elements suggest
a c h a r a c t e r study
o f an o p t i c a l
Designed not
i n a young c h i l d ' s
o f coming t o t e r m s w i t h
equivalent
tales.
pattern, but to f l i c k e r i n
the f a i r y - t a l e
f a n t a s y merges w i t h r e a l i t y
process
a r e s u p p l e m e n t e d by b r i e f
by gaps i n
The p a r t s a r e
common p r e o c c u p a t i o n
two v i l l a i n s ,
Mary McQuade
The n a r r a t o r remembers h e r f e e l i n g s
a d u l t s when she was a c h i l d .
with
about
Her p e r c e p t i o n o f them
11
as e v i l
and d a n g e r o u s
anxiety
over her mother's i l l n e s s ,
a c c u r a t e because
allowing
may
of her
have b e e n d i s t o r t e d
o r i t may
because
have been
innocent, unclouded v i s i o n .
both p o s s i b i l i t i e s
to p e r s i s t
of her
i n the
By
ambiguous
e n d i n g , Munro i s a b l e t o s u g g e s t t h e p e r p l e x i n g
character
human l i f e ,
reality
the i n s o l u b l e
image, t r u t h
from
approach
misgivings
of s e p a r a t i n g
from
illusion.
Occasionally,
intuitive
problem
of
Munro has
attempted
to w r i t i n g
short
to explain
stories.
over symbolic i n t e r p r e t a t i o n s
denies d e l i b e r a t e l y
setting
up
symbols
her
Expressing
o f h e r work,
i n her
she
fiction:
1 do t h i n k symbols e x i s t , o r r a t h e r , t h a t t h i n g s
a r e s y m b o l i c , but I t h i n k t h a t t h e i r symbolism
i s i n f i n i t e l y complex and n e v e r c o m p l e t e l y
discovered.
A r e t h e r e r e a l l y w r i t e r s who s i t down
and s a y y e s , w e l l , now h e r e I-need a s y m b o l , l e t ' s
see what I have i n t h e f i l e s ?
2
Such
n o t i o n s , Munro w o u l d
fiction
who
writers
t o " c o l d - b l o o d e d m a n i p u l a t o r s and
f o r genius s u b s t i t u t e
fiction
i s undoubtedly
term of which
writer's
puppet,
figure
agree w i t h Annie D i l l a r d ,
a bag
artiface—or
Munro i s f o n d — i t
remembered e x p e r i e n c e .
whose s t r i n g s ,
of Pluto,
goes
on
once
existed:
lord
to explain,
hermits, half
he
of t r i c k s " ?
has
a solid
i n the
the
ancient
R a t h e r , as
portrait
" H i s a n c e s t o r s were a few
the
i s n o t a mere
when tweaked, a c t i v a t e
i s a composite
prose
t o use
basis
Joe P h i p p e n
of the underworld.
gadgeteers
While
"illusion",
reduce
o f men
o l d men,
half
madmen, o f t e n p a r a n o i d , o c c a s i o n a l l y
she
who
12
dangerous,
living
living
around
t h e c o u n t r y where I grew up, n o t
i n t h e woods b u t i n o l d f a r m - h o u s e s , o l d f a m i l y
homes".
A figure belonging to r u r a l
Depression
Ontario i n the
y e a r s , he i s t r u e t o h i s t o r y
Discussing
interviews
the r e l a t i o n
as w e l l as myth.
between t r u t h and f i c t i o n i n
and e s s a y s , Munro a g r e e s
w i t h D.H.
Lawrence's
observations:
The c u r i o u s t h i n g a b o u t a r t - s p e e c h i s t h a t i t
p r e v a r i c a t e s so t e r r i b l y , I mean i t t e l l s s u c h
l i e s . I s u p p o s e b e c a u s e we a l w a y s a l l t h e t i m e
t e l l ourselves l i e s .
And o u t o f a p a t t e r n o f
l i e s , a r t weaves t h e t r u t h 5
The
storyteller's
as a s o u r c e
on
p a r a d o x Munro a c c e p t s as g i v e n , u s i n g i t
o f t e n s i o n i n h e r work.
the c r e a t i v e process
recall
R o m a n t i c s , who
saw t h e p o e t
into universal
truth,
creative
itself
o r chooses
made by t h e
as p o s s e s s i n g h e i g h t e n e d
and e x p r e s s i n g i t t h r o u g h
analysis,
Munro i s h a r d - p r e s s e d
scenes
statements
p r o c e s s , as she u n d e r s t a n d s
to discursive
A t t i m e s , h e r comments
certain
details
art.
The
i t , does n o t l e n d
but i s almost
t o e x p l a i n why
insight
mystical.
she j u x t a p o s e s
certain
f r o m h e r memory:
B u t t h e f a c t i s , t h e m i n u t e I s a y t o show I am
telling a lie.
I d o n ' t do i t t o show a n y t h i n g .
I p u t t h i s s t o r y a t t h e h e a r t o f my s t o r y b e c a u s e
I n e e d i t t h e r e and i t b e l o n g s t h e r e . o
She
cannot
s a y why
but
she r e w r i t e s e a c h
p a t t e r n which
she knows
she w i l l
story
something
many t i m e s
belongs
i n a story,
searching f o r the
r e c o g n i z e when i t f i n a l l y e m e r g e s .
13
Therefore,
short
a t t e n t i o n t o even the
s t o r y rewards the
revisions
have c o n d e n s e d
a distillation
in
the
level
final
of
the
The
one
of
Alice
of
writer's
pattern
place.
As
that
remembered w i t h
actual
Alan
others
events taking
i s of
a completeness
but
the
and
are
a p p r o p r i a t e l y blended
creates
i t s own
world.
In THE
explains
how
imagination,
fairy
but
in simplified
meet
The
case
only
a l s o e n c o u r a g e him
form the
with
of
perceptions
and
unlikely in
i t , using
impressions
fantasy,
i s often
on
the
the
case
fantasy
in
and
to understand i t s
ENCHANTMENT, Bruno
s t o r i e s not
specific
the
child's
i t struggles
obvious
literary
Munro r e n d e r s
c h i l d ' s mind f e e d s
f a n t a s i e s as
USES OF
In t h e
from r e a l i t y
between them b l u r r e d , as
The
in a
perfect
vividness
tones of everyday speech.
childhood.
place
a child's
p l a u s i b l e as
flat
distinction
element
deepest
Twigg s a y s i n h i s i n t e r v i e w
illusion
experience,
a t the
movie camera i s h e l d by
the
early
C l e a r l y , each
t o a d o c u m e n t a r y movie".''
The
what r e m a i n s i s
emerges i n DANCE i s t h e
Munro, "Your w r i t i n g i s l i k e
protagonist.
numerous
until
work.
i n a Munro
consciousness.
recorded
"Images", however, t h e
will
material
a much l o n g e r
faithfully
equivalent
and
the
detail
because her
d r a f t i s bonded t o t h e
first
t i m e and
reader
smallest
nurture
Bettelheim
the c h i l d ' s
to confront v i c a r i o u s l y
urgent e x i s t e n t i a l
questions
he
later:
I t i s c h a r a c t e r i s t i c o f f a i r y t a l e s t o s t a t e an
e x i s t e n t i a l dilemma b r i e f l y and p o i n t e d l y .
This
14
p e r m i t s t h e c h i l d t o come t o g r i p s w i t h t h e
p r o b l e m i n i t s most e s s e n t i a l f o r m , where a more
complex p l o t w o u l d c o n f u s e m a t t e r s f o r him.
The f a i r y t a l e s i m p l i f i e s a l l s i t u a t i o n s . 8
The
existential
q u e s t i o n the c h i l d
"Images" c o n c e r n s
in
and
the
form
father,
her
m o r t a l i t y , but
just
as
she
has
t h a t he
as p e o p l e
"Grandmother's h o u s e " , and
What a c t u a l l y
has
then
he h i m s e l f
Only
limited
by
disappeared.
t o Mary
T h e r e f o r e , her
this
"fact
(p. 3 6 ) .
as p r e s e n c e
by h a n d l i n g t h e
lifeless
body c a n
she
legends.
mother t e l l i n g
her
are the
The
mother b e f o r e h e r
She had
Princes
mother's
stories
single
t h e c l o s e n e s s w h i c h once e x i s t e d
her
already
she
concrete
begin
understanding
e a r l y mention of
access
and
to
dead
than
e s t a b l i s h e s t h a t she
to s t o r i e s
The
rather
Although
i n e x p e r i e n c e , an
response
father's trap i s a
of death"
r e v e a l s death
her
instinctive
mother's s t o r y t e l l i n g
her
house
i s linked
t o a p p r e c i a t e what d y i n g means.
is
his
only that his departure
to touch
absence.
First
mystery;
t h e dead m u s k r a t d i s c o v e r e d i n h e r
finally
comprehend
remains a
1
animal
mother
her
disappeared.
the
itself
grandfather
McQuade s a r r i v a l .
longing
her
t o o young t o
began c a l l i n g
became o f h e r
understands
from
been c u t o f f f r o m
d i e d , she was
I t seems t o h e r
name d i s a p p e a r e d ,
she
i t presents
of f e a r of becoming s e p a r a t e d
g r a n d f a t h e r . When he
death.
own
protagonist confronts i n
her
has
remembers
i n s t a n c e of
between h e r s e l f
and
her
illness:
f o r g o t t e n a l l h e r s t o r i e s w h i c h were a b o u t
i n t h e Tower and a queen g e t t i n g h e r head
15
knows i n t h e s e n a r r a t i v e s ,
hearing
them.
character
i n her
same p o i n t
on
gap
her
stories
i s curious
porch
i t is plain
between mother as
adds t o
i s made a g a i n by
H o u s e s " , who
sit
The
and
the
the
child's
narrator
her
of
life
she
enjoys
s t o r y t e l l e r and
enough a b o u t t h e
l i s t e n i n g to
that
as
interest.
"The
old
The
Shining
egg
woman
to
history:
And Mary f o u n d h e r s e l f e x p l o r i n g h e r n e i g h b o u r ' s
l i f e as she had once e x p l o r e d t h e l i v e s o f
g r a n d m o t h e r s and a u n t s — b y p r e t e n d i n g
t o know l e s s t h a n she d i d , a s k i n g f o r some
s t o r y she had h e a r d b e f o r e . . . (p. 19)
Mary's s u b s e q u e n t
refusal
arises
to
out
sign
of
l o y a l t y to
the
the
establishes
her
against
wishes of
i s not
based p a r t l y
i s not
In
on
1
By
In
failure
to
this
suburbanites
instance,
but
a complex
highly
narrator
the
the
story
return,
Mrs.
and
one
of
her
Mrs.
tumbledown
house
to
their
enhance
a
relationship
f e e l i n g of
partly
on
kinship,
respect
short-story
more t h a n
d e v e l o p s from
into
three-dimensional
w i t h hopes and
form
the
nevertheless,
unerring.
husband's d e p a r t u r e
eccentric
for
suggest
Fullerton;
two-dimensional neighborhood
individual
her,
listener.
necessary d e t a i l i s
Fullerton
her
Fullerton
for
condensed
s u f f i c i e n t room t o do
in
the s t o r y t e l l e r - l i s t e n e r
correlative
l o y a l t y , and
the
i n s t i n c t for
confiding
the
class
p a s t , Mrs.
remain i n her
objective
bond between t h e
Munro s
to
friendship
individuality.
there
about her
right
property values.
which
woman, e v i d e n t
bond between s t o r y t e l l e r and
stories
bond becomes an
egg
neighborhood p e t i t i o n a g a i n s t
Through her
the
the
and
a
a
dreams as
valid
16
which i s not
f r i e n d s h i p but
b a s e d p a r t l y on
class
individuality.
In
there
i s not
l o y a l t y , and
the
highly
sufficient
narrator
Munro s
f o r the
instinct
By
confiding
failure
the
and
one
Mrs.
three-dimensional
as
those
condensed s h o r t - s t o r y
Mrs.
Fullerton;
the
form
the
nevertheless,
is
unerring.
husband's d e p a r t u r e
and
a
eccentric into a
i n d i v i d u a l w i t h hopes and
s h a r e d by
for
more t h a n s u g g e s t
F u l l e r t o n develops from
two-dimensional neighborhood
kinship,
respect
necessary d e t a i l
s t o r y of her
to r e t u r n ,
p a r t l y on
room t o do
bond between t h e
1
a complex f e e l i n g o f
young c o u p l e s
dreams as
scheming to
valid
displace
her.
Similarly,
both
the
s e t t i n g and
bias
rather
Not
mother's s t o r i e s d e v e l o p
only
of
do
the
than Canadian h i s t o r y , but
child's
stops
theme.
of Canadian s c h o o l s
references
to the
telling
stories,
them, j u s t as
crochets.
Like
of mourning, the
storytelling
d e a t h by
the
the
she
they a c c u r a t e l y
period
and
the
afghan's purple
silenced storyteller
mother r e c a l l s
continuing
to t e l l
suggest—through
queen—the
When t h e
assumes t h a t
forgets
reflect
British,
beheaded
with death.
child
for
they a l s o
murdered p r i n c e s
growing preoccupation
forgotten
she
i n "Images", t h e
she
mother
has
afghan squares
s q u a r e s , the
implies
S c h e h e r e z a d e , who
death;
which
colour
the
postponed
her
stories:
S c h e h e r e z a d e must go on t e l l i n g s t o r i e s — s t o r i e s
t h a t compel t h e l i s t e n e r — o r t h a t same mad
and
sane l i s t e n e r , t h a t k i n g , h e r h u s b a n d , w i l l p u t
her to d e a t h .
She must i n v e n t
life,
literally,
Linking
by t e l l i n g
stories. 9
t h e mother i n "Images" t o S c h e h e r e z a d e
depend on Munro's c o n s c i o u s i n t e n t i o n .
between t h e i n d i v i d u a l
a whole;
the i m p l i c a t i o n s
relevance to l i f e ,
tradition:
literary
"Literary
l e a d s back
work and
shape
from r e l a t i o n
c a n n o t come f r o m
to
has
and
literature
of a s t o r y d e r i v e not
but r a t h e r
not
As N o r t h r o p F r y e
shown, t h e p r o c e s s o f r e a d i n g i n e v i t a b l y
forth
need
as
from
literary
life,
i t comes
,. 10
only
from
literary
Nevertheless,
literature.
tradition,
and
so u l t i m a t e l y
from
t h e s e a r c h f o r meaning i s n o t c o n f i n e d
By w r i t i n g
from the v i e w p o i n t o f a
myth".
to
reflective
narrator
l o o k i n g back
familiar
e x p e r i e n c e o f a t t e m p t i n g t o see meaning i n one's
life.
Munro does
situations
and
on h e r p a s t , Munro c o n v e y s
n o t so much c r e a t e
p l a c e s who
11
minds o f t h e r e a d e r " ,
inside
at
the n a r r a t i v e
Munro's t o t a l
gift
she has
association,
understands
and
people,
i n t h e h e a r t s and
as she c r e a t e s a s e n s e o f b e i n g
consciousness.
recall
way
invented a kind
she
misunderstands
reacting
Whereas c r i t i c s
of the p a s t , they o f t e n
through which
shows t h e c h i l d
that
come t o l i f e
f o r evoking a c h i l d ' s
purpose
"real
the
of p e r c e i v i n g .
o v e r l o o k her
For
of shorthand based
s u g g e s t s how
i t s world.
the
marvel
this
on
word
child
R e p e a t e d l y , Munro
t o language, h e a r i n g i n i t nuances
the a d u l t misses or tunes out through f a m i l i a r i t y :
She spoke o f h e r s e l f g l o o m i l y i n t h e t h i r d
p e r s o n , s a y i n g , "Be c a r e f u l , d o n ' t h u r t M o t h e r ,
d o n ' t s i t on M o t h e r ' s l e g s . "
E v e r y t i m e she
18
s a i d Mother I f e l t c h i l l e d , and a k i n d o f
w r e t c h e d n e s s and shame s p r e a d t h r o u g h me as
i t d i d a t t h e name o f J e s u s .
T h i s Mother t h a t
my own r e a l , warm-necked i r r a s c i b l e and
c o m f o r t i n g human mother s e t up between us was
an e v e r l a s t i n g l y wounded phantom,
s o r r o w i n g l i k e Him o v e r a l l t h e w i c k e d n e s s
I d i d n o t y e t know I w o u l d commit, (p. 33)
By d i s c u s s i n g
n u a n c e s o f meaning s u g g e s t e d
"Mother", Munro makes t h e c h i l d ' s
and
guilt
distinct
Critics
use
s u c h as H e l e n
of paradox
mysterious
story
f o r the
and
and
of
Hoy
have examined A l i c e
The
texture of
expresses
s u r f a c e of Miss
music
life.
M a r s a l l e s ' music
222),
the f a c e s of the Misses M a r s a l l e s are
is
"poetically
contention
is
ugly"
that
not merely
The
title
by
which the r e t a r d e d Delores
produces
and
the
recital
so b e a u t i f u l l y
(p. 2 1 4 ) ,
Munro's
the e x t r a o r d i n a r y beneath
plays
grotesque"
estrangement
reader.
contradictory
o f oxymorons.
feelings
t h e word,
oxymorons i n o r d e r t o e x p r e s s
in particular
ordinary
by
"unemotional
their
(p. 2 1 3 ) .
Munro's l i n k i n g
a q u i r k of style>
Boyle
"kindly
T h e s e examples
of
means
happiness"
o l d f a m i l y home i n
linguistic
but r e f l e c t s
the
(p.
and
Rosedale
s u p p o r t Hoy's
incongruities
her
double
19
vision
of r e a l i t y ,
Another
link
a t once o r d i n a r y and e x t r a o r d i n a r y
rhetorical
device
i s zeugma, t h e r e p e t i t i o n
following
narrator
afghan
of
"Images" s a y s t h a t
a l l her
meaning.
h e r mother f o r g o t
adds i n t h e n e x t
stories,
structural
o f t h e same v e r b i n a
sentence, but w i t h a d i f f e r e n t
s q u a r e s , and
forgotten
w h i c h a c t s as a
t h e two
sentence
When t h e
about
that
she
meanings o f t h e v e r b
her
had
are
19
not
really
the
bedcovers,
Not
same: t h e
while
the
squares
stories
cannot
o n l y does t h e r e p e t i t i o n
memories, b u t
also
mind a t t e m p t i n g
mother, but
i t strengthens
to understand
in interpreting
distrust
h a b i t o f mind.
and
she
effect,
Office",
for similar
reasons.
w i t h w r i t e r s as
i d e a s o f how
l e w d n e s s had
(p.
67).
of a
her
of
Similarly,
the
links
is itself
Mr.
Although
As
he
has
died.
has
no
"Images", a s k i n g Mary t o r u b h e r
previous
"Writing
i n h i s mind"
does n o t
reason
association.
used
as t h e medium o f
thinking.
b a c k , t h e mother
literally,
i s t h e c h i l d ' s v i e w o f what i s h a p p e n i n g .
shows how
the
literal
anxiety i s distorting
exaggerating
of
the c h i l d ' s
t h e d a n g e r she
situation
back"
response
her
feels
(p. 3 3 ) .
says,
dying
on
my
In
"Mary, I'm
focusing
the
preconceived
connection
of confused
to rub
Mary's
the n a r r a t o r says,
ideas through
f o r you
cause
Malley misunderstands
i n "Images", he
a source
her
memory o f
grandfather
a vague d e l i c i o u s
L i k e the c h i l d
but
child's
young t o comprehend
L a n g u a g e , t h e n , w h i c h must be
thought,
illusion
t e n a n t s , he
w r i t e r s behave.
and
logically,
the
f e a r s Mary b e c a u s e o f h e r
i n "The
experience
the n a r r a t o r ' s s c a t t e r e d
language.
Too
the
t o mind.
what i s h a p p e n i n g t o
i n t h e house when h e r
Again,
narrator
recalled
o f Mary McQuade i s c o n s i s t e n t w i t h
associative
presence
unify
be
d r a w i n g wrong c o n c l u s i o n s as a r e s u l t
inexperience
child's
l i e n e g l e c t e d among
By
to language,
perception
surrounding
i s c o n s i s t e n t w i t h Bruno
This,
Munro
and
her.
Her
Bettelheim's
view
20
account of
the
way
young c h i l d r e n see
their
world:
A young c h i l d ' s mind c o n t a i n s a r a p i d l y e x p a n d i n g
c o l l e c t i o n o f o f t e n i l l - a s s o r t e d and
o n l y p a r t i a l l y i n t e g r a t e d i m p r e s s i o n s : some
c o r r e c t l y s e e n a s p e c t s o f r e a l i t y , b u t many
more e l e m e n t s c o m p l e t e l y d o m i n a t e d by
fantasy.
F a n t a s y f i l l s t h e huge gaps i n a
c h i l d ' s u n d e r s t a n d i n g w h i c h a r e due t o t h e
i m m a t u r i t y o f h i s t h i n k i n g and h i s l a c k o f
p e r t i n e n t i n f o r m a t i o n . 13
The
fantasy
which the
child
confusion
of
concocted
f r o m a medley o f
adhering
l a n g u a g e and
strictly
t o any
McQuade, whose p r e s e n c e
its
occupants,
series
happy
of
and
trials
i n "Images" i n v e n t s
direct
experience
familiar
one
plot.
i n the
a journey
fairy
out
is a fairy
tales,
I t has
of
but
tale
not
a giantess,
household casts
the
a spell
Mary
over
t h r o u g h a d a r k wood, where a
s u c c e s s f u l l y undergone
leads
t o an
eventual
outcome.
Mary McQuade, t h e
big
b u l l y i n g a d u l t who
the
child
her
father.
because
and
her
The
size
(p. 3 1 ) ,
an
disaster,
playing
large,
well
The
looming
the
she
In h e r
the
jokes
narrator
Mary's body, e n l a r g i n g
deathlike
on
the
focusing
and
enlarges
child
Mary's
white uniform
gloomy as
an
and
size
at
the
iceberg"
death through the
Titanic
coldness
Later,
of
ice.
f a t h e r , Mary s w e l l s
accentuates
f i g u r e by
between t h e
i s " b i g and
with
the
h o u s e h o l d , comes between
later,
associated
as
i s power p e r s o n i f i e d :
constantly
power.
bedside,
practical
bullfrog.
narrator
object
as
enters
m o t h e r , and
implies
grandfather's
giantess,
the
on
distorting
impression
separate
up
of
parts
them u n t i l
her
like
a
of
legs,
a
21
rising
o u t o f a b a s i n o f h o t w a t e r , become "round
drainpipes"
(p. 3 2 ) , and
kitchen wall:
"My
father
as
her
head c a s t s a huge shadow on
and
Mary McQuade t h r e w
gigantic
shadows, whose heads wagged c l u m s i l y w i t h t h e i r
talk
laughing"
Mary's
spell,
(p. 3 5 ) .
the
B e c a u s e he
father's
head a p p e a r s
accomplice,
next
to h e r s , the
joining
magic by
as
the
eaten
presence
as
o f duped f a i r y - t a l e
whose e v i l
Snow W h i t e ' s w i c k e d
o f a w i t c h by
the
a p p l e , Mary McQuade's
The
to
the c h i l d
silly
o d o u r , and
know what i t i s a man
Mary's d u p l i c i t y
fairy-tale
witches.
i s convinced
her
child
when she
the
sinister
recognizes
the
of the food,
The
The
that
suppressed
nurse-confidante
mentions
telling
ought t o e a t ! "
child
(p.
familiar
doubts
Astutely,
reasons
The
Mary's
she
her,
endorses
"Mary,
34).
characteristic
e v e r y t h i n g Mary
t h o u g h Mary p r e t e n d s
i n t e n d s t o harm.
own
diet,
to help,
realizes
that,
that
" I f she
of
says.
she
f o r adopting the r o l e
t o t h e f a m i l y , and
as
spellbound
father wholeheartedly
i s another
black
prepares, but a l s o a l l
strange taste
t h e c h a n g e s Mary makes i n t h e i r
has
works h e r
however, a r e unaware o f what i s h a p p e n i n g .
characteristic
really
stepmother
n o t o n l y t h e f o o d she
i n her presence.
mother c a l l s
She
fathers
powers a r e o b v i o u s
the s t r a n g e s m e l l i n the house.
parents,
you
When h i s enormous
f a t h e r becomes Mary's
legion
means o f a p o i s o n e d
power a l t e r s
well
under
and
daughters.
Just
food
fallen
shadow e n l a r g e s t o o .
m i s l e d by w i t c h - s t e p m o t h e r s
their
has
the
had
Mary
of
never
22
come my
If
mother would n e v e r
Mary had
n o t been a v a i l a b l e
t h e mother m i g h t i n d e e d
succumbing
to her
supernatural
t o work h a n d i n g
obedience
and
way
and
up
out
not
captured
u s i n g her w i t s
As
she
The
(p.
ploy
on,
before
through
The
f o r c e s her o f f
motif of
is familiar
attempt
puts
in fairy
tales
When t h e
the p r e v i o u s
to break f r e e
the c h i l d
sees
Mary as h e r
t h e more t h e c h i l d
witchlike.
Although
supernatural,
conception
summer,
the n a r r a t o r never
of her
as a w i t c h ;
much o f t h e
however, she
i s not
retell
any
(p.
her
as
by
inhuman
i s never
t h e r e f o r e , these
p r e s e n t d u r i n g the
particular
of
From
child
and
unequivocally
childish
fairy-tale
characterization.
Mary i s a c e n t r a l
section
30).
every
r e p u d i a t e s the
t o Mary's
story,
which forms the middle
does not
sees
she
spell.
more Mary f o r c e s t h e
Mary's b e h a v i o u r
elements remain attached
For
The
adversary:
only
child
a d m i t remembering h e r .
becomes a c o n t e s t .
to submit,
the
of the
b e c a u s e Mary c o u n t e r s
t o make t h e c h i l d
her
outward
Traditionally,
i s to outwit her.
i n her
her
t h e y a r d , where she
by w i t c h e s .
seems e f f e c t i v e ,
encounter
33).
household,
e x p l a i n s , " I t seemed t h e w i s e s t t h i n g t o do"
attempting
then
into
t o remember Mary f r o m
is
the
o b e y s Mary, who
clothespins.
t o overcome a w i t c h
pretends
always p r e v a i l
inner r e b e l l i o n
about c h i l d r e n
to take over
bed"
illness.
power, t h e c h i l d
m o t h e r ' s bed
to her
have s t r u g g l e d l o n g e r
Because a w i t c h can
her
have t a k e n
fairy-tale
"Images".
tale,
character;
she
uses
journey
Although
elements
Munro
23
common t o many f a i r y
tales:
the s e t t i n g
sudden a p p e a r a n c e o f a t h r e a t e n i n g
sinister
child
dwelling.
returns
fearing
the journey's
when t h e
she has s t o p p e d
fairy-tale
elements, the
may a l s o i n t e r p r e t i t a s t h e f a t h e r d o e s , a s a w a l k
n e i g h b o u r and v i s i t
The
double focus
the
pattern
an e n c o u n t e r w i t h
to the c e l l a r
which enables
truth—Munro's
nearest
fuller
see the
remains
to bring not greater c e r t a i n t y
The c h a r a c t e r s
whose
I n DANCE, Munro a s s i g n s
to c h i l d r e n or the innocent
old, like
penetrating
Miss
blessing
Marsalles
s t o r y , who i s n o t s u r p r i s e d when one o f h e r
students
saintly
who g e t
simplicity
p r o v e s t o be a t a l e n t e d
musician:
But i t seems t h a t t h e g i r l ' s p l a y i n g l i k e
i s s o m e t h i n g she a l w a y s e x p e c t e d , and she
f i n d s i t n a t u r a l and s a t i s f y i n g ,
(p. 223)
The
Unlike
i n A BIRD IN THE
suggest t h a t t r u t h always
i s likely
vision.
into
her to f i n a l l y
awareness o f c o m p l e x i t y .
their
the t i t l e
retarded
maturing
the t r u t h a r e f r e q u e n t l y those
clarifies
insight
stories
Maturity
greater
o f h i s b u r n e d - o u t home.
t h a t M a r g a r e t L a u r e n c e employs
understanding
elusive.
an e c c e n t r i c
p e r s i s t s t o t h e end o f t h e s t o r y .
HOUSE—that of a protagonist
in
that
to a
Mary.
around h i s t r a p l i n e ,
but
f i g u r e and t h e v i s i t
A t t h e end o f t h e j o u r n e y ,
home, she d i s c o v e r s
Disregarding
reader
i n a wood, t h e
Miss M a r s a l l e s
w h i c h may c r o p
accepts
this
t a l e n t as a m y s t e r i o u s
up anywhere.
I t i s the middle-class
24
m o t h e r s i n t h e a u d i e n c e who a r e d i s t u r b e d
between t h e young p i a n i s t ' s
musical
ability.
confounds
mental
Appropriately
enough, t h e p i a n o s o l o
o f Orpheus and E u r y d i c e .
Happy Shades o c c u r s i n t h e s e c o n d
Orpheo h a s s u c c e e d e d
t h e sweetness
By c h o o s i n g t h i s
Elysian
that
a c t of the opera
the sympathies
after
of the Furies
and t h e y have p e r m i t t e d him
girl's
t h e young p i a n i s t
recital
and M i s s
of the blessed
spirits
of the
Fields.
classical
allusions
where t h e y a r e combined
a l s o appear
w i t h elements
t h e l a d y o f romance, t h e c h i l d
knight
based
The Dance o f t h e
f o r the retarded
share the s e r e n i t y
Other
Like
which
of the Blest:
selection
Munro i m p l i e s
Marsalles
i n winning
o f h i s music,
to enter the V a l l e y
piece,
h a n d i c a p and h e r s u p e r i o r
t h e a u d i e n c e i s f r o m G l u c k ' s o p e r a , ORPHEO,
on t h e s t o r y
by
by t h e d i s c r e p a n c y
(father).
underground
Later,
to t h e Underworld
the c h i l d
by e a t i n g
candies that
Phippen h i m s e l f
J o r d a n evokes
the Underworld
by h e r
who bound
pomegranate s e e d s .
"had a t a s t e o f n a i l s "
heroes
romance.
t o Joe Phippen's
Persephone,
suggests Pluto,
classical
of medieval
i s protected
i n the v i s i t
home, she r e c a l l s
i n "Images",
herself
Joe gives
(p. 4 1 ) . Joe
K i n g o f Hades, and Ben
like
on r e s c u e m i s s i o n s .
Orpheus,
Even
who d e s c e n d t o
Joe's c a t i s a
25
comic
of
version
o f C e r b e r u s , t h e t h r e e - h e a d e d dog
Hades.
Another
link
"Images", l i e s
taking
after
between c l a s s i c a l
being carried
she has
that
seen
living
t i m e and
by
knight's
she
s e e s now
of the t i t l e
story
"the o t h e r c o u n t r y "
j o u r n e y has
as i f i t were"
are the f a m i l i a r
own
house.
i s beyond
(p. 2 2 4 ) ,
pity
the c h i l d
p l a n e from her everyday
served i t s r i t u a l
trial
through adventure,
ideal
existence". ^
been c o n q u e r e d
underground
"the r e a l
Accordingly,
house,
Undoubtedly,
has
claim
romance and
classical
safe return
the
the
Even
story.
along
symbolic
supports a
concluding
paragraph,
and
as i t s u p p o r t s a
aura around
f r o m Munro's u s e o f
the t i t l e ,
lines,
just
from,
rebirth.
o f "Images" a l s o
patterns
adds f u r t h e r
"our f e a r s
fairy-tale,
dimensions
statement
are based
rather
both
"Images", e n c o u r a g e s
the strong
she
has
o f Mary McQuade as b o s s y s p i n s t e r
results
that
her f e a r of death
common-sense v i e w
c h a r a c t e r s which
the
to provide a
the c h i l d ' s
t o , and
the s u p e r n a t u r a l
she
been
like
o f Joe Phippen,
But
as
because
common-sense v i e w
than w i t c h .
Just
one.
purpose:
a metaphor o f d e a t h and
the t e x t
ones
meaning o f t h e k n i g h t ' s
Mary i s b e l i e v a b l e ;
by h e r v i s i t
wakens
i s astonished to
j o u r n e y i n m e d i e v a l romance, i t was
longer fears
the journey i n
When t h e c h i l d
f r o m t h e windows o f t h e i r
on a d i f f e r e n t
The
space.
her f a t h e r ,
t h e woods she
Miss M a r s a l l e s
inhabits
myths and
i n i t s d r e a m l i k e atmosphere,
place outside
discover
no
a t the gates
to
speculation
i n the
on n o t h i n g b u t
26
the
truth"
and
realistic
not
deliberately,
motifs
(p. 4 3 ) ,
confirms
elements
the view t h a t both
are r e f l e c t i o n s
Alice
tales
to suggest
below the
s u r f a c e of o r d i n a r y l i f e .
about her
a r t , as
In
storyteller
persuading
shown by
Ambivalent
a certain distrust
may
calls
attention
alter
the
h i s daughter
not
to t e l l
her
"After
'What a r e you
is
and
crucial
he
I said,
to the
dangerous f i g u r e
The
able
them.
influence
over
of bats
t o a comic
of her
she
may
collection.
mother and
not
(p. 4 2 ) .
i t out
In
her
and
with
going
possesses
Joe
to
have t h e
i n danger.
the
l a d d e r was
him
to hide
man
shoot
Girls",
Laird
her
f o r c e s him
urges
i d e a , but
an o l d h o r s e .
axe
from
a
him
he
but
up
is
also
to
the n a r r a t o r ' s
tells
him
at
by
the
bedtime.
to a c t out a r o l e
the barn
of r e p o r t i n g to her
and
the
changes Joe
i s t o o young t o t e l l
i n the barn
mention
Obviously,
i s strengthened
s k e l e t o n s w h i c h she
thrill
Phippen:
c o n s i d e r a b l e power, and
younger b r o t h e r
she
Mary
one.
"Boys and
stories:
the
shows t h e f a t h e r
encounter
leaving
i s v e r y y o u n g , she
one
is
story;
axe'"
depths
of
language not o n l y t o d e s c r i b e events
influence
When he
'The
storyteller
t o use
tales
said,
the
feelings
first
t r u t h when she
of t h e i r
a while
If
t o the ease w i t h which
McQuade t h e w h o l e s t o r y
about?'
mysterious
are a l r e a d y e v i d e n t i n t h i s
"Images", she
truth.
Munro u n c o n s c i o u s l y e x p l o i t s
o f o l d myths and
storytelling,
of the
fairy-tale
l a d d e r so
parents
that
that
he
them t h a t c l i m b i n g
i s o l d e r when she
watch t h e i r
in
f a t h e r and
S i n c e the o l d e r s i s t e r
persuades
the
hired
must r e l y
on
27
Laird's
p r o m i s e t o keep t h e s e c r e t ,
h e r power
diminishes
once L a i r d i s c a p a b l e o f p u t t i n g
the experience
In
to t e l l
fact, Laird's
growing p h y s i c a l
he
nearly
Laird
growing a b i l i t y
strength.
succeeds i n p h y s i c a l l y
when he t e l l s
allowed
the horse
and
Girls",
i s conceived
and
his sister
fall.
to escape.
estate,
i nthe
s h e opened t h e g a t e
Power, t h e theme o f "Boys
a s one r i s e s ,
the other
has c o n n o t a t i o n s o f power.
must
only
also
she t e l l s
behaviour.
escapes
daring
tell
them t o h e r s e l f .
s t o r i e s to her brother,
Her f a n t a s i e s
reveal
a t odds w i t h h e r b o s s y and b e l l i g e r e n t
Restless
increasing
struggle:
succeed.
does t h e n a r r a t o r
hopes and f e a r s
I t i s a name
t h e outcome o f t h e b r o t h e r - s i s t e r
male h e i r must
Not
and f r u s t r a t e d by h e r m o t h e r ' s
p r e s s u r e on h e r t o h e l p
w i t h t h e housework, she
i n t o r o m a n t i c daydreams i n w h i c h she a c c o m p l i s h e s
w a r t i m e r e s c u e s and f e a t s
riding.
Although these f a n t a s i e s
very banality
resistance
i s poignant,
life.
read
of shooting
suggesting
the u n i v e r s a l
The daydreams a r e o b v i o u s l y
as a
girl:
and h o r s e b a c k
a r e commonplace, t h e i r
o f t h e young t o t h e c o n s t r a i n t s
American Western n o v e l s ,
well
his sister,
as a b a l a n c e w i t h L a i r d on one s i d e
on t h e o t h e r :
which f o r e t e l l s
adult
that
i n which
E v e n t h e b o y ' s name, L a i r d , meaning t h e p r o p r i e t o r o f
landed
but
a f t e r the f i g h t
overpowering
their father
and
the
p a r a l l e l sh i s
s u r p a s s e s h e r t o become t h e d o m i n a n t c h i l d
family
a
Shortly
i n t o words.
and r e p e t i t i o n o f
influenced
by
a g e n r e i n w h i c h Munro h e r s e l f was
28
I u s e d t o make up t h e s e s t o r i e s w h i c h were
i m i t a t i o n s of things I read.
I r e a d Zane G r e y and
so I u s e d t o make up a l o t o f s t o r i e s i n w h i c h
I was a s h o o t i n g f r o m t h e h i p w e s t e r n c o w g i r l
and t h i n g s l i k e t h a t . 1 °
Just
a s Munro drew on h e r r e a d i n g , t h e n a r r a t o r o f "Boys and
Girls"
incorporates the v i c a r i o u s
books i n t o
her f a n t a s i e s ,
which p o s s i b i l i t i e s
experience
creating
lose
are l i m i t l e s s .
i n books, c o m p l e t e l y
c h a r a c t e r s . The h i s t o r i a n
he
lived
Moving from
isa
the world of
difficult
f o r t h e n a r r a t o r , as i t i s f o r a l l c h i l d r e n
themselves
a prairie
from
an a l t e r n a t e w o r l d i n
i m a g i n a t i o n back t o t h e a c t u a l w o r l d
adjustment
gained
youngster
i d e n t i f y i n g with the
W. L M o r t o n h a s d e s c r i b e d how, a s
who r e a d c o n s t a n t l y , he f e l t
i n two s e p a r a t e
who
as though
worlds:
Thus my a c t u a l l a n d s c a p e , t h e one my n e i g h b o u r s
had made and worked i n w i t h a p p a r e n t c o n t e n t ,
and my l i t e r a r y l a n d s c a p e f r o m t h e banks
and b r a e s o f B o n n i e Doon t o t h e l o n g b e a c h e s
o f C o r a l I s l a n d , were i n c o n f l i c t .
I had
no s i n g l e v i s i o n f o r b o t h , b u t had t o r e f o c u s
l i k e one p a s s i n g f r o m d a r k t o l i g h t .
Nor was
t h e c o n f l i c t t o c e a s e f o r many y e a r s . 1 ?
As
a child,
t h e n a r r a t o r o f "Boys and G i r l s "
same c o n f l i c t ;
experiences the
h e r r e a d i n g encourages h e r t o see h e r s e l f i n
roles
incompatible with
class
i n h e r time
life,
however, s h e u s e s h e r r e a d i n g t o h e l p h e r t o i n t e r p r e t
experience.
the l i m i t e d
future a g i r l
and p l a c e c a n r e a s o n a b l y
expect.
of her
Later i n
She c a n compare h e r f a t h e r ' s a r r a n g e m e n t o f h i s
f o x pens t o a m e d i e v a l
town, and h i s s a t i s f a c t i o n
t h a t he
29
derives
his
from
favourite
f a r m work
book.
to h i s delight
i n ROBINSON CRUSOE,
To c o n v e y t h e f r u s t r a t i o n
an a d o l e s c e n t , t h e remembering n a r r a t o r
connotations
conflict
opposing
and s u b m i s s i v e
ponders the
thereby suggesting
the
s i d e s o f h e r n a t u r e , and t h e
f o r c e s of her s o c i e t y
agressive
now
"girl",
as
between h e r vague l o n g i n g t o e x p r e s s b o t h t h e
dominating
has
o f t h e word,
she f e l t
e x p e c t i n g her to r e p r e s s her
t e n d e n c i e s and become p a s s i v e .
become a s o u r c e o f
Her d u a l
nature
guilt:
The word g i r l had f o r m e r l y seemed t o me i n n o c e n t
and u n b u r d e n e d l i k e t h e word c h i l d ; now i t
a p p e a r e d t h a t i t was no s u c h t h i n g .
A girl
was n o t , as I had s u p p o s e d , s i m p l y what I was;
i t was what I had t o become, (p. 119)
The e r o s i o n o f t h e n a r r a t o r ' s
earlier
convincingly
over
by h e r u n e a s i n e s s
h e r g r a n d m o t h e r , she l e a r n s
that
sphere
i s limited
repetitive
t h e word,
a girl
g o o d - t e m p e r e d , modest and i n c u r i o u s
her narrow sphere.
c o n f i d e n c e i s shown
must
"girl".
be
about e v e r y t h i n g o u t s i d e
From h e r mother she l e a r n s
t o t h e h o u s e , where
and u n i m p o r t a n t
she must
that her
perform
work:
I t seemed t o me t h a t work i n t h e h o u s e was
e n d l e s s , d r e a r y and p e c u l i a r l y d e p r e s s i n g ;
work done o u t o f d o o r s , and i n my f a t h e r ' s
s e r v i c e , was r i t u a l i s t i c a l l y i m p o r t a n t ,
(p.
117)
Since
she r e s e n t s h e l p i n g h e r mother w i t h housework, she
wonders w h e t h e r she c a n c a l l
herself
From
a
girl.
The same n o t i o n o f a word a c q u i r i n g
such a heavy
30
b u r d e n o f meaning t h a t
recurs
i n "The
difficult
to
the
Office".
s t a t e her
narrator
The
i s r e l u c t a n t t o use
writer-narrator
profession
simply
i t
finds i t
and
naturally:
But h e r e comes t h e d i s c l o s u r e w h i c h i s n o t e a s y
f o r me: I am a w r i t e r .
T h a t does n o t sound
right.
Too p r e s u m p t u o u s ; phony, o r a t l e a s t
unconvincing.
Try again.
I write.
Is t h a t
better?
I t r y to w r i t e .
T h a t makes i t w o r s e .
Hypocritical humility.
W e l l t h e n ? (p. 59)
Like
the
word,"girl",
descriptive,
be
a writer
but
writes
w e l l ; not
on
suggests
the
up
has
the
stories.
the
writes
his
i s not
the
i r o n y by
s t o r i e s are
one
but
merely
The
not
claim
only
i s published.
word, " w r i t e r " ,
the
By
Munro
fictionalizing
having
the
l a n d l o r d make
delusions,
t r u t h of a l l s t o r i e s ,
"Boys and
brackets
the
Girls",
a c t i o n of
the
s a l e s m a n , whose o p i n i o n
r e p e a t e d by
daughter's
the
the
"The
they r a i s e
O f f i c e " as
First
f a t h e r , whose o p i n i o n
self-esteem.
Repetition
r h e t o r i c a l device
unify
narrator's
"Thanks f o r t h e
story.
"only
i s unimportant,
favourite
the
phrase,
a
much
l o v e l y f o r people
girl",
u s e d by
i t is
o f a key
the
phrase
t o have t h i n g s " ( p .
to
the
Munro
to
theme.
"I always
50)
feed
phrase i s a
i n DANCE, e n a b l i n g
well,
the
finally
is crucial
memories t o f u r t h e r h e r
R i d e " as
to
writes
rest.
In
it's
well
nature of
extends the
doubts about the
as
only
connotations of
Since
"writer",
declaration that
problematic
She
word,
become a n o r m a t i v e t e r m .
is a tacit
focusing
process.
but
the
In
think
i s used
by
Lois's
mother f i r s t ,
narrator,
clothes
for
mocking
had
having
the
no
and
their
Lois
only-a-girl
his,
her
family
own
adventures
in
"Red
advice
fantasies
(p. 1 5 4 ) .
adjusts
her
casts
the
i s one
the
the
the
childhood
brother,
full
characterized
she
the
which
loses
to
grows
of
her
power
and
heroic
central
role i s passive.
role,
Similarly,
protagonist
"Boys and
"Be
gay1
laughter
Girls"
g r o w i n g up
acts
on
behaviour according
by
Let
the
boys
i n your
may
be
read
as
female, i t s
from i t s c e n t r a l
r a n g e o f human p o s s i b i l i t y .
by
of
has
In c o n t r a s t
f a n t a s i e s from
extrapolations
i s characterized
who
w h i c h s u g g e s t s ways t o a t t r a c t
f r u s t r a t i o n of
restricting
however,
the
expectations
l e t them h e a r
are
Girls",
i n w h i c h she
As
slap
regrets
slaughter,
teen-age g i r l
Although
earns a
accepting
to her
male
r e a l i z e s that
h e r s e l f i n the
i n which her
implications
that
later
through r i t u a l
i n w h i c h she
account of
denies
way
a d o p t i n g a s u i t a b l e manner:
feminist
is
she
your eyes s p a r k l e ,
concern
narrator
i n a magazine a r t i c l e
voice!"
who
"Boys and
awakening s e x u a l i t y .
Dress—1946",
b o y s by
narrator,
the
discussing
s t a n d a r d s , and
maturation process
her
by
vulgarity in
In
gives
again
h i s hands i s t a n g i b l e p r o o f .
self-confidence,
sexual
her
girl
She
up
pretensions,
weaker i n r e s p o n s e t o
and
to
The
h i s contempt.
label.
on
gradually
an
f o r her
manly s t r e n g t h
blood
see
cost.
s t o r y ends w i t h t h e
the
f o r her
r i g h t to b e l i t t l e
revealed
achieved
then picked
annoyed a t L o i s
her
he
and
to
gender
Whereas
a n d r o g y n o u s f r e e d o m , womanhood
l i m i t a t i o n s of being
female.
As
32
Helen remarks
"without
t i m e and
therefore,
narrator
narrator
will
an
i m a g i n a r y freedom"
i s always
a fall
Girls",
expected
be
as
(p. 196);
from g r a c e .
to f e a r .
t o overcome h i s f e a r ,
expected
live
It is
as young c h i l d r e n ,
her b r o t h e r can admit
be
be d i s p l a y e d
In
up
i n "Boys and
and
will
Peace o f U t r e c h t " , c h i l d r e n
i n perfect
growing
n o t a b l e how
Laird
i n "The
Later,
just
the
last
the
to suppress her anger, which
l o n g as she was
a
paragraph
of
the
however,
as
could
child.
i n t e r v i e w p u b l i s h e d i n CHATELAINE, A l i c e
comments on
both
"Boys and
Munro
Girls":
W e l l , i t was i n t e n d e d t o c o n v e y t h e g i r l a c c e p t i n g
her f e m i n i n i t y i n a l l i t s c o m p l e x i t y ; which
i m p l i e s t h a t i f she's a g i r l , she's a l l o w e d t o
p r o t e s t , h e r mind i s f r e e r t h a n i f she were
a man.
She d o e s n ' t have t o u n d e r g o t h e b r u t a l
c o n d i t i o n i n g t h a t her b r o t h e r does.
So t h e r e ' s
a s o r t of irony t h e r e .
"Oh, y o u ' r e o n l y a g i r l , " b u t maybe i t ' s b e t t e r
t o be a g i r l i n t h e s e c i r c u m s t a n c e s . B u t . . .
h e r p r o t e s t d o e s n ' t c o u n t , b e c a u s e she has no
power.
And i t ' s t h e l a c k o f power t h a t g i v e s
her the freedom t o speak.
I r e a l l y feel that,
i n a l l c i v i l i z a t i o n s , probably the s l a v e s
see t h i n g s most c l e a r l y . 1 °
In
"Boys and
problem
forces
Girls",
the p o i n t
i s not r e s t r i c t e d
of view
to the female
b o t h b o y s and
girls
to conform
upon them by
their
culture
imposed
i s female, but
and
sex.
Growing
to separate
encoded
the
up
roles
i n the
language.
The
developed
tell
interrelation
i n "The
Fred Powell
of r e a l i t y
and
Peace o f U t r e c h t " .
stories
of t h e i r
language
i s further
When H e l e n and
p a s t , t h e y use him
Maddy
as a
33
buffer,
truth
and
the
of t h e i r
stories
as a means o f a v o i d i n g f a c i n g
estrangement
from
each
the
other:
Maddy s u r p r i s e d me by b r i n g i n g him home t o
s u p p e r t h e f i r s t n i g h t I was h e r e and t h e n we
s p e n t t h e e v e n i n g , as we have s p e n t many s i n c e ,
making t h i s s t r a n g e man a p r e s e n t o f our
childhood . . .
(p. 193)
Their
stories
are not designed
to repossess the p a s t , but
make remembering b e a r a b l e by c o n c e n t r a t i n g on
amusing r e c o l l e c t i o n s .
Alva
"Sunday
p l e a s a n t or
I t i s t h e same i m p u l s e
t o w r i t e so r e s o l u t e l y
cheerful
a letter
to
which
prompts
home i n
Afternoon":
Don't w o r r y a b o u t me b e i n g lonesome and
d o w n t r o d d e n and a l l t h a t maid s o r t o f t h i n g .
I
w o u l d n ' t l e t anybody g e t away w i t h a n y t h i n g l i k e
that.
B e s i d e s I'm n o t a maid r e a l l y , i t ' s j u s t
f o r t h e summer.
I d o n ' t f e e l l o n e s o m e , why s h o u l d
I?
I j u s t o b s e r v e and am i n t e r e s t e d . ( p . 167)
The
in
gap
between A l v a ' s
the Gannett
irony
she
realizes
exploits
class
her
household
of the audience
herself
letter
that
the n a r r a t i v e
of her
life
which frames i t i s not
simply
the
knowing more t h a t
the Gannetts
above h e r own,
advantage.
The
purpose
partly
to convince h e r s e l f
of Alva's
h e r mother f r o m
a l l o w i n g the Gannetts
similarity
that
to t r e a t
letter,
spoiling
she
has
her
her,
later
but
put
these plans,
n o t demeaned
and
to
then, i s
as a s e r v a n t .
between s t o r y t e l l i n g
Alva
t h e manners o f a
i n f o r m a t i o n w h i c h she may
to prevent
The
the c h a r a c t e r .
are e x p l o i t i n g
them t o o i n o r d e r t o l e a r n
partly
by
and
lying,
and
herself
34
approached
directly
indirectly
i n "The
Fred's a t t i t u d e
in
Peace
"Sunday A f t e r n o o n " , i s d i s c u s s e d
o f U t r e c h t " , when H e l e n
to the s t o r i e s
recalls
she and h e r s i s t e r
tell
him:
"You g i r l s have g o t good memories," F r e d P o w e l l
s a y s , and s i t s w a t c h i n g us w i t h an a i r o f
a d m i r a t i o n and s o m e t h i n g e l s e — r e s e r v e ,
e m b a r r a s s m e n t , d e p r e c a t i o n — w h i c h a p p e a r s on t h e
f a c e s o f t h e s e m i l d d e l i b e r a t e p e o p l e as t h e y
watch the keyed-up a n t i c s of t h e i r e n t e r t a i n e r s ,
(p. 193)
Amused, b u t w i t h r e s e r v a t i o n s ,
conservatism
who
of t h e i r
draw a t t e n t i o n
outward
Fred t y p i f i e s
s o c i e t y , which
suspects
form o f i n n e r
strength.
The
storytellers,
i n t h e town. H e l e n has
t w e n t y - f i v e hundred
miles f o r t h i s v i s i t ,
living
town where she grew up,
i n the s m a l l
i s her o n l y r e a l
friend.
r e l a t i o n s h i s h i p w i t h him
he a l o n e s p e a k s
The
Mother used
Peace
as she
linked
whose i l l n e s s
conspicuous too.
appearance
declares
later,
Similarly,
who
i n "The
that
calls
of Utrecht".
so c o n s p i c u o u s t h a t
o f t h e o l d man
that
does.
The
anger
phrase,
her
t h e mere m e n t i o n
she u s e d
through the p o s s e s s i v e pronoun
was
and
Maddy, d e s p i t e
stories,
"your m o t h e r " re-awakens t h e r e s e n t m e n t
being
and
H e l e n o f t h e shame and
to cause her. Years
an
travelled
1
i n "The
"your m o t h e r " r e m i n d s
Maddy
i s e x p r e s s e d by M a d d y s s a y i n g
t h e same l a n g u a g e
to i t s e l f
as
s t r e n g t h of her
L a n g u a g e , t h e medium f o r t e l l i n g
attention
individuals
t o t h e m s e l v e s , and v a l u e s r e t i c e n c e
Helen, are o u t s i d e r s
Fred
the
to f e e l
at
t o a mother
i t made h e r
daughters
Time o f D e a t h " ,
comes a r o u n d
of
to
sharpen
the
35
scissors
brother
linked
releases
P a t r i c i a ' s unexpressed
Benny's d e a t h .
through
The
language
b e e n one
scissors
because
man
had
"The
Peace o f U t r e c h t " t o o , the n a r r a t o r
she
feels
H e a r i n g her
reproached
up
life
beyond
Benny were
words Benny c o u l d s p e a k .
f o r having escaped
sick
mother.
In
i s sensitive
s i s t e r speaking w i t h the
Maddy assumed f o r t h e i r
a
and
her
"Bram", Benny's name f o r
him,
language.
o f t h e few
g r i e f over
to
local
accent
the r e s p o n s i b i l i t i e s
Maddy's l o s t hopes f o r
t h e c o n f i n e s o f t h e s m a l l town where t h e y grew
are suggested
by
the
loss
of the educated
a c c e n t she
once
cultivated.
When Maddy and
t h e n a r r a t o r were y o u n g , t h e y e a s e d
pain of being m i s f i t s
burden
"Our
o f w a i t i n g on
G o t h i c Mother"
father
by m i m i c i n g
the
t h e i r mother by
(p. 1 9 5 ) .
l o c a l accent,
i n "Walker B r o t h e r s Cowboy", t u r n s t h e
c i r c u m s t a n c e s o f h i s j o b as d o o r - t o - d o o r
anecdotes
and
everything
songs:
from
"And
corns
into vaudeville
courage
reassures his family.
like
a f a i l u r e , he
former
or
girlfriend.
salesman,
he
e x p e r i e n c e and
family
and
salesman;
Not
Jordan
o f h i s own
own
a
sympathetic
as f o x
farmer
dramatizes h i s
p r e s e n t s i t t o an a u d i e n c e
i s the hero
oils,/For
S i n c e he r e f u s e s t o a c t
manque who
Ben
the
into
renews h i s
c o n t a i n e d by h i s r o l e s
friends.
into
Transforming
f o r e s t a l l s p i t y even from
i s an a r t i s t
close
he
comedy, he
the
unhappy
salesman
(p. 4 ) .
humiliation
and
Ben,
have a l l l i n a m e n t s and
to b o i l s "
and
t r a n s f o r m i n g her
In t h e same way,
the
composed o f h i s
i s more t h a n
life-story.
a
36
"Walker B r o t h e r ' s
Munro's f i r s t
between r e a l
when t h e
is
narrator
the
well-meaning
the
collection
life
s t r u c k by
dying
Cowboy" i s n o t
and
In
a dying
theatricality
teacher
child,
has
and,
celebration i s missing,
narrator
one
of
as
the
i s hollow.
to the
heart"
Myra, who
110),
was
As
memory—the
friend.
always
i n t o Myra's
world"
She
she
calls
their
calls
the
back t o
girl
who
ending of
died
the
the
"the
did
girls
(p.
unusual
a
nurse
cannot
ether-smelling
a t t e n t i o n to the
enter
hospital
l i m i t a t i o n s of
subjectivity.
"The
Peace of
Utrecht"
too,
not
treachery
young—than
she
the
importance
popular
an
a
the
choose
senses t h a t
s t o r y , the
that
in
moment
f o r legendary uses"
more as
a
of
t o h e r s e l f , she
preferred
"unknown, e x a l t e d ,
Throughout
for
s i n g l e s out
her
acknowledges
Helen's r e a l i z a t i o n
(p. 1 1 0 ) ,
party
succeeds
when she
n a r r a t o r , who
words, s i g n i f i c a n t
f o r e i g n e r , the
and
and
"set apart
Moreover, the
returning
out
ritual
sick g i r l ,
Helen admits
(p. 110);
i n other
the
i n e v i t a b l y over-emphasizes
r e t u r n Myra's a f f e c t i o n .
own
play
she
A
f o r h e r s e l f ; however, e v e n t h i s
artificial
o f Myra's a c t i o n .
my
and
Myra, t h e
special friend
deathbed o c c a s i o n
occasion.
girls
spontaneous gesture
her
the B u t t e r f l y " ,
joy which i s u s u a l l y a s s o c i a t e d with
presents
seems o d d l y
the
a l t h o u g h the
birthday
only
of
resemblance
c o n t r i v e d a mock b i r t h d a y
parts,
making t h e
"Day
story i n
schoolmate i n h o s p i t a l ,
of
assigned
gift-giving
the
only
which suggests the
theatre.
visits
the
narrator
to
of
37
confronts
and
the l i m i t a t i o n s
her s i s t e r
evasions
of her subjective viewpoint.
are unable
She
t o overcome t h e f a l s e h o o d s and
w h i c h t h e y have i n c o r p o r a t e d i n t o
their
s t o r i e s of
the p a s t ,
" t h a t v e r s i o n o f our c h i l d h o o d which i s s a f e l y
preserved
i n a n e c d o t e , as i n a k i n d o f m e n t a l
(p.
1 9 3 ) . The p r o p e r t i e s o f c e l l o p h a n e ,
coupled
with
extended
serve
over
raspberries.
The image i s
w h i c h Maddy p l a n s
t o use t o
By r e f u s i n g t o a c k n o w l e d g e h e r g u i l t
her mother's death,
after
make i t an a p t
between t h e s i s t e r s .
by t h e c u t - g l a s s bowl
as g l a s s .
transparency
s t r e n g t h and i m p e r m e a b i l i t y ,
image f o r t h e b a r r i e r
cellophane"
Finally,
Maddy h e r s e l f
h a s become a s b r i t t l e
t h e bowl s h a t t e r s on t h e k i t c h e n
s h e a d m i t s t h a t she s a c r i f i c e d
floor
h e r mother's wish t o
r e m a i n a t home t o h e r own o v e r w h e l m i n g d e s i r e t o b r e a k
of
(p.
her:
"'I couldn't
210). Having confessed
succeed
bowls.
life"
" I ' v e g o t a whole s h e l f
are doubtful
full
of glass
I ' v e g o t enough g l a s s b o w l s t o do me t h e r e s t
( p . 210) .
One moment o f s e l f - r e v e l a t i o n ,
g l a s s b o w l s seems t o i m p l y ,
i s not s u f f i c i e n t
Nevertheless,
occasion
the breaking
f o r Helen
Fragmentation,
wholeness.
over
o f my
so t h e s h e l f
t o overcome
lifetime.
o f t h e g l a s s bowl p r o v i d e s t h e
t o urge her s i s t e r
then,
a
life'"
Maddy may
but her prospects
a burden o f remorse accumulated
of
'I wanted my
her s e l f i s h n e s s ,
i n making a new l i f e ,
when, a s she s a y s ,
of
go o n , ' s h e s a i d .
free
to forget the past.
perhaps i m p l i e s the p o s s i b i l i t y o f
Significantly
enough, f r a g m e n t a t i o n
dismemberment i s t h e f a t e
of
i n t h e form
Orpheus i n t h e myth w h i c h
38
loosely
by
the
structures
DANCE.
Orpheus i s e v e n t u a l l y
Maenads, h i s head t h r o w n i n t o t h e
the
r e s t of
the
Muses.
h i s body b u r i e d
at
the
river
torn
apart
Hebrus
f o o t o f Mt.
and
Olympus
by
T h r o u g h o u t DANCE, Munro c o n s i s t e n t l y embeds s t o r i e s
within
the
text.
listen
t o and
storytelling
From i n f a n c y
tell
stories.
counters
the
s m a l l - t o w n and
stories
more e x o t i c
in
this milieu.
rather
well
as
elements of
provide a
larger
protagonists.
and
of
since
the
too,
Moreover, the
medieval
with personal
her
child's fears
imagination
has
imaginary ordeals,
fed
she
on
are
would
expect
European
f a i r y - s t o r y motifs,
romance and
frame f o r t h e
and
embedded
t h e i r o r i g i n s are
classical
of
temporarily
s t o r i e s , by
ultimately
child
Munro's t e c h n i q u e
experience u n t i l
as
myth,
everyday experience of
a t m o s p h e r e c h a n g e s , b e c o m i n g m y s t e r i o u s and
A l t h o u g h the
narrators
drab
s u r p r i s i n g t h a n one
"Images" i s t y p i c a l
weaving f a n t a s y
surface
rural life
Frequently
than Canadian.
these
This c h a r a c t e r i s t i c
realistic
predictable
are
t o o l d age,
of
the
menacing.
increased
passing
because
through
becomes s t r o n g e r
and
more
self-assured.
As
stories
adolescents,
as
models:
t h e m s e l v e s , and
themselves.
the
stories influence
a l s o determine the
Unfortunately,
suggesting p o s s i b i l i t i e s
fantasy,
and
female p r o t a g o n i s t s
lead
the
future
s t o r i e s may
which can
way
only
to d i s i l l u s i o n m e n t
and
of
DANCE
they
use
see
they imagine
t a n t a l i z e them
be
realized in
a retreat
from
for
by
39
action
into
With
whatever
the p a s s i v i t y
the p a s s i n g of time,
lies
protagonists
of
like
for
past l i v e s
( p.
blind,
language.
Certain
and
197),
and
the t r u t h .
turn
and
with
emotive
as w e l l
"your
the c o n t r o l l e r
phrases
reveal
problems
In "The
"a l i t t l e
b l i n d window o f c o l o u r e d
The
Peace o f U t r e c h t " ,
the c o n t r a d i c t i o n s w i t h i n
strain
sister
in pairing
the
the s t r a i n
t r y to t a l k
as d e s c r i p t i v e
rather
the
adjective,
Helen
together.
Words
p r o p e r t i e s make i t sometimes
words as t h e y must, b u t
Helen
as i s
Language's
than the v e h i c l e of thought.
by w o r d s — a s
in
mysterious
mother" i n t h e same s t o r y .
manipulate
manipulated
These
i n t o charms w h i c h evoke s t r o n g f e e l i n g ,
t h e way
narrators
her
stories
i n DANCE a r e r e f l e c t e d
w i t h t h e noun, window, r e f l e c t s
f e e l s when she
Older
paradox.
suggests
relationship.
also
fixed;
Peace o f U t r e c h t " , a r e
w h i c h Munro r a i s e s
of ambiguity
sisters'
may
i n "The
example, t h e p h r a s e
glass"
become more
aware o f t h e d i v e r g e n c e between t h e
storytelling
depths
Helen
of t h e i r
problems of
stories
they c o n t a i n a c q u i r e a spurious t r u t h .
uncomfortably
they t e l l
o f daydreams.
i s i n "The
Munro's
they are
also
Peace o f U t r e c h t " ,
when Maddy h o l d s h e r a t a d i s t a n c e by c o n f i n i n g c o n v e r s a t i o n
to
anecdotes
an
outsider.
about
Storytellers
the past which are s u i t a b l e
are noteworthy
to share
with
i n DANCE, where t h e y f o r m
sub-class
o f o u t s i d e r s who
reject,
o r a r e r e j e c t e d by,
society.
G e n e r a l l y they are female,
a l t h o u g h Ben
"Walker B r o t h e r s Cowboy" i s a s i g n i f i c a n t
their
Jordan i n
exception.
a
40
Frequently,
they express
storytelling,
experience
between
to
and
into
admit
stories.
storytelling
draw i t .
and
ambivalent
feelings
about
their
to uneasiness over t r a n s f o r m i n g
They b e l i e v e a l i n e
lying,
should
but they are not
exist
s u r e where
AH
Notes
1
A l i c e Munro, DANCE OF THE HAPPY SHADES ( T o r o n t o :
M c G r a w - H i l l R y e r s o n , 1968) . S u b s e q u e n t r e f e r e n c e s a p p e a r i n
the t e x t .
2
A l i c e Munro, "The C o l o n e l ' s Hash R e s e t t l e d , " i n THE
NARRATIVE VOICE, e d . J o h n M e t c a l f e ( T o r o n t o : U n i v . o f
T o r o n t o P r e s s , 1 9 7 2 ) , p. 182.
3
A n n i e D i l l a r d , L I V I N G BY FICTION (New Y o r k : H a r p e r
C o l o p h o n , 1 9 8 3 ) , p. 29.
4
: Munro, "The C o l o n e l ' s Hash R e s e t t l e d , " p. 182.
5
D.H. L a w r e n c e , "The S p i r i t o f P l a c e , " i n STUDIES IN
CLASSIC AMERICAN LITERATURE 1924; r p t . i n D.H. LAWRENCE:
SELECTED LITERARY CRITICISM, e d . A n t h o n y B e a l ( London:
Heinemann, 1 9 6 4 ) , p. 297.
6
A l i c e Munro, "What I s R e a l ? " i n MAKING IT NEW, e d . John
M e t c a l f e ( T o r o n t o : Methuen, 1 9 8 2 ) , p . 226.
7
A l a n T w i g g , CONVERSATIONS WITH 24 CANADIAN WRITERS
( M a d e i r a P a r k , B.C.: H a r b o u r , 1 9 8 1 ) , p. 15.
8
B r u n o B e t t e l h e i m , THE USES OF ENCHANTMENT (New Y o r k :
K n o p f , 1 9 7 6 ) , p . 8.
9
R o b e r t K r o e t s c h , "Contemporary S t a n d a r d s i n the
C a n a d i a n N o v e l , " ESSAYS ON CANADIAN WRITING, No. 20 (1980),
p. 17.
10
N o r t h r o p F r y e , FABLES OF IDENTITY (New Y o r k : H a r c o u r t ,
B r a c e & W o r l d , 1 9 6 3 ) , p . 36.
11
Hugh G a r n e r , P r e f . , DANCE OF THE HAPPY SHADES by A l i c e
Munro ( T o r o n t o : R y e r s o n , 1968) n. p a g .
12
H e l e n Hoy, " D u l l , S i m p l e , Amazing and U n f a t h o n a b l e :
P a r a d o x and D o u b l e V i s i o n i n A l i c e Munro's F i c t i o n , " STUDIES
IN CANADIAN LITERATURE, No. 5 ( 1 9 8 0 ) , pp. 100-15.
13
B e t t e l h e i m , p. 61.
14
P a u l E n g l a n d , F I F T Y FAVOURITE OPERAS, 5 t h . e d . (New
Y o r k : H a r p e r , n . d . ) , p. 23.
>2
15
E r i c A u e r b a c h , MIMESIS ( P r i n c e t o n : P r i n c e t o n U n i v .
P r e s s , 1 9 7 1 ) , p. 136.
16
J o h n M e t c a l f e , "A C o n v e r s a t i o n w i t h A l i c e Munro,"
JOURNAL OF CANADIAN FICTION, 1, No. 4 (1972), 54.
17
W.L. M o r t o n , " S e e i n g an U n l i t e r a r y L a n d s c a p e , " MOSAIC,
3, No. 3 ( 1 9 7 0 ) , r p t . i n CONTEXTS OF CANADA'S PAST, e d . A.B.
M c K i l l o p ( T o r o n t o : M a c m i l l a n , 1 9 8 0 ) , p. 19.
18
A l i c e Munro, as q u o t e d i n Kern Murch, "Name: A l i c e
Munro, O c c u p a t i o n : W r i t e r , " i n CHATELAINE, Aug. 1975, p . 71.
43
Chapter
Turning
The
story
opening
Life
paragraph
Two
Into
Fiction
o f "The F l a t s
Road", t h e f i r s t
i n LIVES, i n t r o d u c e s a c h a r a c t e r c a l l e d
o n l y t o add i n t h e s e c o n d p a r a g r a p h
Uncle
the following
disclaimer:
"He was n o t o u r u n c l e o r a n y b o d y ' s " . 1
the
refers
sentence
address
as " u n c l e " , i t a l s o i m p l i e s t h a t
language i s n o t t r u s t w o r t h y ,
with
reality.
Since
and t h a t i l l u s i o n
these
i n LIVES, which i s p r i m a r i l y
feminine
experience
The
occasionally
tightly
the i n d i v i d u a l
i n DANCE a r e o f t e n
already
t o d i s c o v e r them
concerned
with the
and y o u t h .
two s t o r y c y c l e s d i f f e r ,
w h i c h Munro u n i f i e s
stories
of childhood
i s easily
themes have
emerged i n DANCE, i t i s n o t s u r p r i s i n g
again
While
t o t h e custom o f a l l o w i n g c h i l d r e n t o
family friends
confused
Benny,
linked
however, i n t h e way i n
s t o r i e s w i t h i n them. The
t h e m a t i c a l l y and
g e o g r a p h i c a l l y , b u t t h e y do n o t c o h e r e
a s do t h e s t o r i e s
as
i n L I V E S . I n LIVES,, t h r o u g h t h e
i n n o v a t i o n o f a n a r r a t o r who i s an a p p r e n t i c e w r i t e r , Munro
unifies
the stories within a single unfolding
Since Del Jordan
bound
together
grows up a l l o w
rationale
i s always t h e n a r r a t o r ,
consciousness.
t h e segments a r e
by common themes, and h e r e x p e r i e n c e s
thematic
d e v e l o p m e n t and p r o v i d e t h e
f o r the country
and town
settings.
a s she
44
S i n c e LIVES i s a n a r r a t i v e
roughly
chronological
geographical
mistaken
their
for a novel.
"People's
lives,
found
the
protagonist.
a novel,
Forrest
L.
249).
epilogue
t o draw a t t e n t i o n
but
instead,
work p r o p e r l y
of
distorted
example,
resonant
sentence,
e v e r y w h e r e , were
top-heavy" and
a
initially
dull,
R e v i e w i n g L I V E S as
B o t h w o u l d be
2
the
i t was
u n f a t h o n a b l e — d e e p caves paved
(p.
minor c h a r a c t e r s
as
has
i s , however, a
James P o l k , f o r
in Jubilee
linoleum"
to which
term, n o v e l ,
1
kitchen
fact,
voice,
A l i c e M u n r o s theme i n t h e
a m a z i n g , and
of
The
response.
simple,
Polk
narrative
length,
observes u n i t i e s
made e a r l y r e v i e w e r s u n e a s y and
critical
identified
substantial
d e v e l o p m e n t , and
s e t t i n g and
misnomer t h a t
of
deplored
a
with
novel,
the
away f r o m
tendency
the
w e a k n e s s e s i f L I V E S were, i n
they are
belongs,
Ingram's t e r m , o r
strengths
the
story
"open f o r m " , as
of
the
cycle
J.R.
genre
in
Struthers
3
calls
i t .
The
cycle
i s the
c h a r a c t e r i s t i c w h i c h marks L I V E S as
balanced
tension
each s t o r y
and
the
Since
the
conclusion
cycle,
the
epilogue
observations
properly
general
of
belong
the
pattern
i s the
of
the
a young w r i t e r .
of
Leitch
Del
town o f
i n a work w h i c h c h r o n i c l e s
of
of
whole
j u s t as
o t h e r p e o p l e i n the
story
individuality
i n t e r p r e t i v e key
i s appropriate,
apprenticeship
L I V E S , L.M.
between t h e
a
Analysing
to a
story
Jordan's
Jubilee
the
the
structure
observes:
As w i t h t h e d e l i n e a t i o n o f a community,
e p i s o d i c s t r u c t u r e a l s o lends i t s e l f to
the
45
autobiographical materials organized
t h e s e l e c t i v e w o r k i n g s o f memory, a
f o u n d t h r o u g h o u t Munro's work.^
Loose o r g a n i z a t i o n
its
in
distinctive
according
flavour.
a straight line
Unlike
according
to
association,
and
Episodes are
acquire
t o memory g i v e s
novels
circles
grouped
M a r g a r e t L a u r e n c e ' s A BIRD IN THE
structural
principle,
difference
between t h a t work and
in
their
d i r e c t i o n s of
lines
of
her
effect,
according
together
to
laws
by
arrangement.
HOUSE f o l l o w s
L a u r e n c e has
work
w h i c h move f o r w a r d
meaning t h r o u g h
and
the
laws o f c a u s e and
t h e s e s t o r i e s move i n c o n c e n t r i c
of r e c o l l e c t i o n .
to i n d i c a t e
preoccupation
the
expressed
novels
as
same
the
a difference
force: vertical
i n the
short
5
s t o r y c y c l e , and
As
both
like
interest
is
an
very
embryonic w r i t e r , the
other
young g i r l s
i n words, the
young as
Stephen Dedalus
a YOUNG MAN,
as
their
sense.
end
and
novel.
protagonist,
u n l i k e them.
t o o l s of her
a heightened
trade,
response to
Del
Jordon, i s
Her
pronounced
a p p e a r s when
language.
i n James J o y c e ' s A PORTRAIT OF
Del
upon a d e a d cow,
the
h o r i z o n t a l i n the
i s s e n s i t i v e to the
When D e l
Del
of a s t i c k
as
first
she
and
her
traces
ARTIST
cow's eye
eye
words i n s t e a d :
I s a i d , expanding the
'DAy-ud cow,
d a y - u d cow'"
f r o m a c t i o n i n t o words i s n o t
typical
well
for
(p. 4 4 ) .
of Del,
with
itself.
so,
lusciously.
settles
socket
U n a b l e t o b r i n g h e r s e l f t o do
"'Day-ud cow,'
AS
Mary Agnes, come
imagines p i e r c i n g the
she
Like
sound o f words as
cousin,
the
THE
she
probing
word
Retreating
however;
she
46
is
an e n t h u s i a s t i c p a r t i c i p a n t i n l i f e
as w e l l
as i t s
chronicler.
A distinctive
feature
of her childhood
i s that
she i s
s u r r o u n d e d by s t o r y t e l l e r s .
Among them, two
models o f o p p o s i n g n a r r a t i v e
s t a n c e s emerge: U n c l e Benny and
Uncle C r a i g .
life
that
U n c l e Benny i s so immersed
his tales rise
up l i k e
life
home; U n c l e C r a i g h a s
so s u c c e s s f u l l y by " p r e f e r r i n g n o t " ,
his
sisters
his
book on t h e h i s t o r y o f Wawanash C o u n t y i s a
record
proudly
i n t h e chaos o f
b u b b l e s o f gas from t h e
G r e n o c h Swamp w h i c h i s h i s n a t u r a l
withdrawn from
outstanding
incorporate
preference
Craig's
own d e s i r e
actions
that
lifeless
t o b e : s h e must
Despite
learns
too, seeing
her youthful
Benny's
to value
Uncle
i treincarnated i n
t o document h e r p a s t .
o f s t o r i e s and s t o r y t e l l e r s
the d e s i r e
t o remember one's p a s t
i n i t i s not e x c l u s i v e
to f i c t i o n
h i s own f i c t i o n s
i n LIVES d e f i n e
themselves not only
but a l s o through t h e i r
of the narrative's
subtle
who a r e i d e o l o g i c a l l y o p p o s e d
The i d e a
and i s t h e
The
through
s t o r i e s about t h e i r
i r o n i e s i s that
i n LIVES
and f i n d
writers.
o f h i s own i d e n t i t y p e r m e a t e s t h e work.
characters
One
fordetail
each i n d i v i d u a l c r e a t e s
artist
Del aspires
she u l t i m a t e l y
proliferation
suggests that
that
of writer
manner,
approach i s broad
f o r t h e pungent v a r i e t y o f Uncle
passion
The
Neither
elements o f both u n c l e s .
junkyard-swampworld,
meaning
his self-effacing
o f f a c t s and f i g u r e s .
enough f o r t h e k i n d
her
describe
as
Del's
their
past.
aunts,
to the attention-seeking
47
inherent
allied
i n being a writer
w i t h her
through
their
love of the r i d i c u l o u s .
strictures
of t h e i r
like
Although
shaped
artistically
they resemble
process:
of t h e i r
constructed with
writer
for
Del w i l l
themselves
above a l l ,
a comic duet.
"each
the aunts
obey
the
s o c i e t y , which emphasizes hard
and,
lives
tempermentally
i m a g i n a t i o n , p l a y f u l n e s s and
good h o u s e k e e p i n g ,
their
Del, are
terrible
through
s e l v e s was
care"
their
seen
(p. 5 9 ) .
become, t h e a u n t s
as w e l l
conformity, they
D e l , as a r t i s t ,
two
as t h e i r
work,
have
stories
until
recognises
t o be
something
L i k e the
i n v e n t and
tell
the
fiction
stories
audience:
Aunt E l s p e t h and A u n t i e G r a c e t o l d s t o r i e s .
It
d i d n o t seem as i f t h e y were t e l l i n g them t o me,
t o e n t e r t a i n me, b u t as i f t h e y w o u l d have
t o l d them anyway, f o r t h e i r own p l e a s u r e , e v e n
i f t h e y had b e e n a l o n e , (p. 33)
The
reflect
aunts
themselves
upon i t as w r i t e r s
artist's
ask,
detach
urge
what i f ?
practical
t o push events
They r e v e a l
joking
and
i n the p i l e s
Elspeth
shakes the b i t s
herself
to
this
just
After
o f hay
Auntie Grace's
have wanted
to imaginary
o f hay.
a t v a r i a n c e with her
difference,
moreover, they
from
public
in
their
D e l i n a game o f
this
episode,
her h a i r ,
Aunt
"with
persona
of
of
attention
come by, w o u l d n ' t
While
little
dignified
comment draws f u r t h e r
(p. 5 0 ) .
the
c o n c l u s i o n s , to
(p. 5 0 ) , s h o w i n g a s i d e
" ' I f a c a r had
to d i e ? ' "
i n order
share
these c h a r a c t e r i s t i c s
sounds o f p l e a s u r e "
rectitude.
experience
readiness to j o i n
jumping
snorting
do;
from
paying
you
to
48
lip-service
to the p r o p r i e t i e s ,
nevertheless,
to
that
her p l e a s u r e .
reveals
the danger
As
implies,
of being observed
more d e t a i l s
i t s complexity.
romp, t h e i r
A u n t i e Grace
accumulate,
Although the aunts
contributes
the
join
incident
Del i n her
p l e a s u r e i s n o t t h e same as h e r s :
A u n t E l s p e t h and A u n t i e G r a c e had come and jumped
i n t h e hay t o o , w i t h t h e i r a p r o n s f l y i n g ,
laughing at themselves.
When t h e moment came
t h e y w o u l d h e s i t a t e , and jump w i t h n o t q u i t e
s u f f i c i e n t abandon, l a n d i n g i n a d e c o r o u s
s i t t i n g p o s i t i o n , hands s p r e a d as b o u n c i n g
on a c u s h i o n , o r h o l d i n g t h e i r h a i r . (p. 50)
U n l i k e D e l ' s spontaneous
self-conscious.
hay
coil
which
and w h o l e h e a r t e d
I t i s not the
leap into
play,
the c e n t r e of
they enjoy, but the idea of
Their
in
e x p e r i e n c e ; i t becomes t h e o c c a s i o n f o r
recollecting
flout
themselves
convention.
sees a resemblance
in
t h e way
inherently
i s more p l e a s i n g
that
as spunky and
L a t e r , when D e l r e a d s WAR
a l l t h r e e see t h e i r
mastery
edge t o t h e i r
and
"Is
it
that
was
directed
joking
particularly
f o r t h e dog!"
(p. 3 6 ) .
the r e s o r t
aunts' apparent
daring
AND
to
PEACE,
Tolstoy's
she
Natasha,
Although the
of housekeeping,
t h e h a i r b r u s h you u s e
traditionally
the
mimicry
than
b r o t h e r ' s work as
more i m p o r t a n t t h a n t h e i r s .
seem c o n t e n t i n t h e i r
resentment,
i n retrospect
girlish,
between h e r a u n t s and
the
themselves
leaping.
actual
action
theirs i s
the
suggests a degree
aunts
critical
of
a g a i n s t D e l ' s mother:
on y o u r h a i r ?
This kind
Oh,
we
thought
of s n i p i n g i s
of the powerless, s u g g e s t i n g t h a t
security
i s t h r e a t e n e d by D e l ' s m o t h e r ' s
49
differing
view
convictions
attention
of the r o l e
about
their
they crave.
o f women.
proper place i n l i f e
Unconscious
audience
i n D e l , and u l t i m a t e l y
relaying
their
As
stories
a child
"went a l o n g s t r a i g h t
36).
Ada J o r d a n
lines",
are
and s t r a i g h t f o r w a r d
way o f l i f e ;
and
that
her to Del.
The a u n t s
mother t r i e s
comfort
opposed, they o f f e r
synthesize
the opposing
and D e l ' s mother
while her
Although
the order
i s seductive, Del realizes
the s a c r i f i c e
thinking.
of personal
too, noticing the
In her w r i t i n g ,
Del can
v i e w p o i n t s o f U n c l e Benny and U n c l e
a s a woman, however, she must c h o o s e
between t h e
o p t i o n s r e p r e s e n t e d by h e r mother and t h e a u n t s .
c h a r a c t e r who s y m p a t h i z e s
The o n l y
w i t h b o t h v i e w p o i n t s and m e d i a t e s
between them i s D e l ' s f a t h e r .
his
Ada when
D e l a c h o i c e o f female
She i s h e r m o t h e r ' s d a u g h t e r
i n their
and G r a c e a r e
feelings i n
t r y t o make h e r p r a c t i c a l ,
of the aunts' world
i n expressing
by u n d e r m i n i n g
t o make h e r i n t e l l e c t u a l .
inconsistencies
Craig;
Elspeth
Since the aunts
i t i s achieved through
ambition.
deserve.
and d i s a p p e a r i n g and c o m i n g b a c k " ( p .
i s direct
diametrically
models.
voice,
"wove i n and o u t
d i s a p p r o v i n g o f h e r , b u t show t h e i r
about
they
their
w i t h h e r m o t h e r , who
whereas t h e y
s u b t l e and d e v i o u s ways, c h i e f l y
talking
audience
and A u n t i e G r a c e
her, retreating
less
them t h e
they f i n d
s h e becomes t h e i r
t o t h e wider
her d i s a p p r o v a l o f t h e i r
no
artists,
cost
o b s e r v i n g t h e women o f h e r f a m i l y , D e l
compares Aunt E l s p e t h
around
The a u n t s '
He c a n r e m a i n
detached, but
d e t a c h m e n t i s n o t dynamic b u t p a s s i v e : "The F l a t s
Road
50
w o u l d do
8).
f o r him;
In h i s p r o u d
U n c l e Benny w o u l d do
refusal
e q u a l , he
is closely
w i f e , who
collides
t o seek
allied
a friend
who
w i t h the aunts.
with d i f f i c u l t i e s
ignores or minimizes
for his friend"
(p.
would be h i s
Unlike his
head-on, Ben
Jordan
them:
My f a t h e r s t a r t e d t r y i n g t o p e r s u a d e U n c l e Benny
t h a t i t was n o t s u c h a bad t h i n g t o be r i d o f
Madeleine, a f t e r a l l .
He p o i n t e d o u t t h a t she
had n o t been a p a r t i c u l a r l y good h o u s e k e e p e r and
t h a t she had n o t made U n c l e Benny's l i f e e x a c t l y
c o m f o r t a b l e and s e r e n e .
He d i d t h i s i n a
d i p l o m a t i c way, n o t f o r g e t t i n g he was
t a l k i n g a b o u t a man's w i f e . (p. 20)
H i s weary t a c t
has
at a distance.
her
and
action.
lack of r e s t r a i n t ,
Following
of r e c y c l i n g
asks,
"Were you
folks
a t the f u n e r a l ? "
brought
father's
the s t r a i n s
avoiding
speech
i s excess of i t .
concerning the
p a r t s o f t h e body a f t e r
t h e gap
death,
needs t o
q u e s t i o n s about
he
the
be
between h e r v i e w p o i n t and
i t raises
of which
future
these ideas with
(p. 4 8 ) . A l t h o u g h Ada
h u s b a n d ' s i s so g r e a t t h a t
marriage,
her
planning to discuss
down t o e a r t h ,
of
I f D e l ' s mother's b e s e t t i n g s i n
Ada's i m p a s s i o n e d
possibilities
i n f l u e n c e , b u t i t p l a c e s him
L i k e h i s humour, i t i s a way
responsibility
is
a moderating
her
their
Del senses but attempts
to
overlook:
B u t a t t h i s moment, s e e i n g my mother go meek and
b e w i l d e r e d . . . and my f a t h e r t o u c h i n g h e r
i n such a g e n t l e , compassionate, g r i e v i n g
way . . .
I was a l a r m e d . . .
I was a f r a i d t h a t
t h e y w o u l d go on and show me
s o m e t h i n g I no more
wanted t o see t h a n I wanted t o see U n c l e C r a i g
d e a d . (p. 49)
51
E v e n so c u r i o u s an
draws b a c k f r o m
I g n o r i n g her
father
analysis
t h a t her
by
lives
complex m u t u a l
as
on
the farm,
a r e happy t o g e t h e r .
d i s c u s s i n g her
but
telling
Del
present
stories
her
D e l wants t o
Her
t o b e l i e v e i n t h e myth o f m a r r i a g e
never
father,
parents
time
Del
dependence.
m o t h e r ' s move t o t h e house i n town w h i l e
encourages her
ending
of other people's
of t h e i r
r e m a i n s most o f t h e
believe
Del's
observer
feelings
mother
as a happy
towards
of the p a s t i n s t e a d :
In t h e b e g i n n i n g o f h e r s t o r y was d a r k c a p t i v i t y ,
s u f f e r i n g , t h e n d a r i n g and d e f i a n c e and
escape.
Struggle
d i s a p p o i n t m e n t , more s t r u g g l e ,
godmothers and v i l l a i n s .
Now I e x p e c t e d as i n a l l
momentous s a t i s f y i n g s t o r i e s — t h e b u r s t o f
G l o r y , t h e Reward.
M a r r i a g e t o my f a t h e r ?
I
hoped t h i s was i t . I w i s h e d she w o u l d l e a v e me
i n no d o u b t a b o u t i t . (p. 78)
At t h i s
stage
understanding
life.
her
young g i r l
life.
she
As
her
is a fairytale;
appropriate
Later,
fairytale
she
has
between
a p p l i e s the
difficulty
life
and
into
stories
mother t e l l s
i t , her
life
c o n c l u s i o n , marriage
of her
own,
to
as
t h e r e f o r e Del a n t i c i p a t e s
a fiction
about
shape o f f i c t i o n
a
the
to her p r i n c e .
i n Del's r e l a t i o n s h i p with Garnet
retreats
mother's
life,
the d i f f e r e n c e
Unconsciously,
mother's
again
of Del's
French,
heedless
of
she
her
warnings:
"You've gone a d d l e d o v e r a boy.
You w i t h y o u r
intelligence.
Do you i n t e n d t o l i v e i n J u b i l e e
a l l your l i f e ?
Do you want t o be t h e w i f e o f a
lumberyard worker?
Do you want t o j o i n t h e
B a p t i s t L a d i e s A i d ? " (p. 217)
52
Del
r e f u s e s t o c o n s i d e r her p r o b a b l e
lives
that
entirely
she
i n the p r e s e n t .
acknowledge h i s mastery
t h e w a t e r does she
is
not Garnet
own
fiction.
keep him
234),
Not
as he
as
of her
she
understands
i n h i s golden
i s r e l e a s e d from
With understanding
until
to h e r s e l f
i s , but
Once she
sewed up
she
admit
f u t u r e with Garnet,
Garnet
t h e boy
that
she had
lover's
skin
comes shame a t h a v i n g
deceitful
to
creation;
demands o f h e r .
has
She
her
to r e j e c t
on an e n t i r e l y
(p.
and
has
235).
has
committed
f o r the f u t u r e
that
when he
makes
through
him
she
her a r t i s t i c d e s t i n y s i n c e
non-verbal
my
o f an a r t i s t s u p e r i o r
i s shocked
finally realizes
his
f a n t a s y , Garnet
reality,
i s that
t h e r e f o r e , she
been a t t e m p t i n g
attracts
to Garnet
love.
. . . matching
to Del not o n l y f o r the p r e s e n t but
Del's a t t i t u d e
her
offerings
been e x p e r i e n c i n g l o v e as
been e x p e r i e n c i n g i t as e v e r y d a y
too.
"meant t o
"somehow met
play-acting with his true intent"
himself
i n her
the enchantment o f b e i n g i n
complexity
D e l has
loves
f o r e v e r " (p.
w i t h my
While
she
c r e a t e d him
good o f f e r i n g s
and
insists
i n the s t r u g g l e i n
that
has
and
he
level:
I c o u l d n o t have made s e n s e o f any book, p u t one
word a f t e r a n o t h e r , w i t h G a r n e t i n t h e room.
I t was a l l I c o u l d do t o r e a d t h e words on a
b i l l b o a r d when we were d r i v i n g .
I t was t h e v e r y
o p p o s i t e o f g o i n g o u t w i t h J e r r y , and s e e i n g
t h e w o r l d d e n s e and c o m p l i c a t e d b u t a p p a l l i n g l y
u n s e c r e t i v e ; t h e w o r l d I saw w i t h G a r n e t was
s o m e t h i n g n o t f a r f r o m what I t h o u g h t a n i m a l s
must s e e , t h e w o r l d w i t h o u t names, (p. 218)
Garnet
t h e n , has
appealed
to her
as an a l t e r n a t i v e
t o books
53
or even speech.
Del
In the j o y o f her f i r s t
i s speechless
f o r once:
"Nothing
sexual
fulfillment,
t h a t c o u l d be s a i d by
us w o u l d b r i n g us t o g e t h e r ; words were o u r e n e m i e s " (p.
217).
For a time,
Del's
sexual connection with
r e p l a c e s words and l i t e r a t u r e ,
b u t , when t h e r e l a t i o n s h i p
ends and s h e mourns i t s e n d i n g ,
when s h e q u o t e s
it
Tennyson's
"one o f t h e s i l l i e s t
the
she r e t u r n s t o l i t e r a t u r e
"Mariana",
e v e n t h o u g h she c a l l s
poems I had e v e r
read"
( p . 238) .
In
same way, she s i m u l t a n e o u s l y c l a i m s and d i s c l a i m s t h e
sentiment
i n Tennyson's
line,
Even as she g r i e v e s over
having
"He cometh n o t , she s a i d " .
losing
returned t o the world
Garnet,
Del f e e l s
understand
time
a mild s e n s i b l e g r a t i t u d e f o r these
I felt
words, these
strange
t h a t I was r e a d i n g , and a f t e r
possibilities
t h e want a d s , t h e l i n e
t o t h e o l d way o f l i f e ,
Garnet.
Quoting
letters
poet's
(p. 2 3 8 ) .
some
printed
L i k e t h e words
T e n n y s o n ' s poem r e s t o r e s D e l
as she l i v e d
i tbefore
links
s h e met
h e r s e l f with her
t h e pen name, P r i n c e s s I d a , when
to the e d i t o r
idyllic
from
T e n n y s o n , she a l s o
m o t h e r , who a d o p t s
relief at
i n w h i c h words make s e n s e : " I
made m y s e l f
in
Garnet
writing
i n which she i m i t a t e s t h e V i c t o r i a n
description
of nature.
Munro's r e f e r e n c e s t o T e n n y s o n a r e c h a r a c t e r i s t i c o f
her
artistic
Mariana
lover,
as
method i n L I V E S .
f o r the daughter
The a l l u s i o n s
who w a i t s
are apt:
i n v a i n f o r the absent
P r i n c e s s I d a f o r t h e mother who b e l i e v e s i n e d u c a t i o n
t h e means o f i m p r o v i n g
particularly
womens' l i v e s .
appropriate heroine
P r i n c e s s Ida i s a
f o r D e l ' s mother t o i n v o k e .
54
In T e n n y s o n ' s poem, "The
P r i n c e s s " , she
women's c o l l e g e b a s e d on
feminist principles succinctly
described
by
the
k i n g , her
i s the
father: " . . .
knowledge so
d a u g h t e r held,/Was a l l i n a l l . " "
Ada
name i s so
Ida—gives
0
the
conveniently
c l o s e to
d i s t r a c t e d " (p. 1 7 3 ) .
a major d i s t r a c t i o n .
crucial
point
i n her
By
falling
career,
just
scholarship
hoped t o w i n .
and
had
of high
o b l i q u e l y t o a p o e t and
ironic
relation
have t h e
vulnerable
not
through her
learn this
t h e m s e l v e s t o be
teachers
structure
stops
Princess
by
two
Ida,
of course,
Jordan
like
Del's
of g i r l s
and
work.
I t i s Ada's q u o t i n g
Ida
but
goals
as
rightly
on
treatment of
the
the
chain
stand
in
not
reader
allow
scholars
her
and
in
there,
a l l but
"Locksley
the
briefly
belongs
one
the
Munro
occasion
anyway, makes a
women" t h a t becomes t h e
speech which completes
loses
the
b o t h women
l e c t u r e Del
from
a
mother, i s
instinct,
Since
is
between them.
s p e e c h w h i c h i s memorable b e c a u s e i t c o n t a i n s
"lives
at
poems t h a t
Having placed
to
brains.
final
parallels
explanations
is inclined
that
c h a r a c t e r s , Munro does
swayed f r o m t h e i r
o f Munro's s t o r y .
who
specific
maternal
marrying, Princess
her
first
your
him
a
my
advice
Having a l l u d e d
upon t h e
i n LIVES.
short of d i d a c t i c
when Ada,
before
s c h o o l , Del
theme and
narrator r e f l e c t
i s true that
will
to her
"Use
i n love with
end
she
Del
Garnet French,
examinations a t the
It
Jordan—whose
p r i n c e s s h e r s e l f w o u l d have e n d o r s e d :
Don't be
founder of
the
title
Hall"
of references
theme o f women's a s p i r a t i o n s .
in
to
phrase,
of
the
this
Tennyson's
Here
too,
55
Munro u s e s
Tennyson
indirectly
as a r e f l e c t i v e
surface:
T h e r e i s a change coming I t h i n k i n t h e l i v e s
of g i r l s and women. . . . A l l women have had up
t i l l now h a s been t h e i r c o n n e c t i o n w i t h
men.
. . . He s h a l l h o l d t h e e , when h i s
p a s s i o n s h a l l have s p e n t i t s n o v e l f o r c e , a
l i t t l e c l o s e r than h i s dog, a l i t t l e d e a r e r than
his horse.
Tennyson wrote t h a t .
It's true.
Was t r u e .
You w i l l want t o have c h i l d r e n
t h o u g h , ( p . 173)
Despite
t h e hope e x p r e s s e d a t t h e b e g i n n i n g o f t h e p a s s a g e ,
D e l ' s mother r e m i n d s
in
relation
t o men h a s changed
Munro makes Ada's
work, u s i n g
cycle.
S i n c e Ada r e f e r s
The
of
title
s i n c e Tennyson's day.
and t i t l e
to "Locksley H a l l "
of the entire
i n the passage,
a Tennysonian
a classical
word, "women" o f t h e t i t l e
o f Ada J o r d a n as w e l l
frame,
frame by
underlines the
as h e r daughter, D e l .
Ada i s p r e s e n t e d t h r o u g h t h e e y e s o f a n a r r a t o r who
ambivalent f e e l i n g s
Her h a b i t
teen-age
mother.
effect
o f women
the thematic centre o f the
t h e e n t i r e work w i t h i n
problematic.
the
the position
t o t h e myth o f O r p h e u s .
importance
Because
that
little
a s s h e p l a c e s DANCE w i t h i n
referring
has
statement
i t as both s t o r y
Munro p l a c e s
just
her daughter
about
of dramatizing herself
D e l , who would
B u t L I V E S goes
of this
her, her character
prefer
further
on h e r m o t h e r ' s s t o r i e s
from
embarrasses
a less conspicuous
sort
t h a n DANCE, e x a m i n i n g t h e
mother n o t o n l y on a d a u g h t e r , b u t a l s o on a
d a u g h t e r who wants t o be a w r i t e r .
suffered
i s always
D e l h a s b e e n b r o u g h t up
o f h e r m i s e r a b l e c h i l d h o o d when she
the b u l l y i n g
of a fiendish brother.
Years
56
later,
this
brother v i s i t s
with another
After
finds
of
as
the t o r t u r e r
D e l by h i s f a i l u r e
i t difficult
takes her
his
his version
He
Del
view
makes i n a
the middle-aged
b r i n g s a cocoon
as Ada
into
on
figure
by
remembers
does,
b u t as
the house
t h e wonder o f a b u t t e r f l y
i s given a lesson here
who
spree w i t h the wicked
fanatic,
Bill
She
man
o f h i s c h i l d h o o d , i n w h i c h he
p e r s o n who
it.
Uncle
compounds h e r p r o b l e m
mother n o t as a r e l i g i o u s
shows t h e c h i l d r e n
reality.
t o behave i n c h a r a c t e r .
on a g r o c e r y - s h o p p i n g
kindhearted
provides Del
i n Ada's s t o r i e s ,
to r e c o n c i l e
her mother's s t o r i e s .
telling
and
o p p o r t u n i t y t o compare s t o r y w i t h
figuring
surprises
them i n J u b i l e e
emerging
the d i f f e r e n c e
a
and
from
point
of
story:
T h a t was i n t h e same h o u s e .
The same h o u s e where
my mother u s e d t o f i n d t h e f i r e o u t and h e r
mother a t p r a y e r and where she t o o k m i l k and
cucumbers i n t h e hope o f g e t t i n g t o h e a v e n ,
(p.88.)
Although
and
at this
believe
too.
Uncle B i l l ,
Del
sinister
and
By
flaunting
demonstrates
b u t has
prolonged
that
and
suggests
that
he
merely
to suspect her
falls
under
dies
i s gradually
h i s young w i f e i n h e r
n o t g i v e n up
refined
fox-fur
coat,
torturing his
h i s methods.
the c h a r a c t e r of Uncle B i l l
the resemblance
breach
o f c a n c e r , b u t a more
of h i s motives
has
mother
suspicion
i s i n t e n d e d to h e a l the
b e f o r e he
interpretation
emerging.
sister,
Ada
is inclined
g r a d u a l l y he
O s t e n s i b l y the v i s i t
between him
he
point
The
episode i s
developed
between A l i c e
Munro's
in a
way
57
narrative
technique
and
t h a t o f magic r e a l i s t
painting:
In much t h e same way c e r t a i n C a n a d i a n magic
r e a l i s t p a i n t e r s f l o o d an o b j e c t i n a c l e a r
l i g h t u n t i l i t seems t o t a k e on a new
and
strange l i f e , f i c t i o n w r i t e r s look at t h e i r
s u b j e c t u n t i l i t s t a r t s to look strange,
mysterious,
fascinating.7
The
longer
steadily
seems.
he
the
a c t i o n p a u s e s and
a t Uncle B i l l ,
Nothing
his sister
fox-farming,
their
increase his satisfaction
the
cancer
way
and
of
him,
The
sum
he
him;
and
to
success.
Like
insisted
is a
f o o l s even
f o r her
hundred d o l l a r s ,
mother r e c e i v e d and
satisfy
h i s r e s e n t m e n t o f Ada
b e l i e v e s h i s promise of a legacy
their
behaviour
i n order
material
Outwardly b e n e f i c e n t ,
mentioned, three
his
brother-in-law
life
who
legacy
o f memory g a z e s
triumph w i l l
i n h i s own
which i s k i l l i n g
hidden malignancy.
eye
more s i n i s t e r
short of absolute
wants t o h u m i l i a t e
denigrate
the
the
in his
recalls
on
Ada,
will.
the
small
spending
on
Bibles.
Ada
pities
finally
him
because
forgiveness
other
her
"he
she
accepting
her
h a b i t u a l l y gives
Accordingly,
brother's
hatred
i s a dying
i s i n keeping with
people,
doubt.
overcomes h e r
she
man"
them t h e
r e j e c t s the
she
r e v e a l s her
and
the
as
c a p a c i t y o f an
darker
Her
In
to change.
implied
b e n e f i t of
the
explanation
of
one.
By
reconciliation,
o p t i m i s m a b o u t human
individual
and
analysing
more h o p e f u l
a genuine attempt at
characteristic
brother,
(p. 8 9 ) .
character.
motives i n f a v o r of the
his v i s i t
f o r her
As
her
nature
account
58
of her l i f e
r e v e a l s , she s e e s h e r s e l f a s a s e l f - w i l l e d
individual
who c h o s e t h e s e l f
the
o f h e r f a m i l y and s u b s t i t u t i n g new v a l u e s
on
values
reason.
Her f a i t h
mother's r e l i g i o u s
passion
its
The
The
society.
Del's
and A u n t i e
as m a t e r i a l
to l i f e
by s u p p r e s s i n g
and e m p h a s i z i n g
denying
Grace a r e a l l important t o
for fiction
approaches t o l i f e .
o f i t s female
D o g h e r t y , Naomi, M i s s
b u t a l s o a s examples o f
E a c h woman h a s a c c o m o d a t e d
some a s p e c t s
others.
Unlike
of her
them, D e l hopes
any p a r t o f h e r s e l f t o c o n f o r m t o h e r
B u t , t h e s t o r i e s t h a t o l d e r women t e l l
youth
show D e l t h a t
their
s t o r i e s r a i s e i s , why do women g i v e
Del
as D e l t h e w r i t e r .
t h e work i n t h e l i v e s
mother, F e r n
Aunt E l s p e t h
personality
to avoid
and w e a k n e s s e s o f h e r p o s i t i o n a r e
to centre
not only
herself
i s supreme a n d
subordinate.
characters.
differing
To A d a , r e a s o n
L I V E S OF GIRLS AND WOMEN, r e f e r s b e y o n d
literature
Del
based
as s a l v a t i o n r e p l a c e s h e r
t o D e l t h e young woman, a s w e l l
title,
Farris,
i n education
faith.
strengths
important
she w o u l d become by r e j e c t i n g
they used
becomes o b s e s s e d w i t h
who s t u d i e d
voice
t o be l i k e
her.
about
The q u e s t i o n
up t h e i r
t h e gap between t h e F e r n
and t h e F e r n
their
dreams?
Dogherty
D o g h e r t y who i s t h e i r
boarder
now:
" D i d y o u p l a n t o be a n o p e r a s i n g e r ? " I a s k e d .
"No, I j u s t p l a n n e d t o be t h e l a d y w o r k i n g i n
the post o f f i c e .
W e l l , I d i d and I d i d n ' t .
The work, t h e t r a i n i n g .
I just didn't
have t h e a m b i t i o n f o r i t , I g u e s s t h a t was
my t r o u b l e , ( p . 142)
59
This explanation i s unsatisfactory
t o D e l , who
b e l i e v e s Naomi's s t o r y
of Fern's
would p r o v i d e the k i n d
o f c o m p e l l i n g r e a s o n she hopes t o
discover.
To t e s t
into betraying
illegitimate
partly
Naomi's t h e o r y , D e l t r i e s
child,
to trap
which
Fern
herself:
I took t o n o t i c i n g p i c t u r e s o f b a b i e s i n the
p a p e r , o r i n m a g a z i n e s , when F e r n was a r o u n d ,
s a y i n g , "Aw, i s n ' t i t c u t e ? " and t h e n w a t c h i n g
her c l o s e l y f o r a f l i c k e r of remorse, maternal
l o n g i n g , as i f someday she m i g h t a c t u a l l y be
persuaded to b u r s t i n t o t e a r s , f l i n g out
h e r empty arms, s t r u c k t o t h e h e a r t by an ad
f o r t a l c u m powder o r s t r a i n e d meat. (pp. 143-4)
The
overwrought
novelette
failure,
about
L o o k i n g f o r Mr. C h a m b e r l a i n ' s
stories
how d i f f i c u l t
rising
is a
this
about
verses.
insight
to creating
do n o t s a t i s f y
n o v e l , which
from
everything
this
her.
L i k e the
person.
character i n f i c t i o n ,
but discovers
she
that the
She i s d i s a p p o i n t e d i n h e r
the S h e r r i f f s ,
t h a t was n o t t o l d "
show D e l
When she
she s e e s a s , "an u n r e l i a b l e
house,
Del's
birth
Fern, these d i s c o v e r i e s
i t i s t o know a n o t h e r
than
l e t t e r s , Del
a chain l e t t e r ,
t o remove c o n t r a d i c t i o n s ,
results
first
of papers:
i n f o r m a t i o n , and s m u t t y
conflicting
tries
The t e s t
i s more complex and c o n t r a d i c t o r y
three bundles
applies
to a romantic
b u t t h e s e a r c h o f F e r n ' s room t u r n s up e v i d e n c e
her which
control
belongs
o r one o f U n c l e Benny's t a b l o i d s .
imaginings.
finds
tone o f the c l i c h e s
structure
a few p o o r
(p. 2 4 7 ) .
f a c t s , and
Del's eventual
60
meeting with
artistic
Bobby S h e r r i f f
c r e a t i o n with
she
i s more i n t e r e s t e d
she
has
made
f o r c e s her
reality,
t o compare
whereupon she
i n what r e a l l y
her
discovers that
happened t h a n
i n what
up:
And what h a p p e n e d , I a s k e d m y s e l f , t o M a r i a n ?
Not t o C a r o l i n e . What happened t o M a r i a n ?
What happened t o Bobby S h e r r i f f when he had t o
s t o p b a k i n g c a k e s and go b a c k t o t h e a s y l u m ?
Such q u e s t i o n s p e r s i s t , i n s p i t e o f n o v e l s ,
(p.
209)
D e l wants h e r
she
novel
t o be
wants i t t o c o n n e c t
mediator
with
between e x p e r i e n c e
magnitude of the
entire
more t h a n
task.
She
life.
and
the
invented
In a d o p t i n g
a r t , she
but
melodrama;
the r o l e
i s conscious
i s attempting
town f r o m memory i n a f u t i l e
transcend
an
of
the
up
an
glorious effort
to
s e l e c t i v i t y which i s b u i l t
to conjure
of
into art:
And no l i s t c o u l d h o l d what I wanted, f o r what I
wanted was e v e r y l a s t t h i n g , e v e r y l a y e r o f
s p e e c h and t h o u g h t , s t r o k e o f l i g h t on b a r k o r
w a l l s , every s m e l l , pothole, p a i n , crack,
d e l u s i o n , h e l d s t i l l and h e l d t o g e t h e r — r a d i a n t ,
e v e r l a s t i n g , (p. 249)
The
all-inclusive
impossibility
the
details
but
fiction
D e l wants t o w r i t e i s a
a worthy g o a l ; out
o f t h e p a s t comes f i c t i o n
authenticity
o f Munro's own.
relationship
to her
author,
but
relationship
In t h e
of c l o s e a t t e n t i o n to
with
the
documentary
epilogue,
Del's
memories p o i n t s o u t s i d e t h e
also inside
the
t e x t to Uncle
to h i s possessions
h o a r d s memories i n t h e
same way
i n "The
as he
practical
t e x t to
the
Benny's
Flats
Road".
hoards m a t e r i a l
Del
61
things:
"He v a l u e d
pretended,
get
of
to himself
some p r a c t i c a l
f o r i t s own sake and only-
as w e l l as t o o t h e r s ,
u s e o u t o f i t " (p. 4 ) .
two g e n e r a t i o n s
material
debris
t h a t he meant t o
The
accumulation
i n U n c l e Benny's house r e s e m b l e s
of f i c t i o n
t h e raw
w h i c h D e l f i n d s r a d i a n t and e v e r l a s t i n g .
It
contrasts with
Uncle C r a i g ' s
to
s t o r e i n t h e same room w i t h
m a n u s c r i p t w h i c h she r e f u s e s
h e r own w r i t i n g :
I d i d n ' t want U n c l e C r a i g ' s m a n u s c r i p t p u t b a c k
w i t h t h e t h i n g s I had w r i t t e n . I t seemed so dead
t o me, so h e a v y and d u l l and u s e l e s s , t h a t I
t h o u g h t i t m i g h t d e a d e n my t h i n g s t o o , and
b r i n g me b a d l u c k . ( p . 62)
The
t e n d e n c y o f p r o s e t o d e a d e n what i s l i v e l y and
interesting
one
to
i n i t s pre-written
of the f i r s t
write
f o r m i n t h e w r i t e r ' s mind i s
p r o b l e m s c o n f r o n t i n g D e l when she a t t e m p t s
a novel:
Nobody knew a b o u t t h i s n o v e l .
I had no need
to t e l l anybody.
I w r o t e o u t a few b i t s o f i t
and p u t them away, b u t soon I saw t h a t i t was a
m i s t a k e t o w r i t e a n y t h i n g down; what I w r o t e
down m i g h t f l a w t h e b e a u t y and w h o l e n e s s o f t h e
n o v e l i n my m i n d . ( p . 241)
In t r a n s p o s i n g
on
the novel
f r o m an i d e a
t h e page, D e l i s f a c e d w i t h
gives
form t o l i f e ,
inclusiveness.
i n h e r mind t o words
the a r t i s t ' s
b u t i n so d o i n g ,
robs
i t of i t s
How c a n t h e w r i t e r i n t e r p r e t
forced
t o d i s c a r d so much and u s e so l i t t l e ?
claims
t o have r e s o l v e d
the
final
this
question,
dilemma: a r t
experience
when
Del never
w h i c h she r a i s e s i n
segment o f t h e work, " E p i l o g u e :
The P h o t o g r a p h e r " .
62
L I V E S ends a m b i g u o u s l y ,
parting
can
Sherriffs
g e s t u r e p r o v i d i n g a metaphor w h i c h i m p l i e s t h a t
succeed
this
y e t h o p e f u l l y , w i t h Bobby
i n communicating
"plump b a l l e r i n a "
her
artistic
vision
just
Del
as
does:
. . . he r o s e on h i s t o e s l i k e a d a n c e r , l i k e a
plump b a l l e r i n a .
T h i s a c t i o n , a c c o m p a n i e d by
h i s d e l i c a t e s m i l e , a p p e a r e d t o be a j o k e n o t
s h a r e d w i t h me so much as d i s p l a y e d f o r me,
and i t seemed a l s o t o have a c o n c i s e m e a n i n g , a
s t y l i z e d m e a n i n g — t o be a l e t t e r , o r a w h o l e
word, i n an a l p h a b e t I d i d n o t know. (pp. 249-50)
Del
does n o t u n d e r s t a n d
b u t h i s good w i l l
e x a c t l y what Bobby i s t e l l i n g
toward
her
encourages
her
tiptoe
become a w r i t e r .
and
leaves her
writing,
thereby
the
first
to
suggest
holding
and
t o make t h e e q u i v a l e n t e f f o r t
the t e x t
to
comes t h r o u g h ,
By
ending
implying a c i r c u l a r
segment.
the mystery
conflicting
and
ambiguity
possibilities
to r i s e
opening
up
to
story
of a c t u a l
manages
experience
i n suspension
n a r r a t o r , or i s the whole f a b r i c
Mystery
Benny's t a l l
by
the
tale
ambiguity
first
e n t e r the
o f Sandy S t e v e n s o n ,
on h i s f r o n t
porch.
and
Together,
which i s not o n l y d i a m e t r i c a l l y
mother's k i n d of w o r l d
child?
Is
of
imagination?
story
are
s e n s a t i o n a l h e a d l i n e s i n the t a b l o i d
keeps p i l e d
world
and
of h i s
but
also
through
strengthened
newspapers
they
opposed t o
by
raising
Uncle
a figment
b e a t i n g her
and
Is Madeleine
the t a l e
begin
l e a d i n g back
unanswered q u e s t i o n s .
Benny a r e l i a b l e
on
saying, yes,
i s about
structure
Moreover, t h i s
h i s example
with Del
a t t h e p o i n t where she
her,
suggest
he
a
Del's
i s a w o r l d whose e x i s t e n c e
63
she
denies:
"But y o u d o n ' t b e l i e v e t h a t , do y o u ? " s a i d
mother w i t h c h e e r f u l e n e r g y .
She began
e x p l a i n i n g how i t was a l l c o i n c i d e n c e ,
imagination,
s e l f s u g g e s t i o n , (pp. 9-10)
my
A l t h o u g h D e l ' s mother h a s an a l t e r n a t i v e v i s i o n o f t h e
world,
she
its reliability
belatedly
conclusion
she
i s also c a l l e d into question.
r e a l i z e s that
Madeleine i s beating
i s b a s e d on t h e c i r c u m s t a n t i a l
"You
the conclusion
o f Benny's s t o r y
go and a s k Sandy S t e v e n s o n .
s e e n them m y s e l f "
corroborate
(p. 1 0 ) .
e v i d e n c e o f marks
a ghost
story,
is
reinforced
by Ada's b e i n g
that
p o l i c e would
institute
the character
She b e l i e v e s ,
f o r every
i n the context
who reaches, t h e
Ada i s n a i v e i n
questioned
by t h e
f o r instance,
that
a s e a r c h f o r M a d e l e i n e and D i a n e
" n a t i o n - w i d e " , and bias a r a t i o n a l i s t ' s
exists
I
have b e e n u s e d t o
Madeleine beats her c h i l d .
and h e r f a t h e r .
Stevenson:
an e l e m e n t o f d o u b t , w h i c h
many ways; h e r judgement i s r e p e a t e d l y
narrator
bruises
I seen t h e b r u i s e s .
t h e i r recurrence
M a d e l e i n e and D i a n e i n t r o d u c e s
conclusion
o f Sandy
Since bruises
of
the
Diane, her
remembers n o t i c i n g on t h e c h i l d ' s l e g s . T h e s e
recall
When
faith
that
a solution
problem:
"I d o n ' t know what t h e h e s i t a t i o n i s a b o u t .
It's
c r y s t a l c l e a r t o me."
But what was c r y s t a l c l e a r t o my mother was
o b v i o u s l y h a z y and t e r r i f y i n g t o U n c l e Benny,
(p. 21)
The
ironic
r e p e t i t i o n of her phrase
"crystal clear"
64
emphasizes
the
gap
Benny r e p r e s e n t .
between t h e
In LIVES t h e r e
d i s t a n c e between us
one
p o l e , and
Uncle
By
"The
sharing
i f he
beyond
is likely
other
and
Madeleine a t the
" I d o n ' t w a l k nowhere on
(p. 1 6 ) .
that
she
community.
is
doing
she
By
her
g i v e s the
the
as
an
truth,
literary
on
experience
rather
than
of
individuals
t r a g i c o m i c as
the
store.
with
g r a v e l roads
this
unless
I have
matter-of-fact reply
fields.
isolation
g r a n t i n g her
the
neighbours
to her
suspects
intervene
to v i s i t
self-imposed
T h e r e i s more
from the
p r i v a c y she
become a c c o m p l i c e s
than
plot
Flats
demands
turns
Road
so
i n whatever
she
child.
D e m o n s t r a b l y , Ada
ignorance
Ada
grocery
a
i r o n y i n their- c o n v e r s a t i o n s i n c e the
Madeleine's
fiercely,
this,
c o u l d come a c r o s s
incidental
on
To
other.
Because
c o m m u n i c a t i o n between
M a d e l e i n e r e f u s e s Ada's i n v i t a t i o n
to"
to
people.
sometimes i n ways t h a t a r e as
m e e t i n g o f Ada
family at
t o comment
a p r i v a t e world,
i n common w i t h
of
, particularly
as
itself
Uncle
sense
q u e s t i o n o f i t s own
Each i n d i v i d u a l
were i n h a b i t i n g
a world
fails,
excuse:
Road
Road" draws a t t e n t i o n t o i t s e l f
sense of i s o l a t i o n ,
often
Flats
f a m i l y , a t the
the
however, i t a l s o r e f e r s
as
this
of the
his mail-order
human l o n e l i n e s s .
life
i s a persistent
and
them: t h e members o f D e l ' s
repeatedly raising
Flats
text;
and
the denizens
Benny and
e x t r e m e s w h i c h she
i s not
the k i n d of person
who
uses
excuse t o evade moral r e s p o n s i b i l i t y .
Madeleine of c h i l d
to p r o t e c t the c h i l d ,
b a t t e r i n g , she
and
she
wants
i s distressed
Once
to
to
65
think
that
didn't
she
I think
have r e p o r t e d
realize
d i d not
act
sooner, asking
of
i t myself?
her"
(p. 2 0 ) .
No
what i s h a p p e n i n g .
belonging
I f I'd
known t h e
wonder she
Since
She
approach Madeleine a t the
only
recalling
her
legs
her
like
scissors"
itself
madwoman!"
(p.
"So
narrator
(p.
M a d e l e i n e and
of a grotesque t a l e
alongside
our
w o r l d was
(p. 2 6 ) .
Del
(p. 2 6 ) .
powerlessness pervades
he
leaves
area
the
approaches the
a
jacket,
that
"The
true;
but
i t m i g h t be
same b u t
by
the
closeness
i s extremely
small.
sphere,
frustrates
h i s attempt
supply
a
the
Although
t o him
a city
as
map,
the
Once
Del's
heavy
t o f o l l o w d i r e c t i o n s , and
the
and
w e l l , nothing
s t a t i o n cannot
of
that
encounters
occur
like
of
F l a t s Road", i m p l y i n g
Benny i s h e l p l e s s .
city
true:
never at a l l
A nightmare sense
country, which i s h i s proper
i n the
"The
w i c k e d n e s s were g i g a n t i c
of e f f e c t i v e n e s s
city,
child
U n c l e Benny's w o r l d
the
and
abuse o f h e r
difficulties
gas
with
That
m o t h e r ' s common-sense s o l u t i o n s t o t h e
the
story,
violence
c a n n o t be
i s troubled
U n c l e Benny w o r l d where " l u c k
unpredictable"
her
asserts
the
individual's
quite
defeat.
of
"Madeleine!
that
distorted reflection,
and
creature
same
red
Even her
joke,
troubling
same"
i n her
to
never
distance
could
27)
Road" s i m u l t a n e o u s l y
lying
admits the
road
27).
i n t o a wry
In r e t r o s p e c t ,
seem p a r t
the
" g o i n g down t h e
transforms
Flats
i s slow
t o U n c l e Benny's t a b l o i d w o r l d , Ada
Finally
"Why
truth I
Madeleine i s a
grasps her.
can
herself,
his
he
works:
traffic
66
determination
rescue
ebbs away.
Diane suggests
individuals
childhood
is lost,
can
G r o w i n g up
futility
t h a t once the
i t cannot
D e l move f r e e l y
i s a process
once p r o v i d e d a c c e s s
Living
The
Body", D e l
be
o f Benny's a t t e m p t
t e n u o u s c o n t a c t between
regained.
Only
between a l t e r n a t e
of s e a l i n g
to d i f f e r e n t
to
in
worlds.
o f f the passages
spheres.
gradually v i s i t s
her
In
aunts
that
"Heirs of
the
less often:
What c o u l d I e v e r s a y ?
T h e i r h o u s e became l i k e
a t i n y s e a l e d - o f f c o u n t r y , w i t h i t s own o r n a t e
c u s t o m s and e l e g a n t l y , r i d i c u l o u s l y c o m p l i c a t e d
l a n g u a g e , where t r u e news o f t h e o u t s i d e w o r l d
was n o t e x a c t l y f o r b i d d e n , b u t became more
and more i m p o s s i b l e t o d e l i v e r , (p. 59)
But
news o f t h e w o r l d
of the
individual
messengers.
later
enter except
the r o l e
i n "The
becomes a
Flats
letter
crucial
p r e l i m i n a r y s t e p on
letter
f o r him,
t h a t he
a woman whom U n c l e
account
of the
of Del's
brings
Uncle
intermediary,
o f messenger i s one
dictates
Benny has
t h e way
and
a role
one
Del's
w h i c h she
takes
Uncle
never
can
met.
By
its
writer.
a home t o
exaggerated
p r o v i d e f o r the
itself
as much a f i c t i o n
By w r i t i n g
Madeleine
she
to becoming a
Del w r i t e s o f f e r s
t h a t he
stories.
Benny and
and
of
D e l becomes h i s a m a n u e n s i s , a
comforts
later
means o f
writer.
mail-order bride, i t proclaims
any
by
consciousness
Road", when she w r i t e s
Benny's
The
imprisoned
f u n c t i o n s as a c h i l d ,
when she
Early
cannot
In f a c t ,
most i m p o r t a n t
on
o u t s i d e the
the
letter
together, Del a c t s
i s w e l l equipped
as
which
as
to p l a y because
of
67
her youth
and a d a p t a b i l i t y .
She h a p p i l y d i v i d e s
her time
between U n c l e Benny's home and h e r own i n "The F l a t s
Road",
between h e r home and J e n k i n s Bend i n " H e i r s t o t h e L i v i n g
Body", and between h e r home and Naomi's i n "Changes and
Ceremonies".
D e l sees h e r s e l f
as o c c u p y i n g a
p o s i t i o n with access t o p r i v i l e g e d
seemed t h e n t h a t
nobody e l s e
what a p e r s o n was, b u t me"
occupied
special
information: " I t often
knew what r e a l l y went on o r
(p. 4 5 ) . B e c a u s e s h e h a s
more t h a n one w o r l d ,
and p e o p l e w i t h
differing
v i e w p o i n t s have c o n f i d e d i n h e r , s h e i s u n i q u e l y
t o be a w r i t e r
In
and s p e a k f o r t h e p e o p l e
" E p i l o g u e : The P h o t o g r a p h e r " ,
concept
of writing
imagining
discovering.
youthful
from
t o an a p p r e c i a t i o n
Summarizing h e r f i r s t
tendency
o f h e r community.
she e x p l a i n s how h e r
g r a d u a l l y expanded
and i n v e n t i n g
qualified
an e m p h a s i s on
o f o b s e r v i n g and
n o v e l , she r i d i c u l e s h e r
to exaggerate:
For t h i s n o v e l I had changed J u b i l e e , t o o , o r
p i c k e d o u t some f e a t u r e s o f i t and i g n o r e d
o t h e r s . . . . P e o p l e i n i t were v e r y t h i n ,
l i k e C a r o l i n e , o r f a t as b u b b l e s .
T h e i r speech
was s u b t l e and e v a s i v e and b i z a r r e l y s t u p i d ;
t h e i r p l a t i t u d e s c r a c k l e d w i t h madness.
The s e a s o n was a l w a y s t h e h e i g h t o f s u m m e r — w h i t e
b r u t a l h e a t , dogs l y i n g a s i f dead on t h e
s i d e w a l k s , waves o f a i r s h u d d e r i n g , j e l l y l i k e
o v e r t h e empty h i g h w a y , (p. 243)
Although
from
Del i s discussing
h e r own n o v e l , s h e a l l u d e s
t h e d i s t a n c e o f memory f u r t h e r
Unlike her l e t t e r
does n o t a p p e a r
removed by i r o n y .
on U n c l e Benny's b e h a l f , t h e n o v e l
i n t h e frame,
except
to i t
itself
f o r an o c c a s i o n a l
68
phrase,
belly"
" h e r womb s w o l l e n l i k e
(p. 2 4 3 ) ,
recalls
itself
to display
her p l o t ,
t o be
writers,
a hard y e l l o w gourd
i t s h y p e r b o l i c tone.
c h a r a c t e r s and
style,
w i t h the r e s u l t
only are there f a u l t s
that
i t never
in style,
the S h e r r i f f
i s the o r i g i n a l
does n o t know them w e l l .
because
tell
for
of t h e i r
t h i n g s happening
explain"
(p. 2 4 4 ) .
removed f r o m
has
is
also
embodies
senses
on
it.^
life.
the
level
The
The
is far
a r t , a process
as i m a g i n a t i o n .
of the i d e a l
SEVEN GABLES.
novel
Her
artist.
suggests
that
imaginary c h a r a c t e r s , but
vagueness of
M o r e o v e r , he b e a r s
literary
about
He
and
not o n l y r e c o r d experience
photographer
the u l t i m a t e t r u t h
to
reasons
of metaphor.
Del
even
but
can
he
portraits
a c l o s e resemblance
H a w t h o r n e ' s d a g u e r r e o t y p i s t whose p i c t u r e
THE
into
o f t h e word, o b s e r v e r
His photographs
shows t h e c h a r a c t e r i s t i c
reveals
tries
fantasizing
as w e l l
the q u a l i t i e s
create powerful
drawn f r o m
she
t o them
t o know, b u t c o u l d n o t
Such s e l f - i n d u l g e n t
thinking
i n the
f o r her n o v e l ,
i t s e x c e s s e s , however, D e l ' s a t t e m p t e d
interpret
already
the s t o r y
Not
Although
i s only attracted
the t r a n s f o r m i n g of r e a l i t y
a seer i n both
visionary.
other
subject.
impetus
I seemed v a g u e l y
a dreamlike coherence
photographer
from
them: " A l l p i c t u r e s .
w h i c h demands a n a l y t i c a l
Despite
She
s t r a n g e n e s s , and
i s a daydream a b o u t
shows
but a l s o d e f i c i e n c i e s
understanding of her
Del
Del
compels b e l i e f .
would-be n o v e l i s t ' s
family
As
her novel
p a s t e d t o g e t h e r from borrowings
i n her
of the
not
to
judge
i t s s u b j e c t i n THE
HOUSE OF
69
Del
sees her
implausible
death
C a r o l i n e . Now
fact",
as
to her,
Del
Wawanash R i v e r
her
bathtub"
her
the
effect
i f she
243-4).
The
C l e a r l y , she
the
plot
water
have on
was
begin
level
of
of
to
occur
the
Caroline's suicide:
marked s h i f t
and
this
or
sexual
initiation
and
she
a t t i t u d e to
In a c c e p t i n g
takes
first
progress
her
important
herself
to t e s t
she
s e e n h e r s e l f as
fantasy
the
Bobby S h e r r i f f
c o m m o n a l i t y , he
she
as
at
judges
failing,
this
with
her
final,
Whereas she
must see
can
Mr.
approach to w r i t i n g
invitation
artistic
against
step:
her
on
to a r t .
onto
she
reality.
outsider, with
hails
that
the
beyond f a n t a s y
Bobby S h e r r i f f s
an
than
rarely
process
in
Garnet, always i n s i s t i n g
unrepentant,
can
the
epilogue,
attempt
note i s a s i g n of change.
before
audience; but
i n her
of the
s i n c e she
fundamental wrongness o f her
she
drowning h e r s e l f i n
i n terms of p a s s i n g
i s undamaged and
has
to her
low
considers
a failure,
through her
porch,
heroine,
i r o n y a g a i n s t h e r s e l f more s h a r p l y
behaviour
fiction
the
"niggling considerations
passage i s t y p i c a l
Chamberlain, J e r r y Storey,
she
by
i n summer w i l l
uses
self-critical
pass
f o r her
f a c e as
novel-writing
past
arranged
has
i s beset
in this
she
before.
she
in
i n t o i t s d e p t h s , C a r o l i n e w o u l d have t o l i e
(pp.
novel
which
most c l e a r l y
o f m o v i n g , head bowed, m o o n l i g h t - n a k e d ,
acquiescent,
down on
failings
common-sense o b j e c t i o n s
s u c h as
"Instead
novel's
the
forces
Until
the
the
then,
community
b a s i s of
a former u n i v e r s i t y student,
and
she
as
their
as
a
70
prospective
one.
He
college
must
look
you
important.
. . . You
to
brain"
use
the
n o u r i s h m e n t and
c a k e he
has
herself;
her
gives
after
247-8).
ordinary
i s enabled
unembellished
p h o t o g r a p h e r s and
suicidal
by
h i s t i p t o e s , he
me,
me
in fiction.
use
therefore,
find
her
a crucial
artistic
p e o p l e i n her
d e p t h and
one
him
melodrama o f
as
two
artist.
into
implies
cloaked
When
Before
notice
and
t h a t comes o f b e i n g
recognize
experience.
Whereas t h e
heavy-handed
symbol
rooted
in
p h o t o g r a p h e r i s an
artist,
she
a t t i t u d e to
f r o m w h i c h t o make f i c t i o n
the
the
things:
must change h e r
immediate v i c i n i t y ,
p a r a d o x i c a l , much l i k e
eating
closing incident i s ,
f o r Del
of the
on
Bobby's c a k e
i s saying
authenticity
and
takes
want
to express h i s t r u t h i n
the
The
v o i c e , she
vitality
very
nymphomaniac h e r o i n e s .
on
to
b r a i n i f you
i n Del's
icing,
Bobby r i s e s
and
is
go
Bobby's d i a t r i b e
t h a t she
Offered without
life
That
the
b r a i n culminates
t h e r e f o r e , she
"When you
your d i e t .
baked, s u g g e s t i n g
fiction.
advice:
have t o n o u r i s h
(pp.
the
her
can
the
i n them
the
w h i c h has
the
personal
obvious
Bobby S h e r r i f f
and
i s subtle
p e o p l e Munro d e s c r i b e s
in
"Open L e t t e r " :
One o f t h e t h i n g s f a s c i n a t i n g t o a f i c t i o n
w r i t e r a b o u t s u c h towns i s t h e way p e o p l e l i v e
i n the eyes of o t h e r s .
E v e r y l i f e i s a drama,
e v e r y b o d y i s on s t a g e .
People are c a s t , they are
d e f i n e d , p l a c e d i n r o l e s w h i c h t h e y tamper w i t h
at t h e i r p e r i l .
I t i s not t r u e t h a t such a
p l a c e w i l l not a l l o w e c c e n t r i c i t y .
Oddity
i s n e c e s s a r y , j u s t as much as s i n i s ; i t i s j u s t
t h a t b o t h t h i n g s must be c l a s s i f i e d ,
declared
and a p p r e c i a t e d , and t h a t t h e r e i s no way b a c k
71
when t h i s r o a d i s t a k e n .
Within these f i r m
d e f i n i t i o n s — a n d t o u c h i n g them, p e r h a p s a t h a r d l y
any p o i n t s — l i v e b e w i l d e r e d and c o m p l i c a t e d
people.
They a r e d r i v e n t o c u r i o u s e s c a p e
h a t c h e s , sometimes, o r e x a g g e r a t e d
performances.
Which i s s o m e t h i n g f i c t i o n c a n be made f r o m . 9
Bobby S h e r r i f f
the r o l e
i s a p r i m e example o f a man who h a s t a k e n on
o f town madman, and i s now t r a p p e d w i t h i n i t .
work p r e o c c u p i e d
storyteller.
explanation
life,
with
storytelling,
He o f f e r s
a peculiarly
In a
Bobby i s t h e l a s t
unsatisfactory
f o r h i s madness and w i s h e s D e l l u c k w i t h h e r
a final
b e n e d i c t i o n which completes
the l i t e r a r y
a p p r e n t i c e s h i p begun t h e summer when she was a c h i l d
about
t o e n t e r g r a d e f o u r , and U n c l e
Benny demanded an answer t o
the q u e s t i o n ,
(p.
"Can y o u w r i t e ? "
10).
72
Notes
1
A l i c e Munro, LIVES OF GIRLS AND WOMEN ( T o r o n t o :
M c G r a w - H i l l R y e r s o n , 1 9 7 1 ) , p . 1. S u b s e q u e n t r e f e r e n c e s
appear i n t h e t e x t .
2 .
James P o l k , "Deep Caves a n d K i t c h e n L i n o l e u m , " r e v . o f
L I V E S OF GIRLS AND WOMEN, by A l i c e Munro, CANADIAN
LITERATURE, No. 54 ( 1 9 7 2 ) , p . 103.
3
J.R. (Tim) S t r u t h e r s , " A l i c e Munro a n d t h e A m e r i c a n
S o u t h , " THE CANADIAN REVIEW OF AMERICAN STUDIES, 6 No. 2
( 1 9 7 5 ) , p . 19 7; r p t . i n THE CANADIAN NOVEL HERE AND NOW, e d .
J o h n Moss ( T o r o n t o : N.C. P r e s s , 1 9 7 8 ) , p . 122.
4
L i n d a M a r g a r e t L e i t c h , " A l i c e Munro's F i c t i o n :
E x p l o r a t i o n s i n Open Forms," M.A. t h e s i s U n i v . o f G u e l p h
1980, p . 45.
5
M a r g a r e t L a u r e n c e , "Time a n d t h e N a r r a t i v e V o i c e , " i n
THE NARRATIVE VOICE, e d . J o h n M e t c a l f e ( T o r o n t o : M c G r a w - H i l l
R y e r s o n , 1 9 7 2 ) , p . 128.
6
A l f r e d T e n n y s o n , THE PRINCESS I . 134-5 i n THE POETRY
OF TENNYSON, e d . C h r i s t o p h e r R i c k s (London: Longmans, 1 9 6 9 ) ,
p . 755.
7
G e o f f Hancock, e d . , MAGIC REALISM: AN ANTHOLOGY
( T o r o n t o : A y a P r e s s , 1 9 8 0 ) , p . 10.
8
See a l s o , B r a n d o n C o n r o n , "Munro's W o n d e r l a n d , "
CANADIAN LITERATURE No. 78 ( 1 9 7 8 ) , p . 110 .
9
A l i c e Munro, "An Open L e t t e r , " J U B I L E E No. 1 ( 1 9 7 4 ) ,
p . 6.
73
Chapter
Three
Relinquishing Authority
SOMETHING, p u b l i s h e d between L I V E S and WHO,
story
collection
whose o r g a n i z i n g p r i n c i p l e
i s a short
i s not
1
immediately
as D e l ' s
recount
apparent.
story
and WHO
the s t o r i e s
separate
stories
uncertain
Whereas a s i n g l e v o i c e u n i f i e s
as Rose's, a v a r i e t y
i n SOMETHING.
are linked
relations
through
the recurring
Janus,
i n two d i r e c t i o n s :
the Jordans
a r e more l i k e
"Winter
the
looks
of r e g r e t or bafflement.
Rose, t h e c e n t r a l
Wind" and "The Ottawa V a l l e y " ,
Lady", t h e
more d i s i l l u s i o n e d
suffer
back t o a f a m i l y
c h a r a c t e r o f WHO.
the r u r a l
Del Jordan.
disappointment
lovers,
thereby
learning
pattern
w h i c h Munro l a t e r
s e t t i n g and
from
Me Yes o r No" and "The
new p r o t a g o n i s t s who b e g i n
than
In
members a r e f a m i l i a r
Munro's p r e v i o u s w o r k s , b u t i n " T e l l
Del,they
Like
o f DANCE and L I V E S , and a h e a d t o women who
f a m i l y d o m i n a t e d by i t s f e m a l e
Spanish
theme o f
between t h e g e n e r a t i o n s and t h e s e x e s ,
tone
like
of voices
Nevertheless, the
as w e l l a s a p e r v a d i n g
SOMETHING
LIVES
t o emerge a r e
Unlike the i r r e p r e s s i b l e
a t t h e hands o f h u s b a n d s and
painful
lessons i n s e l f - r e l i a n c e ,
brings to i t s f u l l
development i n
WHO.
Not
only the s e n s i b i l i t y
c h a n g e s i n SOMETHING, b u t a l s o
of the c e n t r a l
t h e tone
In h i s 1982 i n t e r v i e w w i t h A l i c e
a
character
of the n a r r a t i v e .
Munro, T i m S t r u t h e r s
74
comments:
"SOMETHING I'VE BEEN MEANING TO T E L L YOU
establishes
a relatively
y o u r work."*'
reflected
talks
is
new and more m y s t e r i o u s
The m y s t e r y t h a t
Struthers
i n t h e form o f t h e s t o r i e s .
about h e r sense o f l i f e
tone f o r
discerns i s
A l t h o u g h i n LIVES D e l
as a m y s t e r i o u s p r o c e s s ,
LIVES
n o t a m y s t e r i o u s book b e c a u s e D e l e s t a b l i s h e s h e r s e l f a s
a reliable
truth
narrator,
of her past.
with her point
which remains
superior
a young w r i t e r
Therefore,
o f view.
separate
to i t since
b e n t on g e t t i n g a t t h e
the reader
She t e l l s
f r o m t h e n a r r a t i v e and s l i g h t l y
this
i s her older
and w i s e r
period
however, t h e n a r r a t o r s
are less r e l i a b l e
happened become b l u r r e d .
express
i n her l i f e .
self
I n SOMETHING,
guideposts;
between what d i d happen and what m i g h t
optimistically
believes
himself
what happened i n a v o i c e
remembering an e a r l i e r
distinctions
can o r i e n t
Compared t o t h e y o u t h f u l
that
she w i l l
the t r u t h , these narrators
eventually
a r e jaded
have
Del,
who
learn to
and c o n f u s e d ,
more aware o f t h e l i m i t a t i o n s o f s t o r y t e l l i n g
than i t s
possibilities.
One
the
reason
earlier
creative
f o r t h e d i f f e r e n c e s between SOMETHING and
books i s t h a t
title
evolved
during
e x p e r i m e n t a t i o n when Munro a t t e m p t e d
form from t h e s h o r t
the
i t was w r i t t e n
story
story to the novel.
intending
into a short
a period of
t o change h e r
A l t h o u g h s h e began
i t t o be a n o v e l ,
i t gradually
story:
You know I r e a l l y wanted t o w r i t e a n o v e l o f t h a t
story.
Then i t j u s t s o r t o f b o i l e d down l i k e
75
maple s y r u p .
A l l I had l e f t was t h a t s t o r y . F o r
me, i t w o u l d have been d a r i n g t o s t r e t c h t h a t
material out i n t o a f u l l novel.
I w o u l d n ' t be
s u r e i t had t h e s t r e n g t h .
So I d o n ' t t a k e t h a t
c h a n c e .3
A l t h o u g h Munro's d e s c r i p t i o n o f h e r s e l f a s a t i m i d
lacking
is
writer
t h e n o v e l i s t ' s c o u r a g e i s t o o s e l f - d e p r e c a t i n g , she
probably r i g h t i n choosing
the short
s t o r y as t h e b e t t e r
vehicle
f o r t h e e f f e c t s she wants t o a c h i e v e .
writing
i n chapters
proved
For her,
disappointing:
But t h e r e a l w a y s comes a p o i n t where e v e r y t h i n g
seems t o be g e t t i n g r e a l l y f l a t .
You d o n ' t f e e l
the t e n s i o n .
I c a n go on w r i t i n g i t so many words
a d a y , and I p r e t t y w e l l know where i t h a s t o go,
b u t I d o n ' t f e e l t h i s p u l l i n g on t h e r o p e t o g e t
t o t h e o t h e r s i d e t h a t I have t o f e e l .
And so
I a l w a y s do t h e same t h i n g .
I go b a c k .
I chop
i t up. I make i t i n t o t h e s e t h i n g s t h a t
I can . . . . ^
Her
dissatisfaction
the
tension
story.
only
p r o d u c e d by t h e g r e a t e r
stems f r o m
the w r i t e r ' s
f e e l i n g s b u t a l s o t h e e f f e c t on t h e
the abrupt
switch
from e x p e r i e n c e
s t o r y r e c a l l e d from t h e p a s t .
juxtaposing
fit
together
The
greater
expressed
describe not
The c h o p p i n g Munro m e n t i o n s i s e v i d e n t
time s h i f t s ,
She b u i l d s
memory and t h e p r e s e n t ,
complexity
i n her increased
experiments with voice
i n sudden
t o a dream o r
t e n s i o n by
nudging the reader t o
t h e f r a g m e n t s and so d i s c o v e r
formal
losing
compression o f the short
The a n a l o g y o f p u l l i n g on a r o p e h e l p s
reader.
a
with chapter w r i t i n g
their
o f Munro's l a t e r
meaning.
writing,
u s e o f embedded s t o r i e s , and
and s e l f - c o n s c i o u s
narrators,
76
introduce ambiguity into
disguised
by a c a r e f u l
reassures
and
factual
Explaining
of " T e l l
indirectly
structure
Me
Yes
confiding
how
which
i s being
told
h e r i m a g i n a t i o n works,
o r No"
h e r own
nature i s
of everyday d e t a i l
c o n v i n c e s t h e r e a d e r t h a t he
truth.
narrator
s t o r i e s whose f i c t i o n a l
sounds
artistic
remarkably
the
like
Munro
method:
Would you l i k e t o know how I was i n f o r m e d o f y o u r
death?
I go i n t o t h e f a c u l t y k i t c h e n , t o make
m y s e l f a cup o f c o f f e e b e f o r e my t e n o ' c l o c k
class.
D o d i e C h a r l e s who i s a l w a y s b a k i n g
s o m e t h i n g has b r o u g h t a c h e r r y pound c a k e .
(The t h i n g we o l d p r o s know a b o u t , i n t h e s e
f a n t a s i e s , i s the importance of d e t a i l ,
s o l i d i t y ; y e s , a c h e r r y pound cake.) (p. 109)
Undoubtedly,
cherries
t h e r o u n d n e s s , r e d n e s s , and
compel
cake, but a l s o
article
not only
i n the d i s c o v e r y of the l o v e r ' s
revelation,
homely d e t a i l ,
the t i t l e
an
a millionaire's
mansion.
These
an e l e m e n t
factual
of doubt.
of r e a l i t y ,
Contrary
t o Munro's a s s e s s m e n t
willing
Blaikie
Noble's
The
bus
details
but i s reminded
to take a chance,
to take r i s k s
The
Hill,
reader i s p e r m i t t e d the
that
of h e r s e l f
i t i s an
illusion.
as a w r i t e r
i n SOMETHING she shows
t o push
and
promote
town, b u t t h e town's name, Mock
illusion
hesitates
the cake.
Indian graveyard, limestone gardens,
i n an a c t u a l
introduces
d e a t h i n an
o f Munro's n a r r a t i v e t e c h n i q u e .
f o r example,
passengers tour
belief
of the
made c o n v i n c i n g by means o f t h e
i s typical
story,
of
i n the a u t h e n t i c i t y
f r o m t h e newspaper wrapped a r o u n d
surprising
In
belief
sweetness
a t the l i m i t s
of
who
herself
storytelling.
77
As
with
as
the t i t l e
suggests,
meaning and t e l l i n g ,
the c o l l e c t i o n
e x p l o r i n g the paradox o f t e l l i n g
t h e means o f h i d i n g m e a n i n g , and s i l e n c e
revelation.
Accordingly,
disclosures
are less
omits:
guilt
over
similarly
infer
significant
Char's death.
more t h a n
t h e statements she
her j e a l o u s y o f Char, her
" S o m e t h i n g " i s much
a woman j i l t e d .
E t discovers r a t poison
narrative
s t o r y f r o m DANCE
Possibilities
i n a kitchen
The r e a d e r
of "Postcard",
town, i s k e p t
The
which a l s o concerns a love
a small
to
f o r g e t t h a t he i s engaged
transparent
Been M e a n i n g t o T e l l
issue of f i c t i o n
cupboard;
i s invited to
one p o s s i b l e n a r r a t i v e s e q u e n c e .
in
I've
than
an e a r l i e r
i s i l l ; Char i s unhappy.
a s t h e means o f
s t o r y , E t ' s major
Structurally
"Postcard",
concerned with
multiply:
Arthur
i n the t i t l e
o f her love f o r Arthur,
more complex t h a n
the
i s preoccupied
t o encourage the reader
i n reading
a story;
"Something
You", however, d e l i b e r a t e l y
versus
f a c t when Char i s f o u n d
" T h e r e was no f u s s a b o u t t h e c a u s e o f d e a t h a s t h e r e
stories"
committed
affair
(p. 2 3 ) .
Blaikie
Noble, over
suicide,
attends
h e r f u n e r a l and k e e p s h i s
raises
dead:
is in
whom Char may have
remorse, i f any, t o h i m s e l f :
He had come b a c k t o Mock H i l l on t h e d a y Char was
found.
A few h o u r s t o o l a t e , l i k e some s t o r y .
E t i n . h e r n a t u r a l c o n f u s i o n c o u l d n o t remember
what i t was. Romeo and J u l i e t , she t h o u g h t
later.
B u t B l a i k i e o f c o u r s e d i d n o t do away
w i t h h i m s e l f a f t e r w a r d s , he went b a c k t o
T o r o n t o " (p. 2 3 ) .
Comparing
illusion
and r e a l i t y
i n this
f a s h i o n demonstrates
78
how d i f f i c u l t
experience
the
as w e l l as i n s t o r i e s .
illusion
The
i t i s t o know what i s t r u e i n a c t u a l
Separating the t r u t h
becomes t h e p r o t a g o n i s t ' s c o m p e l l i n g
and w r i t i n g
writer,
Hugo, t h r o u g h
married
t o him.
fiction.
"Material"
of a former
biography
She r i d i c u l e s
w i f e , the legend
the capsule biography
of l i t e r a r y
the h a l f - l i e s ,
c h i d e s him f o r l e a v i n g
he-man, w h i c h t h e
o f Hugo:
he i s a t p a i n s
o u t h i s former
to l i s t .
j o b as
One a f t e r
self-portrait
his
ex-wife,
he h a s p r o d u c e d
he i s s e l f i s h ,
irresponsible,
admits
having
a "filthy
participated
transforming Dotty,
into
as
a fiction.
who
29).
masculine
another, the
w i t h him i n
the f l a t t e r i n g
for publication.
unsympathetic,
moral
(p.
examination
n a r r a t o r ' s memories o f t h e p e r i o d when she l i v e d
a Vancouver apartment c o n t r a d i c t
"But
the a b s u r d i t i e s "
marker e v e n t h o u g h he p r e f e r r e d i t t o t h e r o b u s t l y
occupations
which
To t h e j a u n d i c e d e y e
promotes, i s n o t a t r u e p i c t u r e
t o the l i e s ,
examines a
t h e e y e s o f a n a r r a t o r who was once
a c c o m p a n i e s one o f h i s s h o r t s t o r i e s .
She
task.
n a r r a t o r s i n SOMETHING c o n s i d e r t h e e t h i c s o f
storytelling
listen
from
idiot"
According to
exploitive,
(p. 4 1 ) ;
yet,
she
w i t h him i n t h e game o f
lived
i n t h e basement
apartment,
L i k e Hugo, t h e n a r r a t o r r e f e r r e d
to Dottie
" t h e - h a r l o t - i n - r e s i d e n c e " and h e r mother a s " t h e G r e e n
Hornet".
B u t a s she came t o know D o t t y
reluctant
t o make t h e s e
Hugo: " I g o t f o n d e r
b e t t e r , s h e grew
jokes or r e p o r t Dotty's
of Dotty,
used
s t o r e up and r e p e a t what s h e s a i d "
to her, less
remarks t o
l i k e l y to
(p. 3 7 ) . B e c a u s e she was
79
kinder
to D o t t y , the
superior;
relative
story
now,
narrator
however, she
merits
Hugo has
in light
written
r e g a r d e d h e r s e l f as
i s forced
of
an
about
Hugo's
to re-examine
astonishingly
their
perceptive
Dotty:
T h e r e i s D o t t y l i f t e d o u t o f l i f e and h e l d i n
l i g h t , suspended i n the m a r v e l l o u s c l e a r
j e l l y t h a t Hugo has s p e n t a l l h i s l i f e l e a r n i n g
how t o make.
I t i s an a c t o f m a g i c , t h e r e i s no
g e t t i n g a r o u n d i t ; i t i s an a c t you m i g h t s a y ,
of a s p e c i a l , unsparing, unsentimental
l o v e " (p. 43) .
The
r e v e l a t i o n i n Hugo's s t o r y
of
for
love
surprise.
writing
takes
the
a manifestation
t h a t what she
he
has
as
l u m i n o u s as
position
as
narrator's
but
she
one
of
f o r D o t t y was
making h e r
"clear j e l l y " .
a concluding
earlier
This
love",
narrator
several
to the
references
Magic a l s o o c c u r s
Lougheed r e a c t s
process
therefore,
to
the
books on
lapses
are
spring
i t is a
explain
the
perceptions,
phrase,
t o magic i n t h i s
its
the
enabling
does n o t
i n " W a l k i n g on
of
e m p h a s i z e d by
i s the
i n the
Dotty,
defense
statement which r e v e r s e s
The
implies
i n t o a s t o r y which i s
ways i n w h i c h Hugo's a r t c h a n g e s h e r
alludes
she
crimes against
is
unexpected ending;
Hugo's
mere
d e c l a r a t i o n t h a t Hugo's m o r a l
necessity.
capacity
calling
convincing
Hugo's s t o r y o f D o t t y
launches the
subtle
by
By
"unsentimental
r i g h t to s p e c i a l status
indefensible.
structural
by
unsuspected
Whatever Hugo's p a s t
redeemed h i m s e l f
artist's
which
of
herself felt
sentimentality.
the
narrator
an
" a c t of
magic"
volume.
Water", when
Mr.
h i s young f r i e n d Eugene's
80
shelves:
Mr. L o u g h e e d ' s e y e s h a d s t r a y e d t o a s h e l f o f
a n o t h e r k i n d o f books Eugene r e a d , w h i c h d i d n o t
seem t o him t o t i e i n t o o r e a d i l y w i t h t h e f i r s t
kind.
These books were by and a b o u t p e o p l e who
made p r o p h e c i e s , t h e y were a b o u t a s t r a l b o d i e s
and p s y c h i c e x p e r i e n c e s and s u p e r n a t u r a l powers
and e v e r y k i n d o f hoax o r m a g i c , i f t h a t was what
you wanted t o c a l l i t . ( p . 74)
By
cataloguing
t h e books' c o n t e n t s ,
suggests the p a r t i c u l a r ideas
reasoned response
intellectual
to l i f e ,
the narrator
which t h r e a t e n
Mr. L o u g h e e d ' s
b u t a l s o i n v o k e s t h e changed
a t m o s p h e r e o f t h e d e c a d e , summed up by t h e k i n d
o f books w h i c h many young p e o p l e were r e a d i n g .
hippie
place
trio,
Calla,
the story
sixties.
Since
help
Eugene's
and r e l a t e d m a t t e r s s h a r e h i s s h e l v e s
with the philosophical writings
reflect
Like the
Rex and R o v e r , books on t h e o c c u l t
i n the nineteen
books on m y s t i c i s m
Teilhard
not only
de C h a r d i n , t h i n k e r s
the c o n t r a d i c t i o n s
o f H e i d e g g e r , K a n t , and
Mr. Lougheed a d m i r e s ,
i n Eugene's p e r s o n a l i t y
Mr. L o u g h e e d .
dialectic
between r e a s o n and u n r e a s o n , b u t t o Eugene t h e two
are not necessarily exclusive.
replying
t o Mr. L o u g h e e d ' s s u g g e s t i o n
on
water
i s some k i n d
of
joke"
(p.
of joke:
in
life
He embraces
isa
paradox,
that h i s plan
" I t could
t o walk
be, a s e r i o u s
kind
74).
Eugene seems t o be a d v o c a t i n g
negative
druggist,
which
discomfit
states
To t h e r e t i r e d
they
capability:
"that
something
like
Keats'
i s when man i s c a p a b l e o f b e i n g
uncertainties, Mysteries,
d o u b t s , w i t h o u t any i r r i t a b l e
81
reaching
aptly
after
Keats'
t h e detachment o f those
traditional
course
the r e s p o n s i b i l i t y
friendship.
advocated
tries
epithet " i r r i t a b l e "
The s t a t e
a r o u n d h i m a s he
o f a man o f good w i l l ,
pursues
and assumes
with
o f mind e n v i s i o n e d by K e a t s and
by Eugene i s b e y o n d Mr. L o u g h e e d , a l t h o u g h he
because o f h i s i n s t i n c t i v e
f o r Eugene.
m a g i c , he c a n n o t
"Using
attempts t o
f o r Eugene's w e l l - b e i n g t h a t goes
t o understand
respect
this
& reason".5
d e s c r i b e s Mr. L o u g h e e d ' s e x a s p e r a t e d
penetrate
the
fact
Attempting
t o r e a d Eugene's books on
make o u t what t h e young man s e e s
a word o u t o f h i s own y o u t h ,
had h i m stumped"
outworn r u r a l
he t o l d
( p . 7 4 ) . The word
man a t odds w i t h
now
lives.
i n them:
Eugene t h a t a l l
"stumped" w i t h i t s
connotations, mirrors the outdated
old
Again
l i k i n g and
t h e u r b a n young p e o p l e
v i e w s o f an
among whom he
i n " T e l l Me Yes o r No", t h e n a r r a t o r d e s c r i b e s
books on magic i n B a r b a r a ' s
Book M a r t :
O t h e r books d e a l w i t h m a g i c , t h e r e a r e r e a l l y
h u n d r e d s o f books a b o u t w i t c h e s , s p e l l s ,
c l a i r v o y a n c e , r i t u a l s , a l l k i n d s o f t r i c k s and
w o n d e r s , (p. 119)
The
list
reader
of subjects contained
against comfortable
reality
The
t o what i s r e a d i l y
assumptions t h a t would
limit
explainable.
same s t r a t e g y o p e r a t e s
Families",
i n t h e s e books warns t h e
i n "Forgiveness i n
i n w h i c h a d y i n g woman m i r a c u l o u s l y r e c o v e r s
a heart attack.
T o l d from
from
the b i a s e d p o i n t o f view o f her
82
daughter,
grave
the
story relates
t h a t d o c t o r s and
the n i g h t .
As
how
nurses
t h e woman's c o n d i t i o n i s so
do
not
expect
the n a r r a t o r keeps v i g i l
her
i n the h o s p i t a l ,
ne'er-do-well
b r o t h e r , a member o f an unnamed
cult,
with h i s "brother p r i e s t s "
arrives
conducting
insists
upon
m o t h e r . N e x t m o r n i n g , t h e m o t h e r ' s c o n d i t i o n has
improved
relief
and
w h i c h he
religious
heal h i s
and
ritual
and
her
claims w i l l
greatly,
a prayer
to survive
the n a r r a t o r i s l e f t
disappointment.
w i t h mixed f e e l i n g s
Although
she
p r e s e n t s her
as a s e l f i s h
dilettante
whose e n t h u s i a s m s a r e
short-lived,
she
be
cannot
sure
n o t worked magic upon t h e i r
narrator's
exasperated
to a t t r a c t
tone
she
fails
her
p r i d e which r e s u l t s
Instead,the
interested
s t o r y has
brother-sister
differences
the
Along
suffers
t h e blow t o
brother's magical
success.
Munro i s l e s s
i n e x p l o r i n g the dynamics o f
this
Calling
and
attention
actual
the n a r r a t o r d i r e c t s
convention
i n t o bad
narrator's
her
at a distance,
took
and
sister
attention
toward
good s i s t e r
and
her
the
the
Reduced
to
bad
good b r o t h e r , u s i n g p r i d e , t h e
b e s e t t i n g s i n , to j u s t i f y
the
switch.
similar
and
"Winter
lines,
the
s i m u l t a n e o u s l y , employs
transforms
and
to
place
outcome o f
of r e v e r s i n g s t e r e o t y p e s .
story
and
the
t h a t events
of f i c t i o n ,
essence,
brother
keeps the r e a d e r
between t h e e x p e c t e d
conventions
shallow
Since
a i r of a r t i f a c e .
relationship.
mother's i l l n e s s ,
its
s i c k mother.
i n c o n v i n c i n g the reader
as d e s c r i b e d , t h a n
narrative
an
brother
t h a t h i s i n c a n t a t i o n s have
sympathy when she
from
of
"Memorial"
Wind"
also
83
examine p r o u d
than
individuals
submitting
periodic
to i t .
feelings
b e n t on c o n t r o l l i n g
The n a r r a t o r
life
rather
o f "Memorial" admits t o
of helplessness:
Compared t o J u n e , she d i d l i v e i r r e s p o n s i b l y .
E i l e e n had t o s e e t h i s , she
had t o a d m i t i t .
Her l a z y g a r b a g e a l l thrown t o g e t h e r , h e r
cupboards under t h e i r s u r f a c e t i d i n e s s b u r s t i n g
w i t h c h a o s , (pp. 209-10)
Although
she c a s t i g a t e s
everyday r o u t i n e ,
way o f l i f e
herself
Eileen
i s superior
f o r her f a i l u r e s
i n managing
i s not convinced that her s i s t e r ' s
to hers:
H e r e was a s y s t e m o f d i g e s t i o n w h i c h f o u n d
everything to i t s purposes.
I t stuck a t nothing.
Japanese gardens, p o r n o g r a p h i c movies,
accidental death.
A l l o f them a c c e p t e d , chewed
and a l t e r e d , a s s i m i l a t e d , d e s t r o y e d , (p. 216)
June's
consumer-like determination t o savor a l l a v a i l a b l e
experiences
Eileen's
i s a p p a l l i n g when i t e x t e n d s t o h e r s o n ' s
contrasting
helplessness
necessary accomodation
mortality
and g r i e f .
Life
as f i c t i o n
life,
f o r instance,
haphazard
quality
grandmother
the r e s t
consequences
her
first
a p p e a r s a humane and
to the inescapable conditions of
pervades
these s t o r i e s .
i s carefully
of existence.
constructed
In t h i s
J u n e ' s way o f
t o deny t h e
she r e s e m b l e s t h e
i n " W i n t e r Wind", who m a r r i e d " w h i l e s t i l l i n
l o v e w i t h , though
For
death.
v e r y a n g r y a t , a n o t h e r man"
o f her l i f e ,
t h e grandmother
of her e a r l y d e c i s i o n ,
love,
"that
200).
bears the
and n e v e r
self-glorifying
(p.
relinquishes
dangerous
self-denying
84
passion,
never
(p. 200) .
achieves
satisfied,
By m a r r y i n g
marriages.
t o have p e r s i s t e d d e s p i t e
o f " W i n t e r Wind", l i k e
"Memorial", questions
the v a l i d i t y
am I t o know what I c l a i m
The
narrator
story
from
scraps
story
like
"Tell
love
the narrator of
of her i n t e r p r e t a t i o n :
as I p u t t h i s
together
of transforming
lover stop
with
distance
the experience
The s u p p o s i t i o n
arriving.
s u b s e q u e n t l y happens, t h e n a r r a t o r
Instead
of
"Tell
attempting
i s that
of
letters
recounting
and d e s c r i b i n g what
proposes v a r i o u s
i n which t h e p l o t might u n f o l d .
protagonist
speculation to
o f b o t h t i m e and
r e a c t i o n to the cessation of l e t t e r s
passion,
but a
The n e c e s s a r y e l e m e n t s a r e memory,
space a c t i n g as a c a t a l y s t .
obsessive
down, how
her grandmother's
Me Yes o r No" goes beyond
and i m a g i n a t i o n ,
directions
self-consciousness,
o f evidence accumulated over years,
the mental process
f r o m an a b s e n t
h i s several
t o know?" (p. 201)
has p i e c e d
into fiction.
letters
her
and
how i s anybody t o know, I t h i n k
observe
lifetime"
t h e wrong man, t h e g r a n d m o t h e r
W i t h a new t e n t a t i v e n e s s
narrator
"And
a
c o n t r o l o v e r h e r r e j e c t e d s u i t o r , whose c o u r t s h i p
of her i s b e l i e v e d
the
never r i s k e d , t o l a s t
possible
A study o f
Me Yes o r No" c o n c e r n s a
to cure
h e r s e l f of a love
which
c a u s e s h e r more s u f f e r i n g t h a n i t i s w o r t h :
Love i s n o t i n t h e l e a s t u n a v o i d a b l e , t h e r e i s a
c h o i c e made.
I t i s j u s t t h a t i t i s h a r d t o know
when t h e c h o i c e was made, o r when, i n s p i t e o f
s e e m i n g f r i v o l o u s , i t became i r r e v e r s i b l e ,
(p. H I )
85
As
b e f o r e , drawing the
absolute
i s the
difference
line
difficulty.
between h e r s e l f
between t h e
provisional
In LIVES, Del
and
Garnet
identified
French:
committed
herself
t o him
only p r o v i s i o n a l l y ,
committed
himself
to her
absolutely.
surrender
of s e l f
to the
l o v e d one
mysterious,
irrational
of
"Tell
but
and
having
o r No"
some t i m e
before
this
subplots"
(p. I l l ) .
is
the
of
given
By
up
on
equating
n a r r a t o r shows how,
A c c o r d i n g l y , an
She
had
this
remains
being
The
i t i f possible:
intrigues,
falling
this
whereas he
E x a c t l y how
i s suspected
the
had
i s accomplished
would a v o i d
narrative-consciousness:
unfolding.
she
dangerous consequences.
Yes
subplot,
Me
the process
and
on
narrator
"I
had
anxious
i n love
with
f o r her,
self-consciousness
sees
life
her
exchange of s t o r i e s
l o v e m a k i n g e v e n when i t i s a c a s u a l
as a s t o r y
precedes
indulgence:
B u t a f t e r a w h i l e I do t e l l somebody, a man I work
w i t h , Gus M a r k s .
He has r e c e n t l y s e p a r a t e d
from h i s w i f e .
He t a k e s me o u t t o d i n n e r and
we d r i n k and t e l l e a c h o t h e r o u r s t o r i e s , t h e n
m o s t l y on my i n i t i a t i v e go t o bed
(p. 110)
Sharing
and
woman a r e
creates
their
by
stories
the
an
at
least
together,
illusion
liaison.
extends the
and
the r e c i t a t i o n
of c l o s e n e s s which
In t h e
case
n a r r a t o r , a shared
The
narrator speculates
for
having
known h e r
l e n g t h of time
of the
past
lover addressed
especially
before:
man
histories
lends humanity
i s a powerful
t h a t she
years
of past
the
as
to
"you"
aphrodisiac.
loved t h i s
man
86
I l o v e d you f o r l i n k i n g me w i t h my p a s t , w i t h my
young s e l f p u s h i n g t h e s t r o l l e r a l o n g t h e campus
p a t h s , i n n o c e n t t h r o u g h no f a u l t o f my own.
If
I c o u l d k i n d l e l o v e t h e n and t a k e i t now t h e r e was
l e s s w a s t e t h a n I had t h o u g h t , (p. 113)
The
i d e a o f a l o v e re-awakened
her
by
i t s power t o u n i f y p a s t and
storylike
seem t o
By
the
end
are
of
"Tell
Me
so i n t e r w o v e n
feelings,
i n her
own
The
her
and
of
attracts
provide
a
experience
account
journey
the
o f what
the
The
confused
love i s a
a fact verifiable
t o t h e dead
lover's
l o v e r ' s widow a r e
withdrawn i n the h y p n o t i c
has
two.
the n a r r a t o r ' s
t o which her
mind, r a t h e r t h a n
dreamlike
the n a r r a t o r ' s
to separate
reflecting
confrontation with
t o be
o r No",
with
t h e unknowable e x t e n t
experience.
only
Yes
that i t i s impossible
confusion i s intentional,
the
present,
time
preclude.
happened
fiction
earlier
c o h e r e n c e w h i c h t h e random e v e n t s
fantasies
and
f r o m an
in
city
profered
conclusion:
Nevermind.
I invented her.
I i n v e n t e d y o u , as
f a r as my p u r p o s e s go.
I i n v e n t e d l o v i n g you
and I i n v e n t e d y o u r d e a t h .
I have my t r i c k s and
my t r a p d o o r s , t o o .
I don't understand
their
w o r k i n g s a t t h e p r e s e n t moment, b u t I have t o
be c a r e f u l , I won't s p e a k a g a i n s t them. (p. 124)
Not
only
also
she
i s the
n a r r a t o r unable
w o u l d r e f u s e t o do
to e x p l a i n her
so e v e n i f she
c o n c l u s i o n draws a t t e n t i o n t o t h e
s o m e t h i n g u n f a t h o m a b l e , and
it
too d e e p l y .
necessary
i f she
The
fictions,
could.
fictionalizing
The
process
warns o f t h e d a n g e r s o f
n a r r a t o r knows t h a t h e r
i s to r e t a i n
her
identity;
but
as
plumbing
illusions
are
nevertheless,
87
she
i n v i t e s the reader
t o p a r t i c i p a t e i n the process of
making t h e s t o r y by a d m i t t i n g
interpretations,
Throughout
some o f them c o n t r a d i c t i n g
"SOMETHING",
magicians r e v e a l i n g
Instead
in
twist
of realism
behave
to the audience.
story,
s t r a i n s the
a s does t h e c l e v e r
I Met My Husband".
who v o i c e
control
alludes
t h e i r own n a r r a t i v e s
totality
of experience,
puncture the i l l u s i o n
Edward S a i d ' s
of capturing
she n e v e r a l l o w s h e r d o u b t s t o
she i s c r e a t i n g .
indispensable
analysis
of authority i n
fiction
d e p e n d s : one i s a s e n s e o f d o u b t f e l t
upon w h i c h
and e s p e c i a l l y t h e c h a r a c t e r s
of a single voice
unto i t s e l f ;
approached
another
truer". ^
conclusion
i s sufficient
t r u t h can only
"by means o f a m e d i a t i o n
Said
i s equally
by a u t h o r ,
i n t h e work t h a t t h e
because o f i t s f a l s e n e s s
Although
narrative
o r group o f v o i c e s
i s a b e l i e f that
indirectly,
paradoxically,
t o be
i n f i c t i o n the
isolates special conditions
authority
is felt
occasionally
fiction
reader
by
are c h a r a c t e r i s t i c of
o f LIVES. Although D e l Jordan
to the d i f f i c u l t y
Puzzled,
their uncertainty
SOMETHING, w h e r e a s an a u t h o r i t a t i v e n a r r a t o r
in
like
Me Yes o r No", o r l e t t e r s , a s
i n the t i t l e
tentative narrators
undermining
often
Coincidence further
a t t h e e n d o f "How
others.
of the t r u t h , they o f f e r
p l o t s , as i n " T e l l
"The S p a n i s h L a d y " .
illusion
narrators
t h e i r magic t r i c k s
of a single version
alternative
a range o f p o s s i b l e
be
that
makes t h e t r u t h
i s r e f e r r i n g to novels, h i s
true
of t h i s short
story cycle.
As he
88
points
out, "the p r i n c i p l e of authority
always attempting
to steer
p r o v i d e s a motion
clear of obstacles
that
emerge t o
7
inhibit,
maim o r d e s t r o y
between a u t h o r i t y
and m o l e s t a t i o n ,
engages t h e r e a d e r
truth
i tutterly."
The u n e a s y
t o use Said's
i n the process of discovery:
balance
terms,
"a t r u e r
i s one a r r i v e d a t by a p r o c e s s o f e l i m i n a t i o n :
Q
alternatives
s i m i l a r t o t r u t h a r e shed one b y o n e " .
model o f a l t e r n a t i v e s b e i n g
shed as t h e s t o r y
many s t o r i e s i n SOMETHING: t h e p o i s o n
The
proceeds
fits
i n "Something I've
Been M e a n i n g t o T e l l
You" t h a t
seems a t f i r s t
for
suspected
i n Char's death; Margaret, i n
Arthur,
"The
i s later
t o be i n t e n d e d
S p a n i s h L a d y " , who seems t o be t h e o u t s i d e r
befriended
by t h e n a r r a t o r ,
threatening
to destroy
alternatives
In
the narrator's
to the deliberate
authority,
another
SOMETHING i s t h e i m p l i e d
narratives
are addressed.
marriage.
and r e f u t e d ,
compels t h e r e a d e r ' s
addition
narrator's
emerges a s t h e o t h e r woman,
have been p r o p o s e d
more s t r o n g l y
graciously
the conclusion
belief.
undermining o f the
successful
listener
Since
innovation i n
t o whom t h e f i r s t - p e r s o n
Munro h a s p r e v i o u s l y
used t h e
memoir f o r m w i t h . g r e a t
s k i l l , b u t i n SOMETHING s h e
introduces
voice.
a confiding
Munro's f i r s t - p e r s o n f i c t i o n ,
three
distinct
According
reveals
In her a n a l y s i s
M.G. O s a c h o f f
t o n e s : memoir, c o n f e s s i o n
t o Osachoff,
the confiding
t h e m o r a l qualms o f a n a r r a t o r
behaviour, while
the confiding
voice
distinguishes
and
voice
of voice i n
meditation.
of the confession
over her past
of the meditation
89
reveals
similar
and i n c i d e n t s f r o m h e r p a s t . 9
people
Munro's
readiness
materials
for
qualms o v e r making f i c t i o n
to explore
marks h e r m a t u r i t y
the v a r i e t y of voice
self-consciousness
herself
i n this
more p a i n f u l
of actual
collection,
autobiographical
a s a w r i t e r , and h e l p s
and g r e a t e r
of the stories
has e x p r e s s e d
out
account
narrative
i n SOMETHING.
dissatisfaction
with
Munro
"Executioners",
" W a l k i n g on W a t e r " and " S o m e t h i n g
I ' v e Been M e a n i n g t o T e l l
You";
them i m p o r t a n t
her
nevertheless,
artistic
she c o n s i d e r s
steps i n
development:
Then I w r o t e a s t o r y i n h e r e t h a t I d o n ' t t h i n k
works a t a l l .
I t ' s a very embarrassing s t o r y ,
I t h i n k , c a l l e d " E x e c u t i o n e r s , " where, a g a i n , I
was t r y i n g t o f i n d o u t how t o do a c e r t a i n k i n d
o f t h i n g , and i t d i d n ' t q u i t e do i t . 1 0
Admittedly,
Munro f a i l e d
more complex
succeeds
the
form
she d e c i d e d
i n producing
result
t o use;
n e v e r t h e l e s s , she
o f c r e a t i v e energy escaping
virtuosity,
into
a l l the problems o f t h e
a medley o f s t r o n g
conventions of realism.
finding
to solve
voices,
from t h e r i g i d
No mere d e m o n s t r a t i o n s o f
Munro s experiments with
1
new ways t o t e l l
competing
stories,
f o r m a r e aimed a t
b a s e d upon h e r i n s i g h t
t h e d i f f e r e n c e s between h a b i t u a l ways o f t h i n k i n g i n
men and women.
similarity
intuitively
different
When t h e n a r r a t o r
between h e r f i r s t
understands
from t h e i r s
i n " M a t e r i a l " sees t h e
a n d s e c o n d h u s b a n d s , she a l s o
t h a t her view o f the world i s
because
she i s a woman:
90
A t t h e same t i m e , a t d i n n e r , l o o k i n g a t my
husband G a b r i e l , I d e c i d e d t h a t he and Hugo a r e
n o t r e a l l y so u n a l i k e .
B o t h o f them have managed
something.
B o t h o f them have d e c i d e d what t o do
about e v e r y t h i n g they r u n across i n t h i s world,
what a t t i t u d e t o t a k e , how t o i g n o r e o r u s e
things.
I n t h e i r l i m i t e d and p r e c a r i o u s ways
t h e y b o t h have a u t h o r i t y .
They a r e n o t a t t h e
mercy.
Or t h i n k t h e y a r e n o t . ( p p . 43-4)
The
male a b i l i t y
not
accord
writer's
with
to f i l t e r
out aspects of experience
a pragmatic view o f the world p a r a l l e l s the
authority,
or a b i l i t y
to select d e t a i l s that
d e v e l o p a s t o r y , and r e j e c t t h o s e t h a t
Munro's f e m a l e n a r r a t o r s
disorder
can
subvert
and c o n t r a d i c t i o n a s p a r t
t o master
submitting
jealousy
life,
to strong
of l i f e .
t h e a l t e r n a t i v e o f a c k n o w l e d g i n g and
chaotic
passions
like
love,
and s o do t h e new
f o r m s i n w h i c h Munro i n c o r p o r a t e s
admission
of uncertainty
them.
by t h e n a r r a t o r
her
story
end
o f "The S p a n i s h L a d y " , when t h e n a r r a t o r
final
her
no
t h e communication
own t r o u b l e s
longer
true,
i t i s slightly
of a l i f e
note:
"This
station,
"What we s a y and f e e l
beside
ending, the narrator
i s a message;
At the
witnesses the
t h e p o i n t " (p.
H a v i n g r e g i s t e r e d t h e gap between e m o t i o n a l
pain
puzzled
rings
seem i n s i g n i f i c a n t :
i n telling
process.
c r y and d e a t h o f an o l d man i n t h e r a i l w a y
190).
the
sometimes a i d s
g r i e f and
Under s t r e s s , t h e
women i n SOMETHING bend w i t h o u t b r e a k i n g ,
An
A l t h o u g h women
June i n " M e m o r i a l " ,
i s n o t n e c e s s a r i l y a weakness.
narrative
i t . But
c o n t i n u a l l y a f f i r m the r e a l i t y of
l e a r n t h e male a p p r o a c h , a n d , l i k e
attempt
t h a t do
p a i n and
c o n c l u d e s on a
I really
believe
i t is;
91
but
I don't
attempting
s e e how I c a n d e l i v e r
to analyse
the e f f e c t
upon h e r , t h e n a r r a t o r e q u a t e s
i t " (p. 191).
Rather
than
of the s t r a n g e r ' s death
i t w i t h a message t h a t she
d o e s n o t know how t o send
and communicates h e r s t a t e o f mind
by
P a r a d o x i c a l l y , by r e l i n q u i s h i n g
means o f t h e a n a l o g y .
authority,
she c a n b e t t e r
the r e a d e r
t o imagine
One
o f t h e n a r r a t o r s who h a s r e l i n q u i s h e d
method, b u t i n s i s t e d
successful
smoke c i g a r e t t e s
she
i n the past.
grandmother
authority i n
i n "Marakesh".
refused to a l t e r her
upon r e p e a t i n g what she had
S t u b b o r n l y , she c o n t i n u e d t o
despite a petition
u r g i n g h e r t o s t o p . Once
had made up h e r mind on any s u b j e c t , she n e v e r
Now t h a t
she i s r e t i r e d ,
her years
and
the e l d e r l y
she was a t e a c h e r , D o r o t h y
teaching
found
of persuading
her f e e l i n g s .
SOMETHING i s D o r o t h y ,
While
a c h i e v e her purpose
however, she r a r e l y
i n the classroom,
becomes f a s c i n a t e d
granddaughter,
sloughs
w i t h change.
beauty,
beauty
she r e a l i z e s
that
houses
she s e e s
replaced
by a s h o p p i n g
the elm t r e e s
Dorothy
she s t i l l
accepts the
appreciates
s h e no l o n g e r r e s e n t s t h e l o s s o f
i n her surroundings
familiar
unduly
Although
rigidity,
Whereas h e r young
Jeanette, i s grieved to find
o f change.
l o o k s b a c k on
o f f her former
c u t down when s h e r e t u r n s f o r a v i s i t ,
inevitability
altered.
a s she once w o u l d h a v e .
from
I fthe
h e r window were t o r n down and
c e n t r e p a r k i n g l o t , s h e w o u l d n o t be
upset:
A n y t h i n g w o u l d do f o r h e r t o l o o k a t ; b e a u t i f u l o r
u g l y had c e a s e d t o m a t t e r , b e c a u s e t h e r e was i n
92
e v e r y t h i n g s o m e t h i n g t o be d i s c o v e r e d .
This
was a f e e l i n g t h a t had come on h e r as she g o t
o l d e r , and i t was n o t a t a l l a p e a c e f u l ,
l e t t i n g - g o s o r t o f f e e l i n g , s u c h as o l d p e o p l e
were s u p p o s e d t o g e t ; i t was t h e v e r y o p p o s i t e ,
p i n n i n g h e r where she was i n i r r i t a b l e , b a f f l e d
c o n c e n t r a t i o n , (pp. 162-3)
It
i s D o r o t h y ' s a t t e n t i o n t o what i s h a p p e n i n g i n
present
Viola,
moment t h a t d i s t i n g u i s h e s h e r
who
more e f f e c t i v e l y
change, m a i n t a i n i n g
(p. 1 6 3 ) .
What V i o l a
o f y o u t h may
denial
that,
not
be
fails
accept
the
pain
retired,
interested
she
whose w i f e
t h a t goes w i t h
occurred.
has
her
i s dying
Later
curiosity
Blair
King's
Jeanette
are
by
is
on
the
respect
young"
illusion
Rather than keep l i f e
her
love.
and
During
of her
her
Although the
her.
she
her
a
neighbour
drink,
have
indulges
garden to
look
into
granddaughter
sight disturbs
to tremble v i o l e n t l y
and
fear that
verge of a s t r o k e , u l t i m a t e l y i t confirms
for herself:
to
a b o u t them, more
t o come o v e r f o r a
end
a
that
o f e v e n t s t h a t need n e v e r
to the
at
t o change
same n i g h t , D o r o t h y f u r t h e r
going
making
life
impulsively invites
of cancer
a chain
the
allowing
t o them t a l k .
she
the
Dorothy i s prepared
become more c u r i o u s
s u n p o r c h where he
Dorothy, causing
i s t h a t the
power o v e r y o u n g e r p e o p l e now
in listening
causing
against
t h o u g h t s keep you
to r e a l i z e
painful.
granddaughter's v i s i t ,
thereby
"pleasant
through forced cheerfulness,
Having r e l i n q u i s h e d
is
insulates herself
sister,
w o r t h p r e s e r v i n g when i t s p r i c e i s
of e v e r y t h i n g
distance
from her
the
her
she
93
What i f V i o l a had s e e n any o f t h a t ? More t h a n she
could stand.
S t r e n g t h i s n e c e s s a r y , as w e l l
as s o m e t h i n g l i k e g r a t i t u d e , i f you a r e g o i n g t o
t u r n i n t o a l a d y p e e p i n g Tom a t t h e end o f y o u r
l i f e . (p. 174)
Dorothy
can admit
voyeur.
Unlike Viola,
discovery.
self,
Her
including
A similar
speech
you
be
thing
may
blow Robina
Robina's
the
she
i s something
i s committed
of a
t o the process of
i s i n her a c c e p t a n c e o f her
her
curiosity.
lewd
tolerance
bad
that
strength
thing
a l o t of t r o u b l e
Instead
she
to the n a r r a t o r
l e t one
bad
to
to h e r s e l f
refer
for imperfection
near
like
t h e end
this
f o r you
to the
gave t h e c h i l d
of
motivates
b o t h e r you
of l i f e
there's going to
(p. 1 5 3 ) .
The
i n the f i r e , or
f o r m e n t i o n i n g Jimmy and
b r o t h e r s , as t h o u g h
Robina's
"Executioners": "If
i n this world"
loss
entire
implicating
them i n t h e
Duval,
fire.
o f e n d i n g w i t h t h e n a r r a t o r w i s e r t h a n she was
b e g i n n i n g , " E x e c u t i o n e r s " ends w i t h t h e n a r r a t o r
distinguish
happened.
o n l y pass
The
between c o n f l i c t i n g
mystery
at
unable
memories o f what
o f t h e f i r e c a n n o t be
out of l i v i n g
the
solved;
i t can
memory:
When e v e r y b o d y i s dead who c o u l d have remembered
i t , t h e n I suppose t h e f i r e w i l l be f i n i s h e d w i t h ,
i t w i l l be j u s t as i f nobody had e v e r r u n t h r o u g h
t h a t d o o r . (p. 155)
Even
though
obliterated
the
the n a r r a t o r
by
t h e end
c o n t e x t of her
declares
of the
statement
that
lifetimes
within
the f i r e can
be
of i t s witnesses,
a written
narrative
94
widens the
As
circle
well
discovers
word.
evocative
recalls
readers.
Del
possibilities
on
the
adjective
level
J o r d a n would pause t o r e l i s h
narrators
of
SOMETHING a r e
c o n n o t a t i o n s of words.
they
Munro
a t the
Struck
interrupt their
connotation.
The
y e a r s when she
was
of
"Tell
the
a word's
to
the
a
period
r e c o l l e c t i o n s to
narrator
of
more a p t
by
power o f a p a r t i c u l a r word t o r e c a l l
lives,
directly
all its
i m p l i c a t i o n s of n a r r a t i v e ,
i n LIVES; the
pause over the
their
new
i n SOMETHING new
individual
sound
as
to i n c l u d e
me
a young mother by
in
comment
Yes
or
No"
the
"mature":
A word we o f t e n u s e d was "mature."
We w o u l d meet
somebody we had known a few y e a r s ago and we w o u l d
r e p o r t t h a t t h i s p e r s o n had g r e a t l y m a t u r e d ,
(p.
107)
The
e f f e c t of
that
s i n g l i n g out
"mature" was
former n o t i o n s
Elsewhere,
for
used o f t e n ,
about m a t u r i t y
ironic
purposes of
narrator
the
word i s i r o n i c .
the
narrator
c o m p a r i s o n , as
compares t h e
words
stating
implies
were f a s h i o n a b l e
e f f e c t i s d o u b l e d by
By
her
nonsense.
isolating
two
i n "Executioners",
" a l c o h o l i c " and
that
words
when
the
"drunk":
A l c o h o l i c was n o t a word s p o k e n i n our h o u s e ; I
d o n ' t b e l i e v e i t was s p o k e n much anywhere, a t t h a t
time.
Drunk was t h e word u s e d , b u t t h a t was i n
t h e town. (p.
139)
From t h e s e comments on
infer
of
not
only
the
his drinking.
word c h o i c e ,
the
reader
f a t h e r ' s weakness, but
As
a child,
the
narrator
also
had
i s led
the
only
to
secrecy
a
hazy
95
understanding
efforts
of the f a m i l y s i t u a t i o n .
to reconcile
wronged man, w i t h
She r e c a l l s
h e r mother's v e r s i o n o f h e r f a t h e r
the taunts
she h e a r d
about
direct
rather
t o make i n f e r e n c e s .
to allow the reader
statements
commented u n f a v o u r a b l y on h e r e a r l i e r
summing up i n t h e c o n c l u d i n g p a r a g r a p h s
as a
him a t s c h o o l .
I n SOMETHING Munro r e j e c t s
has
her
and
chooses
R e c e n t l y she
penchant f o r
of her s t o r i e s :
And now, I w o u l d go b a c k , i f I c o u l d r e w r i t e most
o f t h o s e s t o r i e s , and I w o u l d c h o p o u t a l o t o f
t h o s e words and f i n a l s e n t e n c e s .
And I w o u l d
j u s t l e t each s t o r y stand w i t h o u t b o t h e r i n g t o
do t h e summing up, b e c a u s e t h a t ' s r e a l l y what
i t amounts t o . H
Munro's i n c r e a s i n g
narrative
well
subtlety
understood
early
r e a s o n i n g t o c o n v e y m e a n i n g . Munro
i n her a r t i s t i c
i s natural
o f dreams s u g g e s t
career that
t o t h e mind.
that
ritual,
metaphorical
Her f i c t i o n a l
she h a s a r r i v e d
same c o n c l u s i o n s a s Suzanne L a n g e r
reason,
progression of her
t e c h n i q u e w h i c h h a s a l w a y s made u s e o f metaphor a s
as d i s c u r s i v e
thinking
i s a logical
portrayals
intuitively
a t the
advances i n h e r study o f
and a r t :
M e t a p h o r i s t h e law o f g r o w t h o f e v e r y s e m a n t i c .
I t i s n o t a development, b u t a p r i n c i p l e .
This
i s s t r i k i n g l y a t t e s t e d by t h e f a c t t h a t t h e
lowest, completely u n i n t e n t i o n a l products
o f t h e human b r a i n a r e madly m e t a p h o r i c a l
f a n t a s i e s , t h a t o f t e n make no l i t e r a l s e n s e
w h a t e v e r ; I mean t h e r i o t o u s s y m b o l i s m o f dreams. 1 2
Munro u s e s
dreams t o augment o r m o d i f y
of her c h a r a c t e r s .
Think
t h e waking
o f Mr. Lougheed
thoughts
i n "Walking
on
96
Water", p i e c i n g
the
long-ago
is
after
farm.
Clearly
t o t h e o l d man's u n e a s i n e s s
Eugene's mental
search f o r a
the d i s c o v e r y o f t h e boy's
on a n e i g h b o r i n g
related
f r a g m e n t s o f dream and memory o f
n i g h t when h i s f a t h e r h e l p e d
demented y o u t h
parents
together
murdered
the r e c u r r i n g
over
h i s young
dream
friend
state:
T h e s e were t h e f a c t s .
The dream, a s f a r a s he
c o u l d t e l l , c o n t a i n e d b u t d i d n o t r e v e a l them.
Awake he had a l l t h i s i n f o r m a t i o n a b o u t
t h e murder, d o u b l e murder, i n h i s memory, t h o u g h
he c o u l d n o t t h i n k when o r how i t was g i v e n t o
him.
I n t h e dream he n e v e r u n d e r s t o o d c l e a r l y
what a l l t h e u r g e n c y and commotion were
a b o u t , he knew o n l y t h a t he had t o f i n d h i s
b o o t s and h u r r y o u t w i t h h i s f a t h e r and b r o t h e r
( i f he h u r r i e d , i n t h e dream, he w o u l d n o t be
l e f t b e h i n d ) . (p. 82)
Suggesting
disaster,
death,
to prevent
some unnamed
t h e dream p r o v i d e s o b l i q u e commentary on t h e s t o r y
o f Eugene.
statement
d a n g e r , t h e need t o h u r r y
I t i s an a l t e r n a t i v e
to the kind of d i r e c t
E t makes a b o u t h e r own t h o u g h t s
when she r e c a l l s
how s h e l i e d
after
Char's
t o Char a b o u t
Blaikie
Noble:
The q u e s t i o n o f t e n c r o s s e d E t ' s mind i n l a t e r
y e a r s — w h a t d i d she mean t o do a b o u t t h i s s t o r y
when B l a i k i e g o t b a c k ?
F o r s h e had no r e a s o n t o
b e l i e v e he w o u l d n o t come b a c k .
The answer was
t h a t she had n o t made any p l a n s a t a l l . (p. 21)
Having
Mr.
E t review
her thoughts
Lougheed r e v i e w
probably
h i s dream.
not w i l l i n g l y
communicating
forego
i s no l e s s
helpful
Munro's r e a d e r s
than
having
would
any o f h e r t e c h n i q u e s f o r
her c h a r a c t e r s ' mental
lives.
Although
she
97
u s e s them l e s s
"hesitant
reader
13
f r e q u e n t l y i n her
summaries", as
directly
Through these
audience
i n t h e way
e x c i s e these
still
pauses
be
i n the
helpful
but
her
stories.
course
explanatory
they
the
of
trained
No
the
her
d o u b t she
paragraphs today
have a d d i t i o n a l
value
a c t i o n which a l l o w the n a r r a t o r time
reflect.
Such moments make e a c h s t o r y n o t
of
but
events
them, l e a d
summaries, Munro has
to read
understood,
i n the
Solecki calls
to t r u t h s discovered
story.
now
Sam
l a t e r work, Munro's
a vehicle for expressing
"the
and
as
to
merely a
felt
could
sequence
quality
of
Ik
an
and
individual
response
takes
p l a c e because the
memories f r o m t h e
these
the
final
By
life".
This bonding of
p r o t a g o n i s t , which i s c h a r a c t e r i s t i c
story,
of
to
memories any
b e t t e r than
s t o r y , then,
i s one
o f a Munro s h o r t
n a r r a t o r , although
p a s t , does n o t
start
out
does t h e
reader
understanding
reader.
o f d i s c o v e r y , as
relating
The
process
t h e much q u o t e d
p a r a g r a p h o f t h e f i n a l s t o r y makes c l e a r :
The p r o b l e m , t h e o n l y p r o b l e m , i s my m o t h e r .
And
she i s t h e one o f c o u r s e t h a t I am t r y i n g t o g e t ;
i t i s t o r e a c h h e r t h a t t h i s w h o l e j o u r n e y has
been u n d e r t a k e n .
W i t h what p u r p o s e ?
To mark
her o f f , to d e s c r i b e , to i l l u m i n e , to
c e l e b r a t e , t o g e t r i d , o f h e r ; and i t d i d
n o t work, f o r she looms t o o c l o s e , j u s t as
she a l w a y s d i d .
She i s h e a v y as a l w a y s , she
w e i g h s e v e r y t h i n g down, and y e t she i s
i n d i s t i n c t , h e r edges m e l t and f l o w .
Which
means she has s t u c k t o me as c l o s e as e v e r
and r e f u s e d t o f a l l away, and I c o u l d go on,
and on, a p p l y i n g what s k i l l s I h a v e , u s i n g
what t r i c k s I know, and i t w o u l d a l w a y s be
t h e same. (p. 246)
t a k i n g the
reader
i n t o her
confidence
to a greater
extent
98
than b e f o r e ,
and
understand her
reminding
the
confessing
past,
the
reader
o f h i s own
more complex t h a n t h o s e
delineated
self-conscious
the
left
revelation
Reid
linger
of
earlier
and
By
admitting
endings r i n g
stories
i s the
true
i n an
to the
and
appear o v e r l y
are
cannot
existence
of
the
of
short
reader
extent
has
be
Munro's
mind b e c a u s e t h e
of
is
the
apparently
speaks of the e f f e c t i v e n e s s
s t r u g g l i n g with
reader".^^
age
of
this,
i n h i s study
i n the
to
i n a d e q u a c y when
denouement i n w h i c h , a t t h e
so
a way
works; t h e y
p r e c i s e nature
"is still
failed
i n s i g h t s o f SOMETHING
notes
In a d d i t i o n , R e i d
character
feelings,
short
Ian
about the
incomplete
central
feeling
o r peak o f a w a r e n e s s a c h a r a c t e r
experienced.
o f an
of the
h i t on
n a r r a t o r s bear witness
some s t o r i e s
uncertain
The
i n language.
i n e f f a b l e . As
story,
sense of having
n a r r a t o r has
c o n f r o n t i n g h i s memories.
fully
her
end,
the
the
knot of
her
Such i n c o n c l u s i v e
when t h e
certainties
of
earlier
contrived:
U n t i l 1950 o r s o , t h e s t o r y i n Canada a p p e a r e d t o
be machine-made, w i t h t w o - d i m e n s i o n a l
c h a r a c t e r s s o l v i n g a r t i f i c i a l dilemmas
. . . .
Soon t h e s t o r y was n o t one t o l d by a
c a r e f u l l y e n g i n e e r e d p l o t , b u t by t h e
s u b t l e i m p l i c a t i o n of s e l e c t e d i s o l a t e d i n c i d e n t s .
A r r a n g e m e n t began t o p l a y a g r e a t e r p a r t ,
and s i g n i f i c a n c e l a y i n what a p p e a r e d , a t t h e
o u t s e t , t o be c a s u a l e p i s o d i c moments, 1 °
In M u n r o s work c e r t a i n l y ,
1
not
only
f o r the
understanding.
attempt
reader's,
The
narrator
to sharpen her
but
arrangement i s
a l s o f o r the
r e s h u f f l e s her
perception.
In
"The
crucial,
narrator's
memories i n
an
Ottawa V a l l e y " ,
99
the
declared
goal
i s t o r e k i n d l e t h e image o f t h e dead
m o t h e r , b u t h e r image c o n t i n u e s
t o elude
finally
memory, c a n n o t r e c a p t u r e t h e
past
realizes
that a r t , like
e x a c t l y a s i t was.
The m o t h e r ' s
t h e n a r r a t o r , who
likeness w i l l
over time because i t i s c o n t i n u a l l y being
artist's
a final
experiences.
perception.
Neither
Since
the narrator discovers
like
reader
i s drawn b a c k t o t h e b e g i n n i n g .
of the c y c l i n g
Precisely this
q u a l i t y o f memory i s t h e l i k e l i e s t
p o s e d by t h e t i t l e
of the c o l l e c t i o n ,
SOMETHING I'VE BEEN MEANING TO T E L L YOU.
linear
stories.
i n a novel,
In the course
a heightened
point
consciousness
i n their
presupposition
Munro's
later
separates
appears c i r c u l a r
fiction,
i n Munro's
o f t h e m s e l v e s as s t a n d i n g
of a c i r c l e
memories, and t h e i r
shared
Time, w h i c h
o f SOMETHING, h e r n a r r a t o r s
on t h e c i r c u m f e r e n c e
retrace
that her
h e r memories, c a n be r e v i s e d e n d l e s s l y , t h e
answer t o t h e r i d d l e
appears
by t h e
memory n o r a r t , c a n a r r i v e a t
story,
discovery
modified
change
which they
discovery
by t h e n a r r a t o r s o f WHO
possession
of this
t h e women f r o m t h e g i r l s .
short
acquire
at a
endlessly
becomes a
and MOONS.
insight
i s what
In
100
Notes
1
A l i c e Munro, SOMETHING I'VE BEEN MEANING TO T E L L YOU
(Toronto: McGraw-Hill Ryerson, 1974).
A l l subsequent
r e f e r e n c e s appear i n the t e x t .
2
J.R. (Tim) S t r u t h e r s , "The R e a l M a t e r i a l : An I n t e r v i e w
w i t h A l i c e Munro," i n PROBABLE FICTIONS: A L I C E MUNRO'S
NARRATIVE ACTS, e d . L o u i s K. M a c K e n d r i c k (Downsview, Ont.:
ECW P r e s s , 1 9 8 3 ) , p . 28.
3
A l i c e Munro, q u o t e d i n an i n t e r v i e w w i t h A l a n T w i g g ,
"What I s : A l i c e Munro," i n FOR OPENERS: CONVERSATIONS WITH
24 CANADIAN WRITERS ( M a d e i r a P a r k , B.C.: H a r b o u r , 1 9 8 1 ) , p.
16.
4
S t r u t h e r s , p . 15.
5
J o h n K e a t s , l e t t e r t o George and Tom K e a t s , December
21-27, 1817, L e t t e r 45, THE LETTERS OF JOHN KEATS 1814-1821,
e d . Hyder Edward R o l l i n s ( C a m b r i d g e : Cambridge U n i v . P r e s s ,
1 9 5 8 ) , I , p. 193.
6
Edward S a i d , BEGINNINGS: INTENTION AND METHOD (New
Y o r k : B a s i c B o o k s , 1 9 7 5 ) , p . 90.
7
S a i d , p. 95.
8
S a i d , p . 90.
9
Margaret G a i l Osachoff, " ' T r e a c h e r i e s of the Heart':
Memoir, C o n f e s s i o n , and M e d i t a t i o n i n t h e S t o r i e s o f A l i c e
Munro," i n PROBABLE FICTIONS, e d . L o u i s K. M a c K e n d r i c k
(Downsview, O n t . : ECW P r e s s , 1 9 8 3 ) , p. 64.
10
S t r u t h e r s , p. 27.
11
S t r u t h e r s , p . 15.
12
Suzanne K. L a n g e r , PHILOSOPHY IN A NEW KEY: A STUDY IN
THE SYMBOLISM OF REASON, RITE AND ART (Cambridge, Mass.:
H a r v a r d U n i v . P r e s s , 1 9 6 9 ) , p. 147.
13
Sam S o l e c k i , " L i v e s o f G i r l s and Women," r e v . o f THE
MOONS OF JUPITER, by A l i c e Munro, CANADIAN FORUM, 62, No.
101
722
58.
( 1 9 8 2 ) , 25.
14
S o l e c k i , p . 25.
15
Ian R e i d , THE SHORT STORY
(London:
Methuen, 1 9 7 7 ) , p .
*
i
i
v
16
D o n a l d S t e p h e n s , "The S h o r t S t o r y i n E n g l i s h , "
LITERATURE, No. 41 ( 1 9 6 9 ) , p . 126.
CANADIAN
102
Chapter
The
Four
Temptation to T e l l
F l o t e l l i n g a s t o r y — a n d t h i s was n o t t h e o n l y
one, o r e v e n t h e most l u r i d one she k n e w — w o u l d
i n c l i n e h e r head and l e t h e r f a c e go s o f t and
t h o u g h t f u l , t a n t a l i z i n g , warning.
"I s h o u l d n ' t e v e n be t e l l i n g y o u t h i s s t u f f . " 1
The
irresistable
appeal
of stories
listener
i s t h e p r e m i s e o f WHO.
activity
often reported
organizing
principle
obsessed with
the
previous
darkest
i n Munro's f i c t i o n ,
storytelling,
contains
people
using
shocking
embedded
1
WHO' i s Munro's
the d e p r a v i t y o f which
as w e l l as t h e t i t i l l a t i n g
which p r o v i d e
i n Munro s
accordingly, the s t o r i e s i t
are f a b l e s which i l l u s t r a t e
stories
is
M o r e o v e r , t h e g o t h i c and
i n stories
o f human n a t u r e ;
i s an
i t not only to recapture
works become more p r o n o u n c e d .
are capable,
and
and an
o f L I V E S , t h e p r o t a g o n i s t o f WHO
elements f a m i l i a r
vision
teller
Whereas s t o r y t e l l i n g
past but a l s o to exorcise i t .
grotesque
t o both
counterpoint
effect
to
of
restricted
lives.
In t h e f o r m o f g o s s i p o r r e m i n i s c e n c e ,
t h e main i n d u l g e n c e
before
the
television
of a r u r a l
sets.
former h i r e d g i r l
Ontario
As a p o t h e o s i s
and w a i t r e s s
widowed
f a t h e r and r u n n i n g
a small
herself
and h e r a u d i e n c e w i t h
storytelling i s
housewife i n the days
of t h i s
group, F l o ,
, now m a r r i e d
grocery
t o Rose's
store, entertains
salacious stories
about her
103
customers.
Her
stepdaughter,
to
be
usual
i s the
a storyteller
actress,
a type
the
husband,
At
Flo
the
knew t h e
hear"
care
jokers."
storytelling
s t e p up
by
her
an
index
and
of t h e i r
set aside
from F l o ' s ,
career
separate
her
socially
home on
to t a l e s
and
the
of
centred
as
power,
shared
antagonism.
her
education,
physically,
from her
stepmother,
become t h e i r
a visit
s t o r e and
relative
mutual
one
to
known t o F l o
diverges
and
the
waiting
school,
life
about mutual a c q u a i n t a n c e s
"When Rose was
was
Rose, a
their
after
storyteller:
forward
high
child,
social
d u t i e s i n the
group a t the
i n which they
intellectually,
her
high
home, F l o was
i s a bond between F l o and
and
an
but,
however,
to attend
the
c h a r a c t e r s and
named H o r s e N i c h o l s o n ,
Rose's a d u l t
up
the
Rose i s a
listener;
husband, F l o looks
w e l l as b e i n g
marriage,
Rose t h e
bringing stories
student
"those
As
Within
c o n s i d e r a b l e power o v e r
obvious
one
invalid
a boy
grows
or economic p r e s t i g e ,
f r o m West H a n r a t t y
Confined
around
activity
and
names o f t h e
notorious
As
social
who
e v e n t u a l l y becomes
of F l o ' s i n f l u e n c e while
bridge
the
(p. 4 0 ) .
o f an
a girl
g r a d u a l l y u s u r p s F l o ' s p l a c e as
Rose was
who
t u r n , and
young
stepdaughter.
in Hanratty—an
ladder—she
the
and
storyteller
Rose c r o s s e s
"Now
i n her
little
the h e i g h t
i s the
school
p r o t a g o n i s t o f WHO,
f a m i l y , F l o enjoys
son,
Rose, h e r
of p r o f e s s i o n a l s t o r y t e l l e r .
community, F l o has
within
listener,
stories
l a s t common
c o n v e r s a t i o n was
ground:
difficult,
104
so
she w o u l d a s k F l o a b o u t
Legion"(p.201).
belligerance,
circumvented
did
a
Flo's
the people
i n c r e a s i n g b i t t e r n e s s and
w h i c h mar Rose's i n f r e q u e n t v i s i t s ,
by e n c o u r a g i n g
Flo to t e l l
b e f o r e Rose went t o s c h o o l .
long truce,
her
stories,
In those days,
c a n be
just
they
as she
enjoyed
and Rose has happy memories o f t h e t i m e
b r o t h e r was s t i l l
telling
she saw a t t h e
stories
from
a baby i n h i s c a r r i a g e ,
her high s t o o l
Rose h e r s e l f was on t h e f l o o r
behind
when
F l o was
t h e c o u n t e r , and
w i t h h e r brown p a p e r and
crayons.
Although
storytelling
Munro's f i c t i o n ,
WHO
dangerous r e s u l t s .
such
i s unusually preoccupied with i t s
By d w e l l i n g i n h e r s t o r i e s
a s murder and i n c e s t ,
v i e w o f human n a t u r e
violence
that
and d e p r a v i t y .
with unpleasant
occurs f r e q u e n t l y throughout
Flo instills
accentuates
Primed
surprises,
i n Rose a d i s t o r t e d
i t s potential f o r
t o expect
life
Rose e x p e r i e n c e s
t o be
with Flo's
exploiters
and v i c t i m s engage i n p e r p e t u a l c o n f l i c t .
tells
storyteller
R o s e , who f e e l s
guilty
turning
stories
i t into
intellectual
aloud
friends.
a letter
bare-breasted
WOMEN:
as a b a t t l e g r o u n d where
who, a g a i n s t h e r b e t t e r
unsuitable tales
filled
i t in
accordance
as g u i l t y
accounts,
on s u b j e c t s
to a c h i l d ,
Flo,
judgement,
becomes t h e p a r a d i g m f o r
f o r h a v i n g b e t r a y e d h e r p a s t by
t o shock her m i d d l e - c l a s s
On one o c c a s i o n , Rose b e g i n s
reading
i n which F l o denounces h e r f o r a p p e a r i n g
i n a television
p r o d u c t i o n o f THE TROJAN
105
H a l f w a y t h r o u g h , she had t o s t o p r e a d i n g .
It
w a s n ' t t h a t she t h o u g h t how shabby i t was t o be
e x p o s i n g and making f u n o f F l o t h i s way.
She
had done i t o f t e n enough b e f o r e ; i t was no
news t o h e r t h a t i t was s h a b b y .
What s t o p p e d
h e r was, i n f a c t , t h a t g u l f ; she had a f r e s h and
o v e r w h e l m i n g r e a l i z a t i o n o f i t , and i t was n o t h i n g
t o l a u g h a b o u t , (p. 186)
Since F l o represents
the past which
Rose has
Rose c a n n o t manage t o see h e r as a c o m i c
escape
from F l o ' s
influence
her to take F l o l i g h t l y .
is
a moot p o i n t .
she now
has been
figure.
too p a i n f u l
Whether o r n o t she has
At b e s t ,
Rose's
ties
Rose's
to allow
escaped F l o
to the group
i n which
moves a r e t e n u o u s , as shown by h e r e a g e r n e s s t o
ingratiate
herself.
An o u t s i d e r
remember, she has n e v e r had
"Rose t h o u g h t o f h e r own
belonging
child,
repudiated,
leaving
it,
felt
family
about her p a s t ,
paradoxically,
middle-class
superior
she f e e l s
l o n g as she
a secure p o s i t i o n
nowhere, b u t t h a t was
she had
f o r as
as s t r a d d l i n g
not t r u e "
liberals
who
the
By
herself
river,
(p. 4 ) .
telling
she seems t o humble h e r s e l f ,
she e x a l t s
in society:
t o her environment;
inferior.
can
As
a
after
sordid
stories
but,
i n the eyes o f these
envy her the e x p e r i e n c e o f
poverty:
Rose knew a l o t o f p e o p l e who w i s h e d - t h e y had
p o o r and h a d n ' t b e e n .
So she c o u l d queen i t
o v e r them, o f f e r i n g v a r i o u s s c a n d a l s and b i t s
s q u a l o r f r o m h e r c h i l d h o o d , (p. 23)
Unable
to r e s i s t
rationalizes
the t e m p t a t i o n t o shock her f r i e n d s ,
her s t o r y t e l l i n g
on t h e g r o u n d s
that
been
of
Rose
she i s
106
telling
true
s t o r i e s w h i c h e x p l o d e r o m a n t i c myths o f
perpetuated
in literature
reference
to
Mansfield
was
her
"The
never o b l i g e d
agreeable"
Unlike
of poverty;
ugliness,
voices.
as
to
look
at
stained
f r i v o l o u s but
Mansfield,
exemplified
Rose has
that
by
These d e t a i l s a r e
a girl
disparaging
"Katherine
underwear;
their
accents
48).
understands
which t r a n s f o r m s
In a
Rose c o m p l a i n s ,
c r u e l and
(p.
Katherine
she
film.
Garden P a r t y " ,
r e l a t i v e s m i g h t be
w o u l d be
and
poverty
i t s salient
stained
often
like
d i r e c t experience
feature
underwear and
omitted
in
is
harsh
literature,
Franny M c G i l l u n t i l
she
is
unrecognizable:
L a t e r on Rose w o u l d t h i n k o f F r a n n y when she came
upon t h e f i g u r e o f an i d i o t i c , s a i n t l y whore
i n a book o r a m o v i e .
Men who made books and
m o v i e s seemed t o have a f o n d n e s s f o r t h i s
f i g u r e , t h o u g h Rose n o t i c e d t h e y w o u l d c l e a n h e r
up.
They c h e a t e d , she t h o u g h t , when t h e y
l e f t o u t t h e b r e a t h i n g and t h e s p i t and t h e
t e e t h : t h e y were r e f u s i n g t o t a k e i n t o a c c o u n t t h e
a p h r o d i s i a c p r i c k l e s of d i s g u s t , i n t h e i r hurry
to reward themselves w i t h the n o t i o n of a s o o t h i n g
b l a n k n e s s , u n d i f f e r e n t i a t e d welcome, (p. 26)
A l t h o u g h L a w r e n c e Mathews r e a d s
Robertson Davies
any
one
novel
to
1
the
p a s s a g e as
an
attack
F I F T H BUSINESS, i t s i m p l i c a t i o n s go
indict
writers
for sentimentalizing
on
beyond
their
2
characters.
Alice
of
WHO
Munro's f i c t i o n ;
the
side
Concern f o r t r u t h - t e l l i n g
dark s i d e
to equal
i s more p r o n o u n c e d
is
however, t h e
or g r e a t e r
i n WHO
i s nothing
i n s i s t e n c e on
time than the
than elsewhere
r u t h l e s s l y anti-romantic,
new
the
right
bright
i n the
especially in
in
canon.
depicting
107
poverty.
her
Rose h a s s c a n t
husband, C l i f f o r d ,
deserves
patience
with
Jocelyn's
notion
that
h a s been damaged by p o v e r t y and
special consideration
as a r e s u l t :
What J o c e l y n c a l l e d
bitterness
seemed t o Rose s o m e t h i n g more complex and more
ordinary; just the weariness, suppleness,
d e v i o u s n e s s , meanness, common t o a c l a s s .
Common t o C l i f f o r d ' s c l a s s , and R o s e ' s .
Jocelyn
had been i n s u l a t e d i n some ways, l e f t s t e r n and
innocent,
(p. I l l )
Poverty
has a c o a r s e n i n g
effect
on t h o s e who e x p e r i e n c e
rendering
them l e s s v u l n e r a b l e
to psychic
protected
middle-class
Clifford,
p r o j e c t i n g h e r own f i c t i o n
children.
pain
i t ,
than a r e
Jocelyn i d e a l i z e s
upon t h e a c t u a l man
much a s P a t r i c k i d e a l i z e s R o s e , p r o j e c t i n g upon h e r h i s
fiction
roles
of the Pre-Raphaelite
of knight-rescuer
hateful
Once Rose m a r r i e s
restrictions
impose upon h e r .
Patrick's
resistance to Patrick's
t h a t P a t r i c k ' s seemingly benign
skepticism
yielding,
Instead,
but slowly,
overlapping
but, like
self-protective
against
view
fiction
Rose i s u n a b l e t o s u s t a i n h e r r o l e a s
Even a s a c h i l d ,
a p e r s o n a l i t y which c o n t r a d i c t s the sweetly
pinapple,
enough
P a t r i c k , she d i s c o v e r s t h e
damsel-in-distress.
stereotype.
The r o m a n t i c
and l a d y - v i c t i m a r e s e d u c t i v e
t o overcome Rose's i n s t i n c t i v e
of her.
Beggar Maid.
her nature
. . . " (p. 5 ) .
the pineapple,
rind.
The f i e r c e
h e r stepmother r e a s s e r t s
submissive
"was g r o w i n g
and s e c r e t l y , h a r d
she p o s s e s s e d
like
a prickly
p r i d e and
She i s n o t sweet and
has a tough
resistance
itself
she m u s t e r s
against
h e r husband
108
as
he
attempts
to dominate
her.
In c o n t r a s t t o t h e b a r e
Maid's s t a t u s
indirectly
i n the
refers,
f e e t which r e v e a l the
Beggar
Burne-Jones p a i n t i n g to which P a t r i c k
Rose's emblem f o r h e r
own
origins is
the
3
outhouse behind
d a r k and
her
first
frightening Girls'
seemed, d e c l i n e d t o use
she
can
get
dares not
call
the
home, r i s k i n g
confide
a pail
and
hole"
wet
important
the
(p. 2 3 ) ,
shovel,
p a n t s and
by
situation
(p. 2 4 ) .
i n the
and
Rose
Girls'
's
revealed
suppressed.
to which p r e v i o u s l y
aspects
their
of
Rose's c h i l d h o o d
great
s e c r e t her
extent
i n f l u e n c e upon h e r
f e a r of
the
school
the
first
The
l i n k between t o i l e t s
s t o r e of t h i n g s
throughout
t h e work.
of t o i l e t s
and
Mr.
and
she
outhouse,
could
her
brother,
i s glimpsed
concealed
narrative
"She
forged
has
building
(p.
here
noted
the
toilet
crush,
up
24).
holds
the
In a d d i t i o n t o
has
suggests
Keeping
was
prevalence
linking
been r a p e d
in
the
image r e l a t e s t o
i n h i s o u t h o u s e , and
whom Rose d e v e l o p s a s c h o o l g i r l
being
never t e l l "
telling
Struthers
i n which
grows up.
t o F r a n n y M c G i l l , who
o u t h o u s e by
B u r n s who
Tim
she
as
e x c r e m e n t i n WHO.
Rose t o F l o and
school
from F l o i s
power by
dominate t h i s
school,
determination
Toilet
s e c r e t s w h i c h c a n n o t be
The
will
lambasting
b e c a u s e i t draws a t t e n t i o n t o t h e way
gain
She
stepmother
a t the
i t
until
Flo's scorn.
arriving
c l e a n i n g up,
bargain"
the
Rose w a i t s
i n F l o f o r f e a r t h a t her
everyone i n t o the
conceal
Rather than v i s i t
T o i l e t where "Many p e o p l e ,
unwanted a t t e n t i o n t o h e r
"with
to
school.
i n that
to Cora,
her
on
109
grandfather
interprets
i s known as t h e honey-dumper.
the t o i l e t
as an
image i n w h i c h Munro
t h e c h a n g e s i n H a n r a t t y , when, i n t h e
of
"Privilege",
disappearance
plumbing.
this
t o a change i n A l i c e
in
three
and
introduction
of
paragraphs
r e f e r e n c e s i n WHO.
the
indoor
explanation alone s c a r c e l y
t h e numerous s c a t o l o g i c a l
narrative,
last
expresses
p r o g r e s s i s d i s c u s s e d i n terms o f
of outhouses
But
Struthers
accounts f o r
They p o i n t
Munro's n o t i o n o f what b e l o n g s
contradicting
the o p i n i o n expressed
also
in
by Ada
Jordan
LIVES:
N e x t day t h e y w i l l be t e l l i n g a b o u t how t h e y go
t o t h e t o i l e t , why do t h e y l e a v e t h a t o u t ?
T h e r e i s n ' t any o f t h a t i n S i l a s M a r n e r .
There
i s n ' t any i n t h e c l a s s i c w r i t e r s .
They were
good w r i t e r s , t h e y d i d n ' t need i t . " 5
Ada
believes
belong
that
neither
in literature,
private
physical
reflect
life
installed,
sex
b u t WHO
scenes
insists
acts are v i t a l
accurately.
the n a r r a t o r
change t h a n a symbol
of
nor bathroom
reflects
lost
the o p p o s i t e , t h a t
to l i t e r a t u r e
When F l o has
on
scenes
i f i t i s to
the indoor
i t less
toilet
as a symbol
of
privacy:
They were a l l f a m i l i a r w i t h e a c h o t h e r ' s n e t h e r
v o i c e s , n o t o n l y i n t h e i r more e x p l o s i v e
moments b u t i n t h e i r i n t i m a t e s i g h s and g r o w l s
and p l e a s and s t a t e m e n t s .
And t h e y were a l l
most p r u d i s h p e o p l e .
So no one e v e r seemed t o
h e a r , o r be l i s t e n i n g and no r e f e r e n c e was made.
The p e r s o n c r e a t i n g t h e n o i s e s i n t h e b a t h r o o m
was n o t c o n n e c t e d w i t h t h e p e r s o n who w a l k e d o u t .
(p. 4)
The
phrase,
nether v o i c e s ,
directly
associates
the
image
110
with narrative.
father
talking
In a p a r a l l e l
passage,
Rose o v e r h e a r s
her
t o h i m s e l f i n h i s workshop:
From t h e shed came n o t o n l y c o u g h i n g , b u t s p e e c h ,
a c o n t i n u a l muttering, r e p r o a c h f u l or
e n c o u r a g i n g , u s u a l l y j u s t below the l e v e l a t
w h i c h s e p a r a t e words c o u l d be made o u t . . . .
Now
and t h e n some words w o u l d b r e a k t h r o u g h and
hang c l e a r and n o n s e n s i c a l on t h e a i r . When he
r e a l i z e d t h e y were o u t , t h e r e w o u l d be a q u i c k b i t
o f c o v e r - u p c o u g h i n g , a s w a l l o w i n g , an a l e r t
u n u s u a l s i l e n c e . . . . The p e r s o n who
spoke
t h e s e words and t h e p e r s o n who spoke t o h e r as
h e r f a t h e r were n o t t h e same, t h o u g h t h e y seemed
t o o c c u p y t h e same s p a c e . I t w o u l d be t h e w o r s t
p o s s i b l e t a s t e t o a c k n o w l e d g e t h e p e r s o n who
was
s u p p o s e d t o be t h e r e . . .
(pp. 3-4)
Words a r e i m p o r t a n t h e r e n o t as c o m m u n i c a t i o n
utterance,
perhaps
meaningful
t o t h e s p e a k e r h i m s e l f , and
depths
of h i s being.
individual
powerful
The
narrator
from
the
t h e s e i n v o l u n t a r y words,
i s , and
o f WHO
feels
h i s need
a compulsion
i s as s t r o n g as t h a t
after
t o do
an
so i s a
too, a drive
(p. 2 6 ) .
Her
Go
a n o t h e r , as h a r d t o s t o p as
away o r I ' l l punch y o u .
Difficult
name s u g g e s t s
flow which
cannot
be
reticence:
"she was
as F r a n n y
they
Franny
I_ w i l l .
the s o r t
She
"Go
I_ r e a l l y
i s to suppress, Flo i s
i t s homophone, f l o w ; h e r t a l k
staunched.
to
of C o l e r i d g e ' s a n c i e n t
unwelcome o v e r t u r e s t o Rose i n t h e s c h o o l y a r d :
away, F r a n n y .
worse.
arising
but
Once t h e s e h i d d e n memories a r e u n s t o p p e r e d ,
o u t one
wil1"
to a l i s t e n e r ,
as
compulsion.
mariner.
McGill's
Through
e x p r e s s e s what he
c o n f e s s which
pour
unintelligible
but
has
o f woman who
no
is a
decent
will
make p u b l i c
Ill
what
she f i n d s i n t h e l a u n d r y
childhood,
for
Rose h a t e s
the s a d i s t i c
bag" (p. 2 4 ) . Throughout h e r
F l of o r t e l l i n g
pleasure
F l o takes
everything,
especially
i n d e s t r o y i n g Rose's
illusions.
Y e t she i s f a s c i n a t e d t o o by t h e s t o r i e s F l o
tells
The i m p l i e d c o m p l i c i t y between t e l l e r and
her.
listener
parallels
Rose d u r i n g
their
t h e c o m p l i c i t y between R o s e ' s f a t h e r and
the beatings,
violent
o r between Rose and P a t r i c k d u r i n g
m a r i t a l q u a r r e l s . I n WHO,
between p e o p l e
i s thoroughly
words o b s e r v e d
i n Munro's
the
strange
case
fiction
the f a s c i n a t i o n
takes
a different
o f t h e o l d woman Rose e n c o u n t e r s
C o u n t y Home who no l o n g e r
words
explored:
s p e e c h a s t h e bond
i f she i s g i v e n
speaks b u t w i l l
with
form i n
i n the
obediently
spell
them:
" I s n ' t she a wonder," t h e n u r s e s a i d .
"She c a n ' t
see and t h a t ' s t h e o n l y way we c a n t e l l she c a n
hear.
L i k e i f y o u s a y , 'Here's y o u r d i n n e r , '
she won't p a y any a t t e n t i o n t o i t , b u t she m i g h t
s t a r t s p e l l i n g d i n n e r . " ( p . 183)
When t h e n u r s e
spelled,
a word w h i c h r e c a l l s
a word
t o be
the c o r r e c t s p e l l i n g of
Hagar's i n s i g h t
near t h e
o f M a r g a r e t L a u r e n c e ' s THE STONE ANGEL: " I must
a l w a y s have wanted
this
t h a t Rose s u p p l y
t h e o l d woman o b l i g e s w i t h
"celebrate",
end
suggests
sentiment,
rejoicing
that—simply
WHO r e c o g n i z e s
to r e j o i c e . "
0
always,
Endorsing
words a s t h e means o f
i n t h e human c o n d i t i o n i n a l l i t s a s p e c t s .
simulataneously
acknowledges t h e s q u a l o r
b a c k g r o u n d and r e j o i c e s
o f Rose's
i n i t s r i c h n e s s as e x p e r i e n c e :
WHO
112
She knew she w o u l d n e v e r f l o u r i s h , n e v e r g e t t o
any v e r y s e c u r e p o s i t i o n — i f i n d e e d t h e r e was
such
a t h i n g — i n t h e w o r l d o f s c h o o l . B u t she was
not m i s e r a b l e , except i n the matter of not b e i n g
a b l e t o go t o t h e t o i l e t . L e a r n i n g t o s u r v i v e , no
m a t t e r w i t h what c r a v e n n e s s and c a u t i o n , what
s h o c k s and f o r e b o d i n g s , i s n o t t h e same as b e i n g
m i s e r a b l e . I t i s t o o i n t e r e s t i n g , (p. 27)
Learning
to s u r v i v e i n the harsh world
develops
early
related
has
in
the
to a c t i n g ,
technique
her
a h a b i t of walking
the
inside
lighted
as
actress;
for
she
can
Rose, her
ambivalent
imitation
the
streets
f i t i n anywhere"
this
a sense
the
of
imagining
She
can
she
looking
herself
picture
herself
"Rose i s an
(p. 1 5 2 ) .
to her
suggests.
to i l l u m i n e
Rose
places,
i n the evening,
o r modest h o u s e s :
usual attitude
than
overcome by
d e s t i n e d c a r e e r . In new
or a guest.
equally well in lavish
youth,
of adapting, which i s c l o s e l y
windows o f h o u s e s and
the h o s t e s s
of her
acting
Unfortunately
i s more
O b s e s s e d by
the
t r u t h s of experience,
failure
she
of
i s often
shame:
The t h i n g she was ashamed o f , i n a c t i n g , was t h a t
she m i g h t have b e e n p a y i n g a t t e n t i o n t o t h e
wrong t h i n g s , r e p o r t i n g a n t i c s , when t h e r e
was a l w a y s s o m e t h i n g f u r t h e r , a t o n e , a d e p t h , a
l i g h t , t h a t she c o u l d n ' t g e t and w o u l d n ' t g e t .
And i t wasn't j u s t a b o u t a c t i n g t h a t she
suspected t h i s .
E v e r y t h i n g she had done c o u l d
sometimes be s e e n as a m i s t a k e , (p. 205)
These t h o u g h t s
meeting with
occur
Ralph
Ralph
i s almost
actor
by
t o Rose i n t h e c o n t e x t o f h e r
Gillespie
Rose's a l t e r
instinct.
i n the Hanratty
ego
i n WHO.
Legion
L i k e her
Famous f o r h i s i m i t a t i o n
final
of a
Hall.
he
i s an
local
113
c h a r a c t e r whose name, M i l t o n Homer, i s a r e m i n d e r
esteem
has
i n which Hanratty h o l d s poets, Ralph
been a c q u a i n t e d w i t h s i n c e
occupied
a d e s k ahead o f h e r s .
affinity
for
their
of the
i s someone
school days,
she
when
E v e n t h e n , Rose f e l t
low
he
an
him:
B o t h o f them l o s t o r m i s l a i d o r n e v e r a d e q u a t e l y
provided themselves with a l l the p e n c i l s , r u l e r s ,
e r a s e r s , pen n i b s , r u l e d p a p e r , g r a p h p a p e r ,
t h e compass, d i v i d e r s , p r o t a c t o r , n e c e s s a r y
f o r a s u c c e s s f u l s c h o o l l i f e ; b o t h o f them were
s l o p p y w i t h i n k , s u b j e c t t o s p i l l i n g and
b l o t t i n g m i s h a p s ; b o t h o f them were n e g l i g e n t
a b o u t d o i n g homework b u t p a n i c k y a b o u t n o t
h a v i n g done i t . (p. 199)
As
shy as t h e y were i m p r a c t i c a l ,
c o n v e r s a t i o n , b u t communicated
t h e y c o u l d n o t manage a
on
another
level:
T h a t wasn't q u i t e a l l .
T h e i r s h o e s and b o o t s
became w e l l a c q u a i n t e d , s c u f f l i n g and
p u s h i n g i n f r i e n d l y and p r i v a t e e n c o u n t e r ,
sometimes r e s t i n g t o g e t h e r a moment i n t e n t a t i v e
encouragement; t h e i r mutual k i n d n e s s
p a r t i c u l a r l y h e l p e d them t h r o u g h t h o s e
moments when p e o p l e were b e i n g s e l e c t e d t o
do m a t h e m a t i c s p r o b l e m s on t h e b l a c k b o a r d ,
(p.
199)
Ralph's
nearness^comforted
comfort
h e r when he
Like
h e r , he h i d e s b e h i n d
she was
because
continues to
comes t o s i t b e s i d e h e r a t t h e
s c h o o l d a y s when R a l p h
desk,
Rose t h e n , and
manner.
In
their
shook snow o u t o f h i s h a i r
charmed; she
i t so c l o s e l y
a joking
the c o n c l u d i n g sentence
onto
appreciates his oblique
resembles
o f WHO,
have been h e r s : "What c o u l d she
h e r own.
Ralph's
As
life
say a b o u t
Legion.
she
her
approach
realizes
in
could nearly
herself
and
Ralph
114
Gillespie,
the
lives
own?"
except that
of
the
(p 2 0 6 ) .
returned
men
She
herself,
she
escaped
Ralph's appealing
Had
of h i s .
Simon e n t e r t a i n s
as
Rose by
one
close, closer
slot
over from
she
stayed,
Renouncing t h a t
drawn t o men
falls
qualities,
his acting. Just
life,
f r o m H a n r a t t y whereas
war.
later
his
loved,
i s nevertheless
Simon, w i t h whom she
by
felt
she'd
home a f t e r t h e
have been a v e r s i o n
her
she
i n c l u d i n g the
Ralph would
playing
would
for
Ralph.
many o f
ability
"do"
various
life
life
i n l o v e , has
her
Ralph
her
like
than
Milton
to
amuse
Homer,
parts:
She a l r e a d y knew a few o f h i s c h a r a c t e r s .
This
was The Humble Workman.
Some o t h e r s were The O l d
Philosopher
. . . and, where a p p r o p r i a t e ,
The
Mad S a t y r , n u z z l i n g and l e a p i n g , making
triumphant s u c k i n g n o i s e s a g a i n s t her n a v e l .
(P.
161)
Rose d r e a d s t h e
falling
allow
i n love.
her
to play
h u m o u r l e s s man
feelings
love
l o s s of
accompanies
A p l a y f u l l o v e r who
mimics
a
f r e e of
like
to h i s .
independence which
l o v e r ' s r o l e too,
P a t r i c k makes t h a t
This
i s s u g g e s t e d by
strong
Flo's
she
love
the
match
seems
to
demand a
her
dramatic element i n e r o t i c
euphemism f o r t h e
sex
act:
T h a t was F l o ' s word f o r i t : p e r f o r m .
Back i n t h e
c o u n t r y , b a c k on t h e h i l l f a r m s she came f r o m ,
F l o s a i d t h a t p e o p l e had gone d o t t y , been known t o
e a t b o i l e d hay, and p e r f o r m e d w i t h t h e i r t o o c l o s e
r e l a t i o n s , (p. 25)
As
usual,
that
there
Flo's
s t o r i e s are
warnings f o r Rose.
i s something r i d i c u l o u s i n s e x u a l i t y .
They
The
imply
idea
115
of performance i m p l i e s the p o s s i b i l i t y
oneself
Flo's
of
from
a ritual
h a r p i n g on
with
perverse
attempts
sexuality
throwing
window, e v e n s l a s h i n g
g a r d e n and
unhealthy
tearing
cycle
been
she
light
To
responds
the
into
T h e i r marriage
the
repeats
reconciliation,
been done, u n t i l
time,
t h e d i n i n g room
her w r i s t s or r u s h i n g out
o f q u a r r e l i n g and
enough damage had
her,
head a g a i n s t
through
a t the g r a s s .
same
Patrick develop.
possess
b e a t i n g her
a gravy-boat
At the
i s suggestive i n
Rose and
t o d o m i n a t e and
overwhelming rage,
bedpost,
n e a r l y mortal
the
"until
damage
had
done"(p.95).
The
scenes
make i t t h e
moves f r o m
of v i o l e n c e t a i n t
most d i s t u r b i n g
v i o l e n c e has
has
which i s acted out.
the d e s t r u c t i v e r e l a t i o n s h i p
Patrick's
of withholding
who
i s suspected
i s the beaten
as
instigator,
i s an
of b e a t i n g her
Her
i n WHO
insistent
her
anger a g a i n s t her
by
blood
i s the
final
necessary
detail:
blood
came l e a p i n g o u t
which erupts
the phrase,
banners"
as
of
a
stepmother.
"Royal
Blood
i n F l o ' s s t o r y of her
i n the h o s p i t a l
when she
As
she
Beating",
"Someone k n e l t
(p.l).
Rose
the
i n Rose's f a n t a s i e s .
suggested
o f human p a i n i s r e p e a t e d
Jordan
only
c o u r t s v i o l e n c e out
scene
like
of
who
motif
i t
child,
recollection
the
nosebleed
fiction,
i n the b e a t i n g s , not
need t o r i t u a l i z e
Blood
pictures
child.
i m p l i c a t e s her
but
perverse
i n her
and
Although
t h e p e r i p h e r y t o t h e c e n t r e . Whereas D e l
experience
victim,
o f Munro's w o r k s .
a l w a y s been p r e s e n t
a neighbour
herself
t h e a t m o s p h e r e o f WHO,
and
as
the
emblem
severe
visits
the
116
woman f o r whom she u s e d
of
Flo's
stories,
Becky T y d e ' s f a t h e r
snow he was l y i n g
assailants
window:
steps
i n turned
finally
leave,
"She w a t c h e d
make h i s d e l a y e d
stories
blood
Becky
bloody progress
(p.
which flows
i s not released
In another
i s beaten u n t i l "the
r e d " ( p . 8 ) , and a f t e r h i s
isstill
t h e men l e a v e
o f the verandah"
The
t o work a s h i r e d g i r l .
watching
at last
from t h e
and h e r f a t h e r
t h r o u g h t h e snow and up t h e
8).
from t h e b e a t i n g s
when Rose's f a t h e r
i n these
a c t u a l l y beats
her:
He h a s n e v e r managed t o r e a l l y i n j u r e h e r , t h o u g h
t h e r e a r e t i m e s , o f c o u r s e , when s h e p r a y s t h a t he
will.
He h i t s h e r w i t h an open hand, t h e r e i s
some r e s t r a i n t i n h i s k i c k s , ( p . 17)
Paradoxically,
deliver
the ultimate
rebellion
c e n t r a l t o WHO.
f o r daring
identity,
self-critical,
led
she p r o v o k e s a g a i n s t
also
herself superior
critical
of
to others.
s u g g e s t s Rose's q u e s t f o r
i s t h e main i s s u e .
She b e l i e v e s
Habitually
pride
h e r f a t h e r was t r a p p e d
when she and F l o p u s h e d h i m t o o f a r :
comes a t i m e when y o u c a n ' t
herself
WHO DO YOU THINK YOU ARE?
Rose wonders w h e t h e r h e r own s t u b b o r n
to the beatings.
into violence
R o s e ' s own
a s k e d Rose by a t e a c h e r
to consider
her pride
the c y c l e of
The d e g r e e o f
The t i t l e ,
Although the question
t o l o s e a l l c o n t r o l and
perpetuates
f o r the violence
comes f r o m a q u e s t i o n
her
failure
beating
and p u n i s h m e n t .
responsibility
is
her father's
draw b a c k " ( p . 1 6 ) .
"there
Later,
117
reflecting
upon h e r v i o l e n t
f i g h t s with
them a s symptoms o f i l l n e s s ,
each o t h e r ,
P a t r i c k , she sees
and r e c a l l s
"What do y o u t h i n k
how t h e y
would ask
t r i g g e r s t h e r e a c t i o n ? " (p.
95)
Blood
WHO,
and v i o l e n c e a r e n o t mere b a c k g r o u n d d e t a i l i n
b u t a r e p a r t o f an image p a t t e r n
when he f i r s t
falls
i n love with
s u g g e s t e d by P a t r i c k
Rose: "You d o n ' t know how I
love you.
T h e r e ' s a book I have c a l l e d
Every
time
I look
78).
Whereas P a t r i c k r e f e r s t o t h e c o n n o t a t i o n s
and
spirituality
a t the t i t l e
THE WHITE
GODDESS.
i t r e m i n d s me o f y o u " ( p .
s u g g e s t e d by t h e t i t l e
of purity
o f t h i s work by
Robert G r a v e s , Graves' a n a l y s i s o f t h e White Goddess
her
as more p e r v e r s e
Rose—than
P a t r i c k guesses.
muse o f p o e t r y ,
achieve,
and c o n t r a d i c t o r y — h e n c e
According
and by i n v o k i n g
"the experience
more
reveals
like
t o G r a v e s , she i s t h e
her the true poet
may
o f mixed e x a l t a t i o n and h o r r o r
that
7
her
presence e x c i t e s " .
symbolized
special
White i s t h e f i r s t
of her c o l o u r s ,
by t h e new moon; however, h e r s e c o n d c o l o u r
s i g n i f i c a n c e f o r the protagonist
of
i s of
WHO:
When S u i d a s t h e B y z a n t i n e r e c o r d s t h a t Io was a
cow t h a t c h a n g e d h e r c o l o u r f r o m w h i t e t o r o s e
and t h e n t o b l a c k , he means t h a t t h e New Moon i s
t h e w h i t e g o d d e s s o f b i r t h and g r o w t h ; t h e
F u l l Moon, t h e r e d g o d d e s s o f l o v e and b a t t l e ; t h e
O l d Moon, t h e b l a c k g o d d e s s o f d e a t h and
d i v i n a t i o n " (p. 6 9 ) .
I n WHO,
the protagonist's
suggesting
triumvirate
name comes f r o m t h e c o l o u r ,
rose,
t h e r e d of the second goddess o f Graves's
and t h e c o l o u r
of blood;
m o r e o v e r , t h e Rose
118
Goddess
her
i s the d e i t y
i s to invoke
fright
and
embrace
o f l o v e and s e x u a l w a r f a r e .
what G r a v e s c a l l s ,
lust—the
i s death"
" t h e a n c i e n t power o f
f e m a l e s p i d e r , o r t h e queen-bee whose
(p. 24) .
G r a v e s blames h i s c e n t u r y ' s
inimical
To summon
e m p h a s i s on m a r r i a g e ,
a state
t o the goddess, f o r the d e c l i n e of p o e t r y :
The W h i t e Goddess i s a n t i - d o m e s t i c ; she i s t h e
p e r p e t u a l " o t h e r woman" and h e r p a r t i s d i f f i c u l t
i n d e e d f o r a woman o f s e n s i b i l i t y t o p l a y f o r
more t h a n a few y e a r s . . . (p. 447)
This description
except
t o note
admiration
never
fits
Rose s o e x a c t l y i t r e q u i r e s no comment
t h a t G r a v e s ' argument, d e s p i t e i t s i m p l i c i t
f o r the female p r i n c i p l e ,
admits
the p o s s i b i l i t y
however, Rose assumes
therefore
the sexual
muse p r e s u p p o s e d
complicated.
Clifford
of a female poet.
the r o l e s
liason
of a r t i s t
and
context,
to s a t i s f y
disbelieving,
she was
s a d " (p. 1 3 2 ) .
drives
Since
female
t h e s c e n e when Rose
her dual nature:
slightly
too s l u g g i s h to reach
The a f t e r t a s t e
their
"Rose
of g u i l t
allows
suggests
t o w h i c h she w i l l
hardly w i l l i n g ,
Rose f r o m C l i f f o r d
morning.
and
t o make l o v e t o h e r a l o n g w i t h J o c e l y n
some l e v e l
WHO,
i n THE WHITE GODDESS becomes f u r t h e r
In t h i s
doomed a t t e m p t
at
In
and g o d d e s s ;
between male p o e t
Rose's d e s p e r a t i o n , the l e n g t h s
curious,
t h e g o d d e s s as muse,
go i n a
felt
aroused
f o r , appalled
and d i s g u s t
and J o c e l y n ' s h o u s e e a r l y
lovemaking
o f R o s e ' s l o v e f o r them b o t h ,
is a ritual
and,
the next
acknowledgement
Rose m i g h t have t a k e n
comfort
119
from
i t , but
i n s t e a d she
t h e p a s t , and
vindicated Clifford's
b e f o r e when he
affair:
thing.
b e l i e v e s t h a t they
decided
I t ' s not
It's ordinary mischief"(p.
events
a c k n o w l e d g e t h a t she
never
rejection
trivialized
of her
a g a i n s t consummating t h e i r
"What we're d o i n g .
Once a g a i n ,
have
forcing
is a solitary
people
last.
Alice
Munro c o r r o b o r a t e s
In an
this
love
necessary
122).
seem t o be
other
some b i g
years
Rose
to
whose c o n n e c t i o n s
interview with
Alan
with
Twigg,
view:
Twigg:
My w i f e ' s comment on WHO DO YOU THINK
YOU ARE? was t h a t y o u r c h a r a c t e r , Rose,
i s never allowed to get anything.
She's
always u n f u l f i l l e d .
May be s h e ' s j u s t wary
of emotion.
Munro:
She g e t s s o m e t h i n g .
She g e t s h e r s e l f .
She d o e s n ' t g e t t h e o b v i o u s t h i n g s , t h e t h i n g s
she t h i n k s she w a n t s .
Like i n "Mischief,"
Rose d o e s n ' t r e a l l y want t h a t l o v e a f f a i r .
What
she does g e t i s a way o u t o f h e r m a r r i a g e .
She
g e t s a knowledge o f h e r s e l f . 8
Despite
the
author's
empty-handed, t h i s
and
destroyer
literary
c o n t e n t i o n t h a t Rose does n o t
vision
o f a woman i n h e r
i s somewhat b l e a k .
themes i n r e l a t i o n
emerge
p r i m e as
lover
D i s c u s s i n g Canadian
to Graves' t h e s i s
GODDESS, M a r g a r e t Atwood r e m a r k s on
"the
i n THE
notable
WHITE
absence
of
9
Venuses"
WHO
(Rose G o d d e s s e s ) i n t h e
f o l l o w e d Atwood's
distinguished
SURVIVAL, and
filled
between D i a n a - M a i d e n s and
Rose s u f f e r s
i n a way
Del Jordan,
does n o t .
her
d e s t i n y enables
her
P u b l i c a t i o n of
the
gap
Atwood
Hecate-Crones.
t h a t the e a r l i e r
protagonist,
artistic
literature.
and
younger
Perhaps Del's
to detach
herself
sense
from
of
her
120
experiences, regarding
A l t h o u g h Rose a l s o
ill-defined
to
them as m a t e r i a l
has a r t i s t i c
Incapable of deciding
state
of i n e r t i a ,
her f u t u r e ,
dreaming o f p l a y i n g
correspondent.
she i s a s c h o l a r ,
gifts
have won h e r a s c h o l a r s h i i p ,
she i s .
than D e l .
i n p u b l i c " (p.
Rose d r i f t s
in a
t h e harp o r becoming a
A l t h o u g h Rose's
i n impulses
Patrick
rouses
sensed
she i s more a t t h e mercy
Her r e l a t i o n s h i p w i t h
against
t o murder and s u i c i d e .
i n Rose i s a f u l l e r
i n characters
Patrick
like
Lois
The a n g e r
development o f the f u r y
i n DANCE, who
contains a dramatic
Rose's c h o i c e o f a c t i n g
believable
lashes out
that
she w o u l d d i s c o v e r
s u i t s Rose's d r a m a t i c
s u i t s her a u t h o r i t y ,
herself
and h e r l i f e ,
w h i c h Rose s u f f e r s .
searches
been f o r c e d
element which accords
as h e r p r o f e s s i o n ,
writing
similar
their
the l i m i t a t i o n s of her c l a s s .
Hysteria
Acting
tells
intellectual
makes h e r h y s t e r i c a l a t t i m e s , and c u l m i n a t e s b e f o r e
divorce
need
Rose f e e l s u n e a s y b e c a u s e she h a s no
s e n s e o f who
her f e e l i n g s
a shameful
When D r . Henshawe r e p e a t e d l y
clear
of
fiction.
they are
"She wanted t o p e r f o r m
69).
her
ambitions,
and e m b a r r a s s h e r by r e v e a l i n g
attract attention:
foreign
f o r future
accidentally.
j u s t as D e l ' s
her a i r of being
detached
from the g u i l t
Both a r t i s t - h e r o i n e s
for artistic
and makes i t
i t almost
temperment
with
i n control of
and r e m o r s e
a r e engaged i n
t r u t h , b u t D e l has n o t y e t
t o a c k n o w l e d g e h e r own m e d i o c r i t y
a s Rose h a s :
I t ' w a s p a r t o f h e r j o b t o go on l o c a l t e l e v i s i o n
c h a t t i n g about these p r o d u c t i o n s , t r y i n g
121
t o drum up i n t e r e s t , t e l l i n g amusing s t o r i e s
a b o u t t h i n g s t h a t had happened d u r i n g t h e
tour.
T h e r e was n o t h i n g s h a m e f u l a b o u t any
o f t h i s , b u t sometimes Rose was
deeply,
u n a c c o u n t a b l y ashamed, (p. 177)
R o s e ' s shame d e r i v e s
from u n r e c o n c i l e d
between F l o ' s
s t a n d a r d s and
which
moves.
she
now
enmeshed i n t h e
The
a t t r i b u t a b l e to the
in
two
As
novel,
A.A.
the
with
interposed
the
between t h e
e v e n t s have a l r e a d y
i n the
first
history,
suffering
of
of experience
the
Struthers
i t — i s
view
I of
on
the
and
the
Del
the
is
reader
is felt
reader's
to
to
be
I."
that
L I V E S , f o r example, i s
Jordan, apparently
reviewing
kunstlerroman form, i n
i s a young w r i t e r , i m p l i e s
has
the
reader
f i r s t - p e r s o n narration implies
taken p l a c e .
past
the
of a l l o w i n g
novel
time i n
been p u r g e d
i n the
that
the
transformation
into art.
contrast,
narrator's
from
"Another person
Moreover, the
narrator
focus
i s detached
i n h i s study of
Instead
p e r s o n by
which the
the
out
protagonist,
M e n d i l o w a l s o n o t e s how
By
group i n
s e n s e t h a t Rose i s
first-person narrative's effect
identify
past
artistic
d i f f e r e n c e between p o i n t o f
Mendilow p o i n t s
to expectations.
her
Del
the
conflict
works.
contrary
told
reader's
story—whereas
partly
the
those of
inner
the
third-person
c l o s e r to the
c o n t r o l over
comments on
n a r r a t i o n o f WHO
events d e s c r i b e d ,
the
tale.
In a 1983
his impression
n a r r a t o r s : Rose h e r s e l f a t t e n
or
and
that
sacrifices
interview,
there
thirty-two,
brings
are
and
a
the
Tim
several
narrator
122
who " a d o p t s a s u p e r i o r
ironic
sees t h i s
a s an i n c o n s i s t e n c y
resulting
from
tone towards Rose".
of narrative point
t h e r e v i s i o n s Munro made t o WHO,
author emphatically
denies
Struthers
o f view
butthe
this:
No, I d o n ' t t h i n k s o . No, I d o n ' t t h i n k s o . I
d o n ' t t h i n k t h a t h a s a n y t h i n g t o do w i t h , i t .
T h e r e may w e l l be an u n c e r t a i n t y , a
problem t h a t I had, but I don't t h i n k t h a t
h a s t y r e w r i t e i s t h e r e a s o n . I t h i n k t h e r e were
j u s t t i m e s when I f e l t t h a t t h e s t o r y had t o
work t h a t way, and I r e a l l y c a n ' t t e l l y o u why. 1 1
Munro's r e p l y
artistic
to Struthers
process,
reflects
i n which she d i s c o v e r s
work a s i t p r o g r e s s e s a n d w i l l
allow
change h e r mind a b o u t what b e l o n g s
originally
the
first
third
intended
as a t w o - p a r t
person devoted
person devoted
creation.
galleys
complication
similar
her d i s c o v e r i e s t o
in i t .
WHO
o f t h e form
was
s t r u c t u r e w i t h one p a r t i n
t o Rose, who was J a n e t ' s
Munro b e l a t e d l y
epilogue,
t h e form o f t h e
t o J a n e t , and t h e o t h e r
I t was n o t u n t i l
that
h e r commitment t o h e r
fictional
t h e work had b e e n p r i n t e d i n
realized
she had u s e d
that
t h e form, a
i n L I V E S and w i t h a
was n o t t h e most s u i t a b l e o n e .
e x p e n s e , she made t h e c h a n g e s s h e c o n s i d e r e d
the
first
contained
included
with
the f i n a l
v e r s i o n WHO
three
According
(the f i r s t
to Leitch, i n
had a t w o - p a r t s t r u c t u r e , and
stories
i n MOONS.
version.
A t h e r own
necessary.
L.M. L e i t c h h a s compared a r e v i e w e r ' s c o p y
version)
i n the
that
Munro e x c i s e d
and l a t e r
The s t o r i e s w h i c h she removed a r e "The
Moons o f J u p i t e r " , " C o n n e c t i o n " , and "The S t o n e i n t h e
123
12
Field".
Leitch also
individual
the o r i g i n a l
references
first
,
a l t e r a t i o n s Munro made i n
stories after their
magazines t o prepare
that
traces
first
publication i n
them f o r i n c l u s i o n i n WHO.
version
of "Half
a Grapefruit"
t o Rose a s c h r o n i c l e r , and " W i l d
published
version
does n o t c o n t a i n
u n d e r t a k e r who r e g u l a r l y buys c a n d y ? ^
s u p p o r t s t h e i n t e r p r e t a t i o n o f WHO
self-reflexive
more p r o m i n e n t .
suggest that
the reference
Rose, and t h e m o t i f
blurring
explain
is
she
of blood
but also
i m p o s e d by t h e a u t h o r
discovered
Flo's
of narrative
as d e l i b e r a t e l y
These r e v i s i o n s
to the structure
but considers
compelled
Whatever
an a c t r e s s ,
i n this
work,
i t aptly
t o which
life for
Rose i s a t o n c e
and t h e c h a r a c t e r .
she i s a l w a y s on s t a g e t o t h e
s h e i s aware o f c r e a t i n g
an i m p r e s s i o n , o f
s t o r i e s t o engage t h e a t t e n t i o n
or p u b l i c .
which i s
S i m i l a r l y , the
i t s source,
" I " and t h e " s h e " , t h e s e l f
private
within
t o make, n o t one w h i c h
the
it
o f WHO,
necessary
i s a s e r i e s o f r o l e s which she p l a y s .
telling
to the
and t h e c o n t r a d i c t i o n s
Rose's c o n c e r n o v e r t h e e x t e n t
that
further
are linked not only
her
extent
work
v i e w p o i n t , w h i c h Munro was u n a b l e t o
d e l i b e r a t e l y chose.
befits
of the
(the m a s c u l i n e paradigm) b u t
an a c c o m o d a t i o n she f e l t
As
story
Leitch's
by h e r ( t h e f e m i n i n e p a r a d i g m ) .
to Struthers,
reflects
Swans" i n i t s
t o t h e WHITE GODDESS, t h e name,
and v i o l e n c e
Rose's c h a r a c t e r ,
not
has no
by s h o w i n g how t h e a u t h o r ' s r e v i s i o n s made-
storytelling
themes o f l o v e
She n o t e s
In the f i n a l
o f an a u d i e n c e , be
paragraph of the
124
concluding
story
glad
segment, Rose m a s t e r s
of Ralph G i l l e s p i e :
that
telling,
there
though
was
"Rose d i d n ' t
thing at least
she knew i t was
honorable r e s t r a i n t
renunciation
one
the temptation to t e l l
tell
t o anybody,
she w o u l d n ' t
lack of material
t h a t kept her q u i e t "
of a r t i f a c e
this
recalls
the
spoil
by
as much as
(p. 206) .
Prospero's epilogue
Her
in
THE
TEMPEST:
Now my charms a r e a l l o ' e r t h r o w n
And what s t r e n g t h I h a v e ' s mine o w n , —
Which i s most f a i n t : (V. Ep. 1-3)
THE
TEMPEST, i t w i l l
be r e c a l l e d , i s t h e p l a y
the
opening
" R o y a l B e a t i n g s " , Rose o v e r h e a r s h e r
father
reciting
towers,
and
reach
palaces"
encompassing
or h i n t e d
herself.
f o r t h e m s e l v e s , showing
they a c t out or r e t e l l
circle
is
how,
the p a t t e r n s
be
artist
Through
identity
in
cloud-capped
embedded
a t i n t h e t e x t , Munro e x t e n d s
f u r t h e r below the s u r f a c e
construct
The
i s a l s o a female
f o r t h e muse w i t h i n
told
(p. 4 ) .
"The
s u p p r e s s e d memories demanding t o
a Rose Goddess who
searching
stories
as he works i n h i s s h e d :
the gorgeous
complete,
told
segment,
from which
her
that individuals
against
o f myth.
their
will,
125
Notes
1
A l i c e Munro, WHO DO YOU THINK YOU ARE?
(Toronto:
M a c m i l l a n , 1 9 7 8 ) , p . 7.
Subsequent r e f e r e n c e s appear i n t h e
text.
2
L a w r e n c e Mathews, "Who Do You T h i n k You A r e ? : A l i c e
Munro's A r t o f D i s a r r a n g e m e n t , " i n PROBABLE FICTIONS, e d .
L o u i s K. M a c K e n d r i c k (Downsview, O n t : ECW P r e s s , 1 9 8 3 ) , p .
181.
3
A L y s B a l d r y , BURNE-JONES: MASTERPIECES IN COLOUR
(London: T.C. & E . C . J a c k , n . d . ) , p . 50.
4
J.R. (Tim) S t r u t h e r s , " I n t e r s e c t i n g O r b i t s : A S t u d y o f
S e l e c t e d S t o r y C y c l e s by Hugh Hood, C l a r k B l a i s e and A l i c e
Munro, i n t h e i r L i t e r a r y C o n t e x t s , " D i s s . W e s t e r n O n t a r i o
1981, p . 222.
5
A l i c e Munro, L I V E S OF GIRLS AND WOMEN ( T o r o n t o :
M c G r a w - H i l l R y e r s o n , 1 9 7 1 ) , pp. 171-2.
6
M a r g a r e t L a u r e n c e , THE STONE ANGEL ( T o r o n t o : M c C l e l l a n d
and S t e w a r t , 1 9 6 4 ) , p . 292.
7
R o b e r t G r a v e s , THE WHITE GODDESS (London: F a b e r and
F a b e r , 1 9 5 2 ) , p . 14. S u b s e q u e n t r e f e r e n c e s a p p e a r i n t h e
text.
8
A l a n T w i g g , "What I s : A l i c e Munro," i n CONVERSATIONS
WITH 24 CANADIAN WRITERS ( M a d e i r a P a r k , B.C.: H a r b o u r
P u b l i s h i n g , 1 9 8 1 ) , p . 19.
9
M a r g a r e t Atwood, SURVIVAL: A THEMATIC GUIDE TO CANADIAN
LITERATURE ( T o r o n t o : A n a n s i , 1 9 7 2 ) , p . 199.
10
A.A. M e n d i l o w , TIME AND THE NOVEL (New Y o r k : H u m a n i t i e s
P r e s s , 1 9 7 2 ) , p . 107.
11
J.R. (Tim) S t r u t h e r s , "The R e a l M a t e r i a l : An I n t e r v i e w
w i t h A l i c e Munro," i n PROBABLE FICTIONS, e d . L o u i s K.
M a c K e n d r i c k (Downsview, O n t . : ECW P r e s s , 1 9 8 3 ) , p . 32.
12
L i n d a M a r g a r e t L e i t c h , " A l i c e Munro's F i c t i o n :
E x p l o r a t i o n s i n Open Forms," M.A. T h e s i s G u e l p h 1980, p .
150.
13
L e i t c h , p p . 113, 130.
Chapter
Life
MOONS i s A l i c e
characters
Five
as a R e c u r r i n g
M u n r o s most b o o k i s h
1
a r e engaged i n a s p e c t s
as w r i t e r s , e d i t o r s , a r c h i v i s t s ,
Despite
the
in
their
a workaday w o r l d
their
with
these
intellectual
share
men s e l f i s h ,
their
an
when a y e a r
intellectual,
Scrabble
history.
points
have r e p l a c e d
A l t h o u g h Mrs. Kidd
once knew, she s t i l l
schoolgirl,
has r i s e n
fall
confined
find
since the previous
made Ada J o r d a n
i n Jubilee.
represented
to a nursing
home
o f t h e d a y , and p a s t i m e s
her former i n t e r e s t
i n natural
has f o r g o t t e n much t h a t she
t o i t as a
she r e c i t e d
as a
talisman:
She wanted t o f l o a t h e r s e l f c l e a r .
she c o u l d do i t by l y i n g on h e r b e d
i n h e r head a l l t h e poems she knew,
w h i c h g o t h a r d e r and h a r d e r t o h o l d
(p. 175)
i n love
On t h e w h o l e ,
h a s grown o l d ,
r e t a i n s the poetry
and c l i n g s
they
a t Teacher's College
where m e a l s a r e t h e h i g h
The f e m a l e
p r e f e r men who a r e
or p r i g g i s h .
Mrs. Kidd,
feel
and d r e a m e r s
i n LIVES.
and t h e r e f o r e a m i s f i t ,
now by a woman l i k e
books, they
love o f books, f r e q u e n t l y
level
working
or booksellers.
readers
but should
I n MOONS, Ada's g e n e r a t i o n
like
felt
instinctively
faithless
however, t h e e d u c a t i o n a l
generation,
about b e i n g
inferiors,
Many o f i t s
o f t h e book t r a d e ,
librarians
as D e l J o r d a n
i n MOONS o f t e n
men who
work.
p r o f e s s i o n a l a s s o c i a t i o n with
same s e l f - c o n s c i o u s n e s s
narrators
Story
Sometimes
and s a y i n g
or the f a c t s ,
i n place.
127
The
remembrance o f poems and
despite
the
gradual
something of her
for
reassurance
characters
Not
essential
helps
characterization,
possesses
carry
a
powers as
self
still
poems t h e y
she
but
Mrs.
she
recall
has
used
from
poems he
eyes of a c e r t a i n
that
This
need
having
their
i n each
i t i s p a r t of the
Kidd
grows o l d e r ,
remains.
embedded q u o t a t i o n r e l a t e
o f h i m s e l f . The
like
reassures
e x p l a i n Munro's h a b i t o f
a technique
o n l y does t h e
definition
l o s s of her
quote the
schooldays,
facts
collection.
t o theme
quoting
knows by
character's
heart
shade o r t h e
and
he
ability
to
tune.
E v e n more s e l f - d e f i n i t i v e
stories,
anecdotes from the
tell
another.
one
Cousin
though u n w i l l i n g ,
the u b i q u i t o u s
family
p a s t w h i c h Munro's c h a r a c t e r s
Iris
example o f t h e u r g e t o t e l l
are
i n "Connection"
o n e ' s s t o r y t o an
i s an
extreme
available,
audience:
We d r a n k ; we a t e ; t h e c h i l d r e n came i n and were
praised.
R i c h a r d came and went.
Nothing fazed
h e r ; she was r i g h t .
Nothing d e f l e c t e d her from
h e r s t o r i e s o f h e r s e l f ; t h e amount o f t i m e she
c o u l d spend n o t t a l k i n g was l i m i t e d .
She t o l d
a b o u t t h e c a r p e t bag and t h e m i l l i o n a i r e ' s son a l l
over again.
She t o l d a b o u t t h e d i s s o l u t e a c t o r .
How many c o n v e r s a t i o n s she must have r i d d e n
through l i k e t h i s — l a u g h i n g , i n s i s t i n g , rambling,
r e c o l l e c t i n g , (p. 16)
Cousin
Iris's
determination
stories
b e t r a y her
to e s t a b l i s h
longing for approval,
a connection
with
I n MOONS t h e r e a r e many g a r r u l o u s c h a r a c t e r s
other
like
her
people.
her,
but
128
they
are
accept
balanced
by
restricted
them m e a n i n g .
their
l i v e s unredeemed by
Descended from t a l k e r s
and
non-talkers
and
Flemings"
i s the
her
heritages
have n o t
talker,
but
on
they
alternately
her
prototype
blended
r e v e a l and
she
criticism
of
characters
on
mother's
her
narrators
separate,
a
as
casts
d o u b t on
aunts
f a s c i n a t e the
because t h e i r
side
i n MOONS:
making h e r
her
to
uneasy
no
chooses.
e v e n more i n f l u e n t i a l t h a n
a frivolous
n a r r a t o r of
of
give
moderate
implies
life
"The
is entirely
Her
Stone i n the
different
the
a
e s c a p e f r o m work, and
the whole n a r r a t i v e e n t e r p r i s e .
way
to
"Chaddleys
causing
Chaddleys because speechlessness
of t a l k
mutely
of t a l k
n a r r a t o r of
the
and
who
a flow
t o make h e r
conceal,
s i l e n t Flemings are
loquacious
she
f a t h e r ' s , the
have r e m a i n e d
matter which o p t i o n
The
opposites,
so
father's
Field"
from the
one
knows:
Work w o u l d be what f i l l e d t h e i r l i v e s , n o t
c o n v e r s a t i o n ; work w o u l d be what gave t h e i r d a y s
shape....
What was f e l t i n t h a t room was t h e p a i n o f
human c o n t a c t , (pp.
26-7)
There i s something s p l e n d i d about the
aunts'
A l t h o u g h the
them, t h e
suspects
that
n a r r a t o r ' s mother p i t i e s
they
possess
strengths
isolation.
unknown t o
narrator
talkative
people:
My mother l o o k e d a t t h e i r l i v e s and t h o u g h t o f
how t h e y c o u l d be b r i g h t e n e d , opened up. . . .
n o t ? my mother w o u l d a s k , s e e i n g l i f e a l l i n
t e r m s o f change and p o s s i b i l i t y .
She
Why
129
imagined they would y e a r n f o r t h i n g s , not o n l y
m a t e r i a l t h i n g s but c o n d i t i o n s , a b i l i t i e s , which
they d i d not even bother t o d e p l o r e , d i d not
t h i n k t o r e j e c t , b e i n g so p e r f e c t l y e n c a s e d
i n what t h e y had and were, so f a r b e y o n d i m a g i n i n g
t h e m s e l v e s o t h e r w i s e , (p. 29)
The
aunts
routine
their
seem t o have a c h i e v e d a r a r e c o n t e n t m e n t
of never-ending
way
of
acceptance
people
and
like
In
life
has
work.
Despite i t s l i m i t a t i o n s ,
enabled
them t o r e a c h a l e v e l
e n d u r a n c e i m p o s s i b l e f o r more
the n a r r a t o r
addition
of
the p a r t
language
not
crucial.
o n l y uses
characteristic
pauses
c o n n o t a t i o n s of words, but
requirements
relationships
Field",
t o be
talking
to
paralysing
In MOONS, Munro
t o c o n s i d e r t h e sound
she
tests
f o r communication
established.
not exchange s t o r i e s
their
also
to the aunts
is difficult
shyness,
they can
stroke victim
Instead t h e i r
Cross's attempts
who
Stone
has
lost
because
way
which
t h e power t o s p e a k .
In
story,
Turkey
do.
do
Owing t o
themselves
somewhat
t o communicate w i t h J a c k ,
r e p l y by means o f a g i g g l e r a t h e r
"The
they
b r o t h e r manages t o
they o f t e n
another
and
i n the
scarcely bring
communicate w i t h them i n a s i m p l i f i e d
Mrs.
to take place
In "The
Season",
languages
a t work i s e x p l o r e d .
The
narrator,
a s t r a n g e r t o the working
or
t h e minimum
as f a m i l y members u s u a l l y
answer q u e s t i o n s .
resembles
i n developing
human
i s shown t o be
language
ambitious
i t plays i n establishing
relationships
her
of
to reach.
to the r o l e
self-consciousness,
in their
Like
Jack,
t h a n a word.
the r o l e
of
special
highschool-girl
w o r l d , must
learn i t s
a
130
vocabulary
turkey
and
gutter
idioms i n order
and
to perform her
f i t into this
co-workers t e l e g r a p h
new
job
as
s o c i e t y where
messages c o n c e r n i n g
sex
whose s p e c i a l meanings a r i s e f r o m t h e i r
a
her
through
phrases
context:
L i l y s a i d she n e v e r l e t h e r husband come n e a r
h e r i f he had been d r i n k i n g .
Marjorie said since
t h e t i m e she n e a r l y d i e d w i t h a hemorrhage she
n e v e r l e t h e r h u s b a n d come n e a r h e r ,
period. . . .
I c o u l d see t h a t i t was a m a t t e r
o f p r i d e n o t t o l e t y o u r h u s b a n d come n e a r you,
b u t I c o u l d n ' t q u i t e b e l i e v e t h a t "come n e a r "
meant "have s e x . "
(p. 68, e m p h a s i s added)
As
an
outsider
Jamesian
a t the
innocent
In t h i s
more c o n s c i o u s l y
has
become h e r
s t r a i n i n g to understand a
close
a n a l y t i c a l than before.
subject
observation
differences
as w e l l
as
especially
and
so
the
similarities
among women
In h e r
reluctant
of
her
earlier
rather
to s t r e t c h her
their
situations.
often
enough t h a t h e r
v e h i c l e of
w h i c h has
itself
expression.
always
relied
the
generalized,
than d i f f e r e n c e s ,
characters.
work, she
compromise t h e
Language
become more
in a
language i s
p a r t i c u l a r to reveal
between p e o p l e , has
concerned with
is a
foreign
v o l u m e , Munro's a p p r o a c h t o
M o r e o v e r , Munro's c h a r a c t e r i z a t i o n ,
on
narrator
abroad, r e g i s t e r i n g f r e s h impressions
f o r e i g n m i l i e u and
language.
Turkey Barn, the
tended
t o use
symbols
metaphors beyond the
individuality
Munro has
denied
critics
word; however, MOONS i s t h e
of her
being
have t e n d e d
first
of her
warily,
single
characters
a writer
of
to take her
works t o
be
story,
and
ideas
at
her
131
structured
it
around
by a c o h e r e n t p s y c h o l o g i c a l
t h e metaphor o f J u p i t e r ' s moons.
these
s t o r i e s r e l a t e women's b e h a v i o u r
force
of their
the
argument t h a t u n i f i e s
a t t r a c t i o n toward
Repeatedly,
to the i r r e s i s t a b l e
t h e men t h e y
love.
moons, t h e y t r a v e l i n f i x e d o r b i t s beyond
control.
often
This
ironic
unwritten
The
already
and w r i t t e n
growing
t h e i r own
message i s r e p e a t e d w i t h
a wry humour, i n n a r r a t i v e s
layered
s u b t l e t y , and
with references t o
s t o r i e s which f u r t h e r e l a b o r a t e i t .
s e l f - r e f l e x i v e n e s s o f Munro's
discussed
Like
i n t h e two p r e v i o u s
fiction
chapters culminates i n
MOONS, where t h e l i n k between w r i t i n g and l i f e i s
insistently
called
t o the reader's a t t e n t i o n , perhaps
most
memorably b y means o f t h e c a r d i o g r a m r e f e r r e d t o t w i c e i n
the
title
s t o r y . The n a r r a t o r ' s
a t t e n t i o n i s drawn t o t h e
screen
above h e r f a t h e r ' s
jagged
l i n e was c o n t i n u a l l y b e i n g
Naturally
the daughter's worried
b e c a u s e s h e knows t h a t
father's
h o s p i t a l bed,
beating
on w h i c h ,
written"
(p.
gaze f o c u s e s
"a b r i g h t
217).
on t h e l i n e
i t s c o n t i n u i t y represents her
heart.
So l o n g
a s t h e l i n e w r i t e s , he
lives.
Whereas WHO was p r e o c c u p i e d w i t h
obsessed with connection.
the
first
and l a s t
separation,
The f a m i l y h i s t o r i a n who n a r r a t e s
s t o r i e s i n MOONS r e p l a c e s
Rose, t h e
iconoclast
o f WHO, h e l l b e n t
on escape,' f i r s t
and
c l a s s , and l a t e r
from h e r husband's
social
Pygmalian-like
himself.
attempts
In order
MOONS i s
from h e r f a m i l y
t o mold h e r i n t o a f e m a l e r e p l i c a o f
to discover
h e r own i n d i v i d u a l i t y ,
Rose
132
must b r e a k f r e e o f t h e s e
conclusion,
villainess
c o n s t r a i n t s ; but,
s h e h a s become c l o s e r
by t h e
t o her stepmother, the
o f h e r c h i l d h o o d , now s t r i p p e d o f h e r f o r m e r
power t h r o u g h
destruction
senility.
I n MOONS, t h e p r o g r e s s i o n
to rebuilding
continues:
a r e r e - j o i n e d , and c o n n e c t i o n s
desirable.
with
shattered family
Several n a r r a t o r s undertake
l a n d t o mark where t h e i r
survive,
preserving the past
w h i c h marked t h e g r a v e
people
into
sentimental
the present.
of a reclusive
hired
i n "The S t o n e i n t h e F i e l d " ,
"Visitors",
t h e f a m i l y farm
journeys
r e m a i n s on
once were; y e t
disappeared
Conservation
ties
t h e p a s t have become
to a n c e s t r a l farms, o n l y t o d i s c o v e r t h a t nothing
the
from
memories
The s t o n e
man h a s
while i n
h a s been t u r n e d
into a
Area:
A l b e r t w a l k e d up a n d down i n t h e g r a s s .
He made
a t u r n , he s t o p p e d a n d l o o k e d a r o u n d and s t a r t e d
again.
He was t r y i n g t o g e t t h e o u t l i n e o f t h e
house.
W i l f r e d f r o w n e d a t t h e g r a s s and s a i d ,
"They d o n ' t l e a v e y o u much." (pp. 211-12)
Inexorably,
time
great extent,
changes t h e landscape
MOONS i s p r e o c c u p i e d
with
of childhood.
To a
time:
F o r i n s t a n c e l a s t s p r i n g , l a s t autumn i n
A u s t r a l i a , when I was happy, t h e l i n e t h a t w o u l d
go t h r o u g h my h e a d , a t a m e r r y c l i p , was t h i s :
"Even s u c h i s t i m e , t h a t t a k e s i n t r u s t — "
I c o u l d n o t go o n , t h o u g h I knew t r u s t rhymed
w i t h d u s t and t h a t t h e r e was s o m e t h i n g f u r t h e r
a l o n g a b o u t "and i n t h e d a r k a n d s i l e n t g r a v e ,
s h u t s up t h e s t o r y o f o u r d a y s . "
I knew t h e
poem was w r i t t e n by S i r W a l t e r R a l e i g h on
the eve o f h i s e x e c u t i o n .
My mood d i d n o t a c c o r d
w i t h s u c h a poem a n d I s a i d i t , i n my h e a d , a s
i f i t was s o m e t h i n g p r e t t y and l i g h t h e a r t e d .
133
I d i d n o t s t o p t o wonder what i t was d o i n g
i n my head i n t h e f i r s t p l a c e , ( p . 122)
The
metaphorical
experience
l i n k between t h e poem and t h e n a r r a t o r ' s
was p r e s e n t
i n h e r mind
long b e f o r e she
2
understood
time
i t .
Even i n h e r h a p p i n e s s ,
s h e was aware o f
and c h a n g e , and knew t h a t h e r j o y w o u l d e n d .
In
t h e mind, p r e s e n t e x p e r i e n c e
modified with
Elizabethan
i s continually
reference to recollections
poem o r a s p i n s t e r
being
a s d i v e r s e a s an
relation:
I t h i n k o f b e i n g an o l d maid i n a n o t h e r
generation.
T h e r e were p l e n t y o f o l d maids
i n my f a m i l y .
I come o f s t r a i g h t e n e d p e o p l e ,
madly s e c r e t i v e , t e n a c i o u s , e c o n o m i c a l .
Like
them, I c o u l d make a l i t t l e go a l o n g way.
(p.
HO)
The
n a r r a t o r r e c o g n i z e s t h a t i t i s n o t outward, b u t i n n e r ,
experience
that matters;
about i t .
The f r e e - w h e e l i n g n a r r a t o r s o f MOONS, w i t h
temporary
lovers,
n o t what happens b u t how women
seem a t f i r s t
glance
e n d up f i n g e r i n g
their
t h e one l e t t e r ,
needing
heart,
hidden
their
keepsakes while
moves o n : "A p i e c e o f C h i n e s e
silk
folded
under maidenly
their
f a r removed f r o m t h e
l o n e l y o l d maids o f t h e p a s t ; b u t , l i k e
they
feel
forerunners,
t h e b e l o v e d man
i n a drawer.
garments,
. . .
never
t o be opened o r r e a d b e c a u s e e v e r y word i s known by
and a t o u c h
communicates
women who t r e a s u r e t h e r e l i c s
t h e whole"
of their
(p. 110).
lost
the d i s c a r d e d m i s t r e s s i n "Prue",
who s t e a l s
lover's
Prue's
amber c u f f l i n k .
Although
loves
These
resemble
h e r former
friends
b e l i e v e she
134
is
"somebody who
so u n i n t e n s e ,
demands
doesn't take
and c i v i l i z e d ,
or complaints"
questionable.
generations,
disturbed
I n common w i t h
Prue behaves w i t h
inner
life
the
of
Similarly,
narrator
man.
his
different
as women i n h e r p o s i t i o n
to i r r a d i a t e
life
someone who
compares X's s u c c e s s i o n
at Sian
women.
Row
i n Australia
i s an
s t u d i e s human b e i n g s ;
malicious
His friend,
of mistresses
i n China:
whom t h e
"He s a i d
with
the
(p. 1 1 9 ) .
Although
therefore,
i s consistent
Dennis,
excavated
i t r e m i n d e d him o f X's
on row and a l w a y s a new one a p p e a r i n g
the l i n e "
always
and temper t h e l o s s
A p p r o p r i a t e l y , the lover with
his professional curiosity.
figures
but her
from her
h a b i t o f moving f r o m one woman t o t h e n e x t
with
of
fortitude,
She i s s u s t a i n i n g h e r s e l f by
o f "Bardon B u s " l i v e d
anthropologist,
stoical
t h e n a r r a t o r o f "Bardon Bus" e x e m p l i f i e s
power o f f a n t a s y
a beloved
assumptions are
t h e o l d maids o f p a s t
i s radically
of f a n t a s i e s , just
have.
and n e v e r makes any r e a l
(p. 1 2 9 ) , t h e i r
outwardly calm appearance.
means
h e r s e l f t o o s e r i o u s l y , who i s
a t t h e end
the n a r r a t o r r e j e c t s
c o m p a r i s o n , h e r p r o t e s t has a h o l l o w
this
ring:
I t h i n k t h e c o m p a r i s o n ' s a b i t o f f . Nobody has
t o d i g t h e women o u t and s t a n d them on t h e i r
feet.
Nobody p u t s them t h e r e .
They came
a l o n g and j o i n e d up o f t h e i r own f r e e w i l l .
T h e y ' r e n o t a s t a n d i n g army.
Most o f them
a r e p r o b a b l y on t h e i r way t o s o m e p l a c e e l s e
anyway, (p. 120)
X replies,
allows
" B r a v o " , as w e l l he m i g h t , s i n c e h e r a t t i t u d e
him t o p u r s u e h i s p r e d a t o r y
course
undeterred
by
135
tearful
recriminations.
Yet the tears w i l l
e v e n t u a l l y when t h e n a r r a t o r g r i e v e s
compulsively
recalling
though she r e c o g n i z e s
self-torture:
lurid
the f o l l y
monotonous
leading to despair"
of their
of this
passion
even
kind of
but
by t r a n s f o r m i n g
she
can achieve
and m e c h a n i c a l l y
(p. 1 2 3 ) .
f a n t a s i e s , the narrator
into
makes h e r s e l f more unhappy;
h e r memories
the lover
seductive,
By e s c a p i n g
i n t o a decadent
some c o n t r o l o v e r them.
e n h a n c e d by c a l l i n g
recalling
i n private,
"The i m a g e s , t h e l a n g u a g e , o f p o r n o g r a p h y and
romance a r e a l i k e :
quickly
the d e t a i l s
be s h e d
Artificiality is
"X", t h e c h o i c e
the s e n s a t i o n a l c o n f e s s i o n a l novel
HOOKER, w r i t t e n by a p r o s t i t u t e w i t h
fiction,
of l e t t e r
THE HAPPY
a conspicuous
"X" i n
3
her
name, X a v i e r a
directly
T h i s book i s r e f e r r e d t o
i n " L a b o r Day D i n n e r " ,
teen-age g i r l ' s
oblique
Hollander.
summer r e a d i n g
reference
prostitute,
i n w h i c h i t a p p e a r s on a
list.
to p r o s t i t u t i o n
I n "Bardon B u s " , t h e
s u g g e s t s how,
t h e n a r r a t o r o f "Bardon B u s " a l l o w s
l i k e the
herself to
be a c o n v e n i e n c e a man may u s e and t h e n d i s c a r d ,
being
obliged to l i s t e n
Another
without
to her protests or face her g r i e f .
s t o r y o f l o v e and l o s s i s t o l d
point
o f v i e w by L y d i a
sight
o f h e r l o v e r , Duncan, when he came t o t h e b o o k s t o r e
where
she worked t o a s k f o r a c o p y o f THE PERSIAN
The M o n t e s q u i e u work
i n "Dulse".
f r o m t h e woman's
serves
She r e c a l l s
as a p r e t e x t
h i s b i b l i o g r a p h i c knowledge f o r t h e s t o r e
Overhearing
their
conversation,
Lydia
her f i r s t
LETTERS.
f o r Duncan t o a i r
clerk.
forms a
first
136
0
impression
o f Duncan a s a s h o w - o f f ,
t h e r e a d e r ' s a s s e s s m e n t o f him f r o m
this
o v e r t use o f a l i t e r a r y
the unstated p a r a l l e l s
much
then
on.
In a d d i t i o n t o
reference to reveal character,
between Duncan and h i s book c h o i c e go
deeper.
In THE PERSIAN
Usbek, and R h e d i ,
and
a judgement t h a t c o l o u r s
institutions.
LETTERS, t h r e e P e r s i a n g e n t l e m e n , R i c a ,
travel
t o Europe,
Particularly
where
they
study
r e l e v a n t t o Duncan
letter
w r i t t e n t o Usbek by Fatme, one o f h i s w i v e s
behind
i n t h e s e r a g l i o , who d e s c r i b e s f e e l i n g s
L y d i a ' s when s h e i s r e j e c t e d
manners
i s the
left
similar to
by Duncan:
How h a p l e s s i s t h e l o t o f a woman who has s u c h
v i o l e n t d e s i r e s and y e t i s d e p r i v e d o f t h e
s o c i e t y o f t h e o n l y p e r s o n who c a n s a t i s f y
them.
Left to h e r s e l f , with nothing to
p r e o c c u p y h e r mind, h e r whole l i f e i s s p e n t i n
^
s i g h s and i n t h e d e l i r i u m o f e x a s p e r a t e d p a s s i o n .
Fatme's d e l i r i u m
existence
Duncan.
through
buying
i s recalled
i n Toronto
Living
such
a loaf
alone
after
i n Lydia's
her f i n a l
trance-like
attempt
to telephone
a g a i n , she has d i f f i c u l t y
elementary
getting
r o u t i n e s a s t a k i n g t h e subway o r
of bread:
She t h o u g h t a f t e r w a r d s t h a t s h e had b e e n s e i z e d
up, as m a c h i n e s a r e s a i d t o b e . E v e n a t t h e t i m e
she had an image o f h e r s e l f .
She saw h e r s e l f a s
s o m e t h i n g l i k e an egg c a r t o n , h o l l o w e d o u t i n
b a c k . ( p . 41)
F o r Fatme and L y d i a , l o s i n g
the beloved
i s like
losing a
137
part
of themselves.
their
everyday
retain
private
In c o n t r a s t ,
l i v e s when a l o v e a f f a i r
areas of s e l f
E v e n w h i l e L y d i a was l i v i n g
retained
only
men more e a s i l y
because
they
where women a r e n e v e r a l l o w e d .
w i t h Duncan, h i s a p a r t m e n t
i t s bachelor character,
a temporary
ends
resume
reminding her that
s h e was
resident:
She t h o u g h t a b o u t Duncan's a p a r t m e n t . . . . A l l
d i s o r d e r was a c t u a l l y o r d e r , c a r e f u l l y t h o u g h t o u t
and n o t t o be i n t e r f e r e d w i t h .
T h e r e was a
b e a u t i f u l l i t t l e r u g a t t h e end o f t h e h a l l ,
where he s a t and l i s t e n e d t o m u s i c .
T h e r e was one
great, ugly armchair, a masterpiece of
e n g i n e e r i n g , with a l l i t s attachments f o r the
head and l i m b s . „(pp. 53-4)
Into t h i s
selfish
sybarite's
f l o w e r s and g i f t s ,
arrangements,
reminiscences
privacy
adapting herself
fitting
h e r needs
tiptoes
Lydia,
to her lover's
bringing
household
t o h i s , even e n d u r i n g h i s
a b o u t o t h e r women:
Duncan spoke a b o u t h i s f o r m e r g i r l f r i e n d s .
E f f i c i e n t Ruth, p e r t Judy, v i v a c i o u s Diane,
e l e g a n t D e l o r e s , w i f e l y Maxine, L o r r a i n e t h e
g o l d e n - h a i r e d , f u l l - b r e a s t e d beauty; Marian t h e
m u l t i l i n g u a l ; C a r o l i n e t h e n e u r o t i c ; R o s a l i e who
was w i l d and g y p s y - l i k e ; g i f t e d , m e l a n c h o l y
L o u i s e ; s e r e n e s o c i a l i t e J a n e . ( p . 52)
T h i s harem r e c a l l ' s
Usbek's,
o f women a s amusing
playthings.
THE
and p r e s u p p o s e s a s i m i l a r
A significant
PERSIAN LETTERS i s a n a n s w e r i n g
Fatme, whereas t h e c o l l e c t i o n
communications
administrator
letter
contains
f r o m Usbek t o h i s c h i e f
of the s e r a g l i o .
view
omission i n
f r o m Usbek t o
several
eunuch, t h e
138
Like
life;
Usbek, Duncan c o n s i d e r s
h i sa t t i t u d e i s best
"Man's l o v e
friend
or
men,
C e r t a i n l y Kay, t h e n a r r a t o r ' s
exemplifies
t a k e n o v e r by l o v e :
story wholeheartedly.
literally"
By f a l l i n g
extreme case o f female f o l l y ,
she
i s typical:
She
does what women d o .
fervently"
desperation
An
with
and more
i s t h a t women t e n d t o
but t a n t a l i z i n g
By way o f
reference
to Willa
literary
i n "Dulse".
e l d e r l y man s t a y i n g a t t h e same g u e s t h o u s e as L y d i a
engages h e r i n c o n v e r s a t i o n
a b o u t W i l l a C a t h e r , once a
summer r e s i d e n t o f t h e i s l a n d ,
the
that
she does i t more o f t e n ,
A LOST LADY, a f f o r d s a c l o s e
Lydia
insists
i s she so e x c e p t i o n a l .
need f o r men's l o v e .
a brief
Cather's novel,
parallel
The p o i n t
a s e r i e s of
e a c h o n e , Kay seems an
a b i t more i l l - a d v i s e d l y
i n their
reinforcement,
Perhaps
figuratively
i n love with
but the narrator
" I n none o f t h i s
(p. 116).
o f woman who i s
She l e a r n s h i s l a n g u a g e ,
(p. 116).
just
the kind
"She t a k e s up a man and h i s
and r e m a k i n g h e r s e l f t o s u i t
more o p e n l y ,
i n B y r o n ' s Don J u a n :
a t h i n g a p a r t , / ' T i s woman's
(I c x c i v ) .
i n "Bardon Bus",
completely
expressed
i s o f man's l i f e
whole e x i s t e n c e "
women i n c i d e n t a l i n h i s
and a r e s e a r c h
interest of
o l d man, who names A LOST LADY a s h i s f a v o u r i t e o f h e r
works.
The
lost
l a d y o f C a t h e r ' s romance i s M a r i a n
a b e a u t i f u l a d v e n t u r e s s who, a s t h e young w i f e
powerful
older
man, commands t h e a d m i r a t i o n
o f male a c g u a i n t a n c e s .
Forrester,
t o a r i c h and
o f a wide
As h e r h u s b a n d ' s f o r t u n e
circle
and h e a l t h
139
decline,
Mrs. F o r r e s t e r ' s s t a t u s
intensifies,
men,
slips
and h e r need f o r
f i n d i n g i t s o u t l e t i n younger,
t o t h e dismay o f t h e a d o r i n g
imagined h e r as a lady c h a s t e
love
less suitable
young N i e l , w h o h a s
and f a i r :
Mrs. F o r r e s t e r ' s hand t i g h t e n e d on h i s arm. She
began s p e a k i n g a b r u p t l y .
'You s e e , two y e a r s ,
t h r e e y e a r s , more o f t h i s , and I c o u l d s t i l l go
back t o C a l i f o r n i a — a n d l i v e a g a i n .
But a f t e r
t h a t . . . P e r h a p s p e o p l e t h i n k I ' v e s e t t l e d down
t o grow o l d g r a c e f u l l y , b u t I ' v e n o t .
I f e e l such
a power t o l i v e i n jne, N i e l . ' Her s l e n d e r f i n g e r s
gripped his wrist.5
Niel
i shorrified
longings,
morally
when h i s f o r m e r i d o l
and d i s g u s t e d
and s o c i a l l y
savage d i s r e s p e c t .
narrative
sexual
sexual:
looked
s u c h human
when she forms a l i a i s o n w i t h a
inferior
Although
young man who t r e a t s h e r w i t h
there
are hints i n the
t h a t Mrs. F o r r e s t e r responds t o Ivy P e t e r s '
treatment,
Ivy's
m o t i v e s a r e more v e n g e f u l
he i t c h e s t o p u n i s h
the l o c a l
rough
than
a r i s t o c r a c y which
F o r r e s t e r ' s example i l l u m i n a t e s L y d i a ' s
situation.
t o o i s a woman who l o s e s t h e p r o t e c t i o n o f a man, and
whose s t a t u s
i n t h e eyes o f o t h e r
men d e c l i n e s
accordingly.
In t h e new m i l i e u o f t h e i s l a n d ,
h e r former p o s i t i o n as
Duncan's m i s t r e s s
Like her f i c t i o n a l
predecessor,
To
once
down on h i m .
Mrs.
She
confesses
i s irrelevant.
Lydia
s e e k s male c o m p a n i o n s h i p and a d m i r a t i o n .
t h e t e l e p h o n e work crew w i t h
guesthouse k i t c h e n ,
she i s j u s t
sexual
as they
speculations
whom she p l a y s
cards
i n the
a woman, t h e o b j e c t o f t h e i r
are objects
of hers.
From h e r
140
d e t a c h e d vantage p o i n t beyond p h y s i c a l d e s i r e , L y d i a
that Vincent
impelled
would have b e e n h e r
choice,
t o a c t upon i t ; i n s t e a d , she
m i g h t have been
like
had
she
settled
but
she
is
decides
not
m e r e l y wonders what i t
down w i t h
someone
like
him:
T h a t i s , s h o u l d she have s t a y e d i n t h e p l a c e
where l o v e i s managed f o r y o u , n o t gone where
you have t o i n v e n t i t , and r e - i n v e n t i t , and
n e v e r know i f t h e s e e f f o r t s w i l l be enough?
(p. 52)
The
emotional
loving
hard
strain
outside
on
Lydia.
psychiatrist,
conversation
how
the
little
traditional
She
and
of attempting
has
a remembered
respect
fragment of
vulnerable
she
new
has
the
most o f
i n accordance with
man
loves.
their
men,
and
mother i n t h e
mollifying
been
a
their
affair
has
made
"What
do
her,
retained:
t h e women i n MOONS, L y d i a p e r s i s t s i n v a l u i n g
herself
she
of
f e e l i n g s with
"What a b o u t y o u ? " s a i d t h e d o c t o r .
you want?"
" F o r him t o l o v e
me?"
"Not f o r you t o l o v e h i m ? " (p. 53)
Like
forms
f o r m o f m a r r i a g e has
been d i s c u s s i n g h e r
r e v e a l s how
self
to invent
the
Such women a r e
take
title
touch
on
pains
arm
arouses
naturally afraid
to p l a c a t e
s t o r y as
the
f e e l i n g s she
she
them.
the
annqy
Think of
observes her
o f a young
to
in
the
daughter's
man:
J u d i t h moved ahead and t o u c h e d Don's arm.
I knew
t h a t t o u c h — a n a p o l o g y , an a n x i o u s r e a s s u r a n c e .
You t o u c h a man t h a t way t o r e m i n d him t h a t you
141
a r e g r a t e f u l , t h a t you r e a l i z e he i s d o i n g f o r
y o u r sake s o m e t h i n g t h a t b o r e s him o r s l i g h t l y
endangers h i s d i g n i t y .
I t made me f e e l o l d e r
t h a n g r a n d c h i l d r e n w o u l d t o see my d a u g h t e r
t o u c h a m a n — a b o y — t h i s way.
(p. 223)
What moves t h e mother i s t h e s i g h t
daughter's
lives
independent
d e p e n d e n c e on a man's a p p r o v a l .
w i t h her b o y f r i e n d i n s t e a d
r e l a t i o n s h i p w i t h Don
traditional
apologetic
of her
i s no
of marrying
different
w i f e ' s t o her husband.
attitude
parallels
from
him,
that
"Chaddleys
There,
t h e m o t h e r - n a r r a t o r was
of a
In f a c t , J u d i t h ' s
linked
F l e m i n g s " , w h i c h opens t h i s
unable
to d r i v e her aunt
Judith
her
her mother's i n the
story,
ask her husband
and
Although
volume.
to b r i n g h e r s e l f
from
her h o t e l
to
to
their
house:
I had n o t wanted t o ask R i c h a r d t o go t o t h e h o t e l
for her.
I w o u l d n o t s a y I was a f r a i d t o a s k him;
I s i m p l y wanted t o k e e p t h i n g s f r o m s t a r t i n g o f f
on t h e wrong f o o t , by making him do what he
h a d n ' t o f f e r e d t o do. (p. 13)
Despite
these r a t i o n a l i z a t i o n s ,
the n a r r a t o r b e t r a y s her
fear
o f making demands o f h e r h u s b a n d .
that
she
name, and
has
relinquished
the duty
her r i g h t s
to adapt
movement i n MOONS i s c i r c u l a r ,
cycles
t o by
o f t h e moons a r o u n d
the n a r r a t o r
t o become d o m i n a t e d
i n "Chaddleys
by a man
just
and
The
line,
hers.
the
like
the
girl
child
F l e m i n g s " has
believe
maiden
is entirely
straight
revolving
Jupiter.
seems t o
along w i t h her
to marriage
R a c i i e r t h a n b e i n g an a d v a n c i n g
She
heavenly
alluded
grown
as h e r mother was.
up
Life
142
is
seen,
then, as a r e c u r r i n g
story,
most i r o n i c a l l y
i n the
c a s e o f M r s . K i d d and M r s . C r o s s , two o l d women who
re-establish
i n t h e n u r s i n g home t h e m o t h e r - c h i l d
relationships
t h e y had y e a r s b e f o r e : M r s . C r o s s a d o p t s
a stroke victim,
and M r s . K i d d r e c i p r o c a t e s by b e f r i e n d i n g
C h a r l o t t e , who h a s m u l t i p l e
Mrs.
sclerosis.
K i d d and M r s . C r o s s e s t a b l i s h e d
reawakened o v e r
pattern
of children
as l i t t l e
growing
girls i s
and t h e f a m i l i a r
up and l e a v i n g
pair
which
their
mothers i s
o f f , leaving
t h e two
women a l o n e t o g e t h e r o n c e a g a i n .
Inured
has
As
The r i v a l r y
these surrogate c h i l d r e n ,
r e p e a t e d when J a c k and C h a r l o t t e
old
Jack,
to loss,
they r e t a i n
happened, t h e r e b y p a r t l y
the a b i l i t y
restoring
o l d a c q u a i n t a n c e s who u n d e r s t a n d
unspoken t h o u g h t s ,
and
storytelling
their perspective.
each
o t h e r ' s s p o k e n and
they exemplify the importance
as a b a s i s
for friendship.
Jack, h i s speech
b l o c k e d by t h e e f f e c t s
struggles
t o communicate:
vainly
t o d i s c u s s what
o f speech
By c o n t r a s t ,
of a stroke,
He opened h i s mouth and s a i d , "Anh-anh-anh,"
"Yes," s a i d M r s . C r o s s e n c o u r a g i n g l y .
"Yes?"
"Anh-anh-anh," s a i d J a c k .
He f l a p p e d h i s
r i g h t hand.
T e a r s came i n t o h i s e y e s . ( p . 167)
Jack
i s desperate
Without
his
Mrs. Cross about
being able to o f f e r
background
about
to t e l l
i n f o r m a t i o n about
i n e x c h a n g e f o r t h e i n f o r m a t i o n she g i v e s h i m
h e r s , he c a n n o t
education,
her e s s e n t i a l
h i s past.
be h e r f r i e n d .
Despite her limited
M r s . C r o s s h a s t h e good s e n s e
to treat
J a c k as
143
she
treated
questions
h e r c h i l d r e n when t h e y were young; s h e makes up
requiring
y e s o r no a n s w e r s f r o m h i m :
J a c k was p o i n t i n g a t one o f t h e p i c t u r e s . . . .
"What a b o u t i t ? T h i s i s l i k e one o f t h o s e
t h i n g s on t e l e v i s i o n .
T r e e s ? Green?
Pine t r e e s ?
Is i t t h e deer?
Three deer?
No? Y e s ?
Three r e d
deer?"
He f l a p p e d h i s arm up and down and s h e
s a i d , " I d o n ' t know, r e a l l y .
Three-red-deer.
Wait a minute.
That's a p l a c e . . . .
Red D e e r . "
( p . 170)
Mrs.
Cross
patient
i s intelligent
enough t o i n v e n t t h e game and
enough t o p l a y i t b e c a u s e
S e e i n g M r s . K i d d and C h a r l o t t e
immediately
and
playing
thinks of using the l e t t e r
communicate.
Scrabble
of her l i k i n g
Instead of pleasing
letters
Charlotte
provoke
join
throw o f f t h e i r
forces
f o r Jack.
S c r a b b l e , she
tiles
to help Jack to
J a c k , however, t h e
the c l i m a c t i c
scene
i n which
Jack
a g a i n s t M r s . C r o s s and M r s . K i d d ,
power and l e a v e them f e e l i n g weak and
ridiculous:
He made a sound o f d i s g u s t and p u s h e d t h e S c r a b b l e
b o a r d and a l l t h e l e t t e r s t o t h e f l o o r , a l l t h e
t i m e l o o k i n g a t M r s . C r o s s so t h a t t h e r e c o u l d be
no d o u b t t h a t t h i s d i s g u s t and f u r y had been
a r o u s e d by h e r .
She knew t h a t i t was i m p o r t a n t
a t t h i s moment t o s p e a k c o l d l y and f i r m l y . . . .
B u t she was n o t a b l e t o s a y a word, s u c h a f e e l i n g
o f g r i e f , and s h o c k , and h e l p l e s s n e s s r o s e
i n h e r h e a r t , ( p . 177)
Weakened by o l d age and a b a d h e a r t , M r s . C r o s s
by
the emotional
As
comfort,
describes
i s drained
expenditure of the confrontation with
her f r i e n d
Mrs. Kidd's
Mrs. Kidd o f f e r s
her a s t o r y
own weakness f o l l o w i n g
Jack.
which
a b l a c k - o u t she
144
s u f f e r e d , b u t ends r e a s s u r i n g l y w i t h h e r b e i n g
restored
to
strength:
As a m a t t e r o f f a c t , M r s . C r o s s had h e a r d Mrs.
K i d d t e l l t h i s s t o r y b e f o r e , b u t i t was a l o n g
t i m e ago and she l a u g h e d now n o t j u s t t o be
o b l i g i n g ; she l a u g h e d w i t h r e l i e f .
Mrs. K i d d ' s
f i r m v o i c e had s p r e a d a numbing o i n t m e n t
o v e r h e r m i s e r y , (p. 179)
The s t o r y has a c h i e v e d
Mrs.
the d e s i r e d
e f f e c t of encouraging
C r o s s n o t t o l o s e hope d e s p i t e
relationship
she had b u i l t
manner, M r s . K i d d
than the regard
help.
M r s . C r o s s may
a t her s i d e .
with Jack.
o f a young man
have l o s t
Moreover, although
M r s . C r o s s knew i n s t i n c t i v e l y
and
h e r s e l f was
not
t o a n g e r him, and was
fragile.
matter-of-fact
there
a r e worse
whom she was
trying to
Jack, but her o l d f r i e n d i s
it,
to tease
By h e r
reminds her f r i e n d t h a t
losses
still
the c o l l a p s e of the
that
she t r i e d
to
ignore
t h e t i e between
She a l w a y s t o o k e x a g g e r a t e d
amazed
t h a t he p e r m i t t e d
Jack
care
Charlotte
him:
"Anh-an-anh?" s a i d C h a r l o t t e , t e a s i n g h i m .
What k i n d o f a word i s t h a t , anh-anh-anh?"
Mrs. C r o s s w a i t e d f o r t h e s k i e s t o f a l l , b u t
t h e o n l y t h i n g J a c k d i d was g i g g l e , and C h a r l o t t e
g i g g l e d , so t h a t t h e r e was a s o r t o f g i g g l i n g match s e t up between t h e two o f them. (p. 177)
Charlotte's
appreciative
giggle
draws h e r c l o s e r t o J a c k
t h a n M r s . C r o s s has managed t o g e t d e s p i t e
k i n d n e s s . By g o i n g o f f w i t h C h a r l o t t e ,
superior
force of sexual
communication.
Jack r e v e a l s
communication over
I t i s another
a l l her p a t i e n t
illustration
verbal
of the
the
145
gravitational
Mrs.
f o r c e between J u p i t e r
Cross has proven h e r s e l f
Charlotte
a better
i s , he abandons t h e o l d e r
who a t t r a c t s
This
and t h e moons.
friend
t o Jack
him s e x u a l l y .
pattern
i s repeated
describes
i n "Hard L u c k S t o r i e s " ,
narrator
man
she was i n l o v e w i t h
but
t o t h e woman a t whose h o u s e t h e y were s t a y i n g :
b r o u g h t me t h e r e
the
was p a s s i o n a t e l y
t o counter her with.
stand
i t " (p. 195).
same s e n t i m e n t
paying
h e r dismay a t t h e d i s c o v e r y
1 was t h e woman he l i k e d .
I couldn't
lip-service
rational,
irrational
than
f o r t h e y o u n g e r woman
the
choice.
Although
to the notion
"He'd
I was h i s s e n s i b l e
couldn't
earlier:
that
that the
drawn n o t t o h e r ,
stand
Here t h e n a r r a t o r
she h a s d e c l a r e d
she i n s t i n c t i v e l y
sexual
I
when
that
the best
that.
repeats
despite
love i s
u n d e r s t a n d s t h a t what m a t t e r s i s
attraction:
T h e r e ' s t h e i n t e l l i g e n t s o r t o f l o v e t h a t makes
an i n t e l l i g e n t c h o i c e .
That's the kind
y o u ' r e s u p p o s e d t o g e t m a r r i e d o n . Then
there's the kind that's anything but
i n t e l l i g e n t , that's like a possession.
And
t h a t ' s t h e one, t h a t ' s t h e one, everybody
values.
T h a t ' s t h e one nobody wants t o
have m i s s e d o u t o n . ( p . 195)
Since
of
past
in
i s n o t commanded by r e a s o n ,
luck, with
being
two
love
obsessed
t h e odds a g a i n s t
by e a c h o t h e r .
love are properly
women t e l l
Julie's
case.
She
b o t h members o f t h e c o u p l e
Therefore,
designated
about t h e i r
i t becomes a m a t t e r
as hard
previous
the s t o r i e s of
luck
affairs,
speaks d e p r e c a t i n g l y
stories.
The
unconsummated
of her
146
revelations
(p.
191),
a s , " l a y i n g - b a r e my r i d i c u l o u s a l m o s t - a f f a i r s "
prompting
D o u g l a s t o m i s q u o t e t h e song f r o m
GAMMER
GURTON'S NEEDLE:
Back and s i d e
B o t h f o o t and
But b e l l y God
Whether i t be
go b a r e , go b a r e ,
hand go c o l d :
send t h e e good a l e enough,
new o r o l d . 6
i
Douglas a l t e r s
lay
bare",
the f i r s t
line
and t h i s u n u s u a l
t o "Back and s i d e l a y
i n s t a n c e o f Munro's c h a n g i n g
word i n an embedded q u o t a t i o n assumes added
because o f i t s r a r i t y .
strengthen
reader
one
who r e c o g n i z e s
another
ragged
importance
o f t h e change i s t o
between b e i n g
the l i n e s ,
a
and t e l l i n g .
For a
t h e two v e r s i o n s p l a y o f f
so t h a t t h e image o f t h e h a l f - n a k e d
body o f t h e
a l e d r i n k e r complements t h e image o f t h e women
attempting
to t e l l
experiences
who t e l l
with
stories
the truth
men.
stories,
private
business
about t h e i r
Significantly,
about t h e i r
whose male p r e s e n c e
their
The e f f e c t
the connection
bare,
past
i s probably
unhappy
i t i s t h e two women
loves.
Douglas
instrumental
rivals.
youthful-looking
Reider,
i n provoking
c o n f i n e s h i s anecdotes t o t a l e s
dealers i n old diaries
past
of the
and l e t t e r s who a r e h i s
The n a r r a t o r d e s c r i b e s h i m a s
i n a special
sense o f t h e term:
I am t h i n k i n g o f t h e h a r d y o u t h f u l n e s s , t h e
j a u n t y grim looks you o f t e n see i n photographs o f
s e r v i c e m e n i n t h e S e c o n d W o r l d War. D o u g l a s
was one o f t h o s e , and i s p r e s e r v e d , n o t
ripened.
Oh, t h e modesty and s a t i s f a c t i o n o f
t h o s e f a c e s , c l a m p e d down on t h e i r s e c r e t s 1
With
s u c h men t h e d e s c e n t i n t o l o v e i s s w i f t and
147
p r i v a t e and a m a z i n g — s o
(p. 184)
Unlike
his
Julie
past
less
and t h e n a r r a t o r ,
loves,
scarred
so t h e r e a d e r
by l o v e
as
really"
D o u g l a s does n o t " l a y b a r e "
i s f r e e t o assume t h a t he i s
the narrator
says,
( p . 1 8 4 ) , and c e r t a i n l y
Describing
"He's a s o r t o f
t h e metaphor o f men
p i r a t e s o f women's l o v e p e r v a d e s t h e s t o r i e s i n MOONS.
I t c a n be a p p r o p r i a t e l y a p p l i e d
Alex
Day
recovery,
t h a n a r e t h e two women.
h i s work t o h e r f r i e n d ,
pirate,
i s their
t o Duncan i n " D u l s e " , t o
i n "Bardon B u s " , G o r d o n i n " P r u e " and G e o r g e i n " L a b o r
Dinner".
A significant
"Visitors",
rejected
exception,
a man who e p i t o m i z e s
by t h e n a r r a t o r
who r e s c u e s
however, i s W i l f r e d i n
Mildred
with
the sensible marital
o f "Hard L u c k S t o r i e s " .
h i s marriage proposal
d e a t h o f h e r f o r m e r p r o t e c t o r , Mr. T o l l ,
alter-ego
similarity
tastes
f o rMildred,
i n their
i n leisure
a conclusion
names.
activities
darts
and d r i n k
beer),
story
as a c o n s t r u c t
value
as h i s t o r y :
isa
choice
Wilfred,
a f t e r the
friendly
r e i n f o r c e d by t h e
In a d d i t i o n t o t h e i r
shared
(evenings a t the Legion
t h e y s h a r e a common c o n c e p t i o n
w h i c h has meaning b e y o n d
to play
of a
i t s factual
I f W i l f r e d had been t e l l i n g t h a t s t o r y , M i l d r e d
t h o u g h t , t h e r e w o u l d have been some k i n d o f
ending t o i t . . . . I n W i l f r e d ' s s t o r i e s you
c o u l d a l w a y s be s u r e t h a t t h e gloomy p a r t s w o u l d
g i v e way t o s o m e t h i n g b e t t e r , and i f somebody
b e h a v e d i n a p e c u l i a r way t h e r e was an
explanation f o r i t . I f Wilfred figured i n
h i s own s t o r i e s , a s he u s u a l l y d i d , t h e r e
148
was a l w a y s a s t r o k e o f l u c k f o r him somewhere,
a good meal o r a b o t t l e o f w h i s k y o r some money.
N e i t h e r l u c k n o r money p l a y e d a p a r t i n t h i s
story.
She wondered why A l b e r t had t o l d i t ,
what i t had meant t o him.
(p. 215)
As
she
s o o n as
Mildred
realizes
that
brother-in-law
up
not
"Visitors",
appetite
she
has
by
nothing
a character's
and
him
thin,
Unlike
Mildred
b e c a u s e he
place
Pentecostal
church.
they
and
are
picked
said, 'It's
and
rigidity.
h i s wife
who
and
reveals
her
trying
faithful
s t o r y comes o u t ,
struggling
like
central characters
meaning o f
their
girlfriend
Kimberly
Albert i s like
they
to
cannot
except
the
i n Munro's
i s frequently a sign
Because the
i n " L a b o r Day
has
almost
sister
i n t e r e s t e d i n seeing
the
lives.
Albert
his
his enthusiastic brother,
know i n a d v a n c e how
the
teetotal
becomes e x h a u s t e d
faith
In
parallels
They c o n f o r m t o a p a t t e r n
i n which r e l i g i o u s
blindness
The
ability
is a colourless individual
s u g g e s t any
fiction
"Albert
i t down and
storytelling
drink.
about h i m s e l f .
entertain
Her
curiosity:
put
story,
I t ' s something t h a t happened'"(p. 215).
meagre p h y s i c a l a p p e t i t e s .
he
her
o f hamburger and
f o r food
Wilfred,
meaning o f t h e
made a m i s t a k e .
i s offended
a cold piece
a story.
i n q u i r e s about the
think
are
they
not
to understand
David's
of
the
beatific
Dinner":
K i m b e r l e y i s e n d a n g e r e d on two s i d e s , R o b e r t a
thinks.
But she w i l l manage.
She i s s t r o n g
enough t o h o l d o n t o D a v i d t h r o u g h any number
o f A n g e l a s , and s t r o n g enough t o h o l d h e r s m i l e
i n t h e f a c e o f G e o r g e ' s a t t a c k on h e r f a i t h .
Does h e r s m i l e f o r e s e e how he w i l l b u r n ?
Not
likely.
She f o r e s e e s , i n s t e a d , how a l l o f them
149
w i l l s t u m b l e and wander a r o u n d and t i e t h e m s e l v e s
i n k n o t s ; what does i t m a t t e r who w i n s t h e
argument;
F o r K i m b e r l y a l l t h e a r g u m e n t s have
a l r e a d y been won.
(p. 156)
There i s a s t r e a k of malice
Kimberley,
orthodox
similar
of her
principal
d i s c h a r g e s her
put
unfaithful
his
sister-in-law's
In
from
the
and
remain
events.
deliver
sister's
highschool
As
a result,
the
h i m s e l f by
divorcing
his wife
the
overturning his
p a s t , and
the
lives
but
story,
second
sees
her
of o t h e r s .
of a s t o r y with
i t was
altered
I f F r e d B e e c h e r had
not
the tense
w i f e , now
how
t h a t the p a t t e r n of her
single,
the
child,
to r e v e a l her
segment o f t h i s
memories r e m i n d h e r
believes
As
she
middle-aged,
has
had
been
looks back,
alternate
life
by
life
endings.
t o use
of
Ted
w o u l d n o t have m a r r i e d
her
She
been f o r h e r
a combination
decided
changes
to
chance
h i s car
a baby c a r r i a g e a c r o s s town, Ted's son would
have d i e d , and
so
intentions.
her
with
of
the
over
e v e n demands t h a t t h e
justifies
p a s t t o p r e s e n t as
interwoven
duty
takes
dead
mistress, completely
final
contemplates
sister's
of
i n "Accident",
t h a t she
a s t o p t o the a f f a i r .
husband
marrying
i n the p o r t r a i t
righteousness
husband's i n f i d e l i t y ,
mother's a p p r a i s a l
sister-in-law
arrangements f o r her
confidently
and
malice
F i n n i s h Lutheran
convinced
funeral
and
i n David's
to
not
her:
She's had h e r l o v e , h e r s c a n d a l , h e r man,
her
children.
But i n s i d e s h e ' s t i c k i n g away, a l l by
h e r s e l f , t h e same F r a n c e s who was t h e r e b e f o r e any
o f i t . (p. 109)
150
D e s p i t e her a l t e r e d
inner
core of s e l f
her.
She
Shared
by
t h i n k s she has
an
w h i c h i s u n a f f e c t e d by what happens t o
knows she
several
circumstances, Frances
i s more t h a n
t h e sum
of her e x p e r i e n c e s .
p r o t a g o n i s t s i n MOONS, t h i s
affects
their
attitude
to s t o r y t e l l i n g ,
them up
s h o r t i n the middle
realize
how
storytelling
new
suddenly
o f a n a r r a t i v e , when
tends
to t r i v i a l i z e
insight
bringing
they
people's
lives:
I f I had b e e n y o u n g e r , I would have f i g u r e d o u t
a story.
I w o u l d have i n s i s t e d on Mr. B l a c k ' s
b e i n g i n l o v e w i t h one o f my a u n t s , and on one o f
t h e m — n o t n e c e s s a r i l y t h e one he was i n l o v e w i t h
— b e i n g i n l o v e w i t h him.
I w o u l d have w i s h e d him
t o c o n f i d e i n them, i n one o f them, h i s s e c r e t ,
h i s r e a s o n f o r l i v i n g i n .a s h a c k i n Huron C o u n t y ,
f a r f r o m home. L a t e r , I m i g h t have b e l i e v e d t h a t
he wanted t o , b u t h a d n ' t c o n f i d e d t h i s , o r h i s
love e i t h e r .
I w o u l d have made a h o r r i b l e ,
p l a u s i b l e c o n n e c t i o n between t h a t s i l e n c e o f h i s ,
and t h e manner o f h i s d e a t h .
Now I no l o n g e r
b e l i e v e t h a t p e o p l e ' s s e c r e t s a r e d e f i n a b l e and
communicable, or t h e i r f e e l i n g s f u l l - b l o w n
and e a s y t o r e c o g n i z e , (p. 35)
There
i s a new
awareness here
as more complex
them e v e r
show.
mysterious
than
stories
inevitably
fall
short of conveying
lives,
she
as t h e n a r r a t o r
hears
herself
about
of people
of
the t r u t h
"Hard-Luck S t o r i e s "
and
Words
of
people's
realizes
d e p r e c a t i n g a word i n a v e r s e on
when
a
tombstone:
"Waft," I s a i d .
" T h a t sounds n i c e . "
Then I f e l t
s o m e t h i n g go o v e r m e — a shadow, a c h a s t e n i n g .
I h e a r d t h e s i l l y sound o f my own v o i c e a g a i n s t
t h e t r u t h o f t h e l i v e s l a i d down h e r e . (p. 196)
151
The
s e l f - c o n s c i o u s tone o c c a s i o n a l l y p r e s e n t
b o o k s becomes s e l f - c r i t i c a l
the
failure
of l i f e .
narrators
barriers
The knowledge p a i n f u l l y
i s knowledge o f t h e i r
which the s t o r y t e l l e r
Season", the n a r r a t o r
was f i r e d ,
to
confront
ordered
a c q u i r e d by
limitations, of
cannot c r o s s .
speculates
h o m o s e x u a l , and a t t e m p t s
but
i n MOONS, a s n a r r a t o r s
o f n a r r a t i v e s t o encompass t h e m u l t i p l i c i t y and
contradiction
these
i n a l l Munro's
t h a t Herb was
I n "The T u r k e y
probably
t o i m a g i n e h i s f e e l i n g s when
Brian
o u t o f town and d e n o u n c e d a s a p e r v e r t ;
u l t i m a t e l y she a c k n o w l e d g e s t h e f u t i l i t y o f h e r a t t e m p t
e x p l a i n what
happened:
L a t e r s t i l l , I backed o f f from t h i s e x p l a n a t i o n .
I g o t t o a stage o f b a c k i n g o f f from t h i n g s I
c o u l d n ' t r e a l l y know.
I t ' s enough f o r me now j u s t
to t h i n k o f Herb's f a c e w i t h t h a t p e c u l i a r ,
s t r i c k e n l o o k ; t o t h i n k o f B r i a n monkeying i n t h e
shade o f H e r b ' s d i g n i t y ; t o t h i n k o f my own
m y s t i f i e d c o n c e n t r a t i o n on H e r b , my need t o c a t c h
him o u t , i f I c o u l d e v e r g e t t h e c h a n c e , and t h e n
move i n and s t a y c l o s e t o h i m . ( p . 74)
An
explanation
since,
it
o f f e r e d and l a t e r
u n l i k e the other
arts,
r e j e c t e d does n o t d i s a p p e a r
literature
i s able
t o s a y what
has c h o s e n n o t t o s a y , a s Suzanne L a n g e r e x p l a i n s i n
FEELING AND FORM:
Where t h e r e i s no e x c l u s i o n o f o p p o s i t e s , t h e r e i s
a l s o , s t r i c t l y s p e a k i n g , no n e g a t i v e .
In
n o n - v e r b a l a r t s t h i s i s o b v i o u s ; o m i s s i o n s may
be s i g n i f i c a n t , b u t n e v e r a s n e g a t i v e s .
In
l i t e r a t u r e , t h e w o r d s , "no," " n o t , " " n e v e r , " e t c . ,
o c c u r f r e e l y , b u t what t h e y deny i s t h e r e b y
created. 7
Therefore,
when t h e n a r r a t o r
claims
t o no l o n g e r
believe
152
something,
neither
to
the o r i g i n a l
erased
forget
it.
possibilities
without
i t from
By
belief
the n a r r a t i v e
illusion
and
i n succeeding
b a c k f o r them t o
opinions
how
and
the
that
memories a r e
confident that
their
her
her
changes of
continually
reflection.
but not
memories e x t e n d
t h e y have a l t e r e d
of time.
reader
ambiguity
reporting
a discernible,
realize
i t has
the n a r r a t o r i s
By
books, t h e i r
i n the course
grown l e s s
caused
m o d i f i e d i n the process of
Munro's n a r r a t o r s age,
trend
that
experiences.
mind, t h e n a r r a t o r s u g g e s t s
As
nor
f o r suggesting complexity
b r e a k i n g the
extended
stands; denying
means o f n e g a t i o n , Munro w i d e n s
remembering a c t u a l
being
still
invariable,
f a r enough
their
A c c o r d i n g l y , they
have
p o i n t of view r e p r e s e n t s
the
truth.
Growing o l d e r ,
detached.
men
The
M u n r o s n a r r a t o r s have a l s o grown more
sadness
1
they
diminishes i s balanced
reached
a vantage
feel
by
as t h e i r
a calm
power t o
attract
pleasure i n having
p o i n t above t h e h u r l y - b u r l y
of the
sexual
arena:
She had n o t i c e d s o m e t h i n g a b o u t h e r s e l f , on t h i s
t r i p to the M a r i t i m e s .
I t was t h a t p e o p l e were no
l o n g e r i n t e r e s t e d i n g e t t i n g t o know h e r .
It
w a s n ' t t h a t she had c r e a t e d s u c h a s t i r b e f o r e ,
b u t s o m e t h i n g had been t h e r e t h a t she c o u l d r e l y
o n . . . She was n o t s u r p r i s e d b e c a u s e she was
i n a new, s t r a n g e c o n d i t i o n a t t h e t i m e .
She
made e f f o r t s one a f t e r t h e o t h e r .
She s e t l i t t l e
b l o c k s on t o p o f one a n o t h e r and she had a day.
Sometimes she a l m o s t c o u l d n o t do t h i s .
At
o t h e r t i m e s t h e v e r y d e l i b e r a t e n e s s , t h e seeming
a r b i t r a r i n e s s , o f what she was d o i n g , t h e way
she was l i v i n g , e x h i l e r a t e d h e r . (pp. 36-7)
153
Since
erotic
l o v e i n MOONS i s a l m o s t
possession,
has
life
demonic
b e y o n d menopause, a l t h o u g h
i t s compensations
" L a b o r Day
like
f o r L y d i a , as
i t has
somewhat
arid,
f o r Roberta
in
Dinner":
B u t R o b e r t a has t h e i d e a t h a t , much as she l i k e s
them b o t h and w i s h e s them w e l l , l o v e i s r e a l l y
s o m e t h i n g V a l e r i e c o u l d do w i t h o u t b e i n g
reminded o f .
In V a l e r i e ' s company you do wonder
sometimes what a l l t h e f u s s i s a b o u t .
Valerie
wonders.
Her l i f e and h e r p r e s e n c e , more t h a n
any o p i n i o n she e x p r e s s e s , r e m i n d you t h a t l o v e
i s n o t k i n d o r h o n e s t and does n o t c o n t r i b u t e
t o h a p p i n e s s i n any r e l i a b l e way.
(p. 140)
According
with
her
t o t h i s v i e w , a woman's p a s s i o n has
affection,
In l o v e , Roberta
t u r n her
resources
(p. 141) .
i s ended by
than
Valerie,
that
there
h i s death;
are
left
is still
with
other
to
whereas w i t h o u t
energy,
a
lover,
enabling
the
speak l o n g i n g l y o f
setting
"a house i n
i s fortunate i n having
f o r h e r s e l f when h e r
life
o t h e r women, o l d e r and
damaged p r i d e and
some p o i n t t o t h e i r
do
achievements.
summer home i n t o
Valerie
to create a l i f e
to
d i s c o v e r s new
have i n mind when t h e y
the country"
man
Valerie
to singlehandedly
people
is a barrier
becomes e n e r v a t e d ;
h e r widowed f r i e n d
her
and
little
the
the
with
a
frailer
pretense
lives:
Mrs. C r o s s and Mrs. K i d d u s e d t o p l a y c a r d s i n t h e
R e c r e a t i o n Room e v e r y a f t e r n o o n .
They p u t
on e a r r i n g s , s t o c k i n g s , a f t e r n o o n d r e s s e s .
They t o o k t u r n s t r e a t i n g f o r t e a .
On t h e whole
t h e s e a f t e r n o o n s were p l e a s a n t , (p. 165)
The
two
o l d women c l i n g
the
afternoons
to t h e i r
b e c a u s e i t i s one
c u s t o m o f d r e s s i n g up
of the
few
comforting
in
154
rituals
still
p o s s i b l e i n t h e n u r s i n g home.
other
women c h a r a c t e r s
their
pride or d i s t r a c t
In
"Connection"
i n MOONS, t h e y
use c l o t h e s t o b o l s t e r
themselves from a n x i e t y
and g r i e f .
t o o , t h e n a r r a t o r remembers h e r mother
w e a r i n g a secondhand
from a r e l a t i v e ,
silk
jersey afternoon
and r e c a l l s
o f women o f t h a t g e n e r a t i o n
powers.
Like several
dress
acquired
how t h e ample c o r s e t t e d f i g u r e s
proclaimed
their
I n "Bardon B u s " , however, b u y i n g
r i g h t s and
c l o t h e s becomes an
obsession:
I've become f e v e r i s h l y p r e o c c u p i e d w i t h
c l o t h e s . . . . I'm h a l f c o n v i n c e d t h a t a more
a r t f u l g e t u p w o u l d have made a more p o w e r f u l
i m p r e s s i o n , more d r a m a t i c c l o t h e s m i g h t have made
me l e s s d i s c a r d a b l e .
I have f a n c i e s o f m e e t i n g X
u n e x p e c t e d l y a t a p a r t y o r on a T o r o n t o s t r e e t ,
d e v a s t a t i n g him w i t h my a l t e r e d l o o k s and
l a t e - b l o o m i n g s p l e n d o r , ( p p . 124-5)
Clothes
her
shopping
i s an i r r a t i o n a l
l o v e r , a u s e l e s s attempt
response t o the loss of
to present
h e r s e l f i n a new and
irresistable
f o r m , e v e n t h o u g h t h e man f o r whom t h i s
is
t o see t h e t r a n s f o r m a t i o n .
not there
shopping a f f o r d s temporary r e l i e f
does i n t h e t i t l e
trying
leukemia t e s t s
for
self
on h e r l i t t l e
i t t o be t i m e t o v i s i t
surgery.
Simultaneously,
from s u f f e r i n g ,
s t o r y , i n which t h e n a r r a t o r
on c l o t h e s once w h i l e
The f u t i l i t y
she a w a i t e d
girl,
as i t
recalls
while
her father i n h o s p i t a l
she w a i t s
awaiting
t o e s c a p e i n t o a new
by d o n n i n g a new costume i s s u g g e s t e d
dressing
just
the r e s u l t s of
and a g a i n
o f such attempts
i s done
by t h e boy
up i n women's c l o t h e s i n "Bardon B u s " :
155
F i n a l l y e v e r y b o d y i s s a t i s f i e d and a b e a u t i f u l
young l a d y , who i s n o t a young l a d y a t a l l , b u t a
p r e t t y boy d r e s s e d up as a l a d y , emerges f r o m
t h e shadow o f t h e m i r r o r .
His smiling face i s
t e n s e and t r e m u l o u s .
I remember how when I was
t e n o r e l e v e n y e a r s o l d I u s e d t o d r e s s up as a
b r i d e i n o l d c u r t a i n s , o r as
a l a d y i n rouge
and a f e a t h e r e d h a t .
A f t e r a l l t h e e f f o r t and
c o n t r i v i n g and my own e n c h a n t m e n t w i t h t h e
f i n i s h e d p r o d u c t t h e r e was a c o n s i d e r a b l e l e t d o w n .
What a r e you s u p p o s e d t o do now? (p. 126)
The
illusion
c a n n o t be
hidden
sustained.
Typically,
a s p e c t s of the wearer,
instance,
Angela
o f change f l e e t i n g l y
produced
t h e costume c h o s e n
enabling
the d e v e l o p i n g s e x u a l i t y
i n " L a b o r Day
by d r e s s i n g
up
reveals
Munro t o show, f o r
of
the adolescent
Dinner":
As f o r A n g e l a and E v e , t h e y a r e d r a m a t i c a l l y
a r r a y e d i n o u t f i t s c o n t r i v e d f r o m a box o f o l d
c u r t a i n s found i n the u p s t a i r s o f George's
house.
A n g e l a wears e m e r a l d - g r e e n damask
w i t h l o n g , s u n - f a d e d s t r i p e s , d r a p e d so as t o
l e a v e one g o l d e n s h o u l d e r b a r e . . . . A n g e l a
i s t a l l and f a i r - h a i r e d , and e m b a r r a s s e d by h e r
r e c e n t l y acquired beauty.
She w i l l go t o
g r e a t t r o u b l e t o f l a u n t i t , as she does
now,
and t h e n w i l l r e d d e n and f r o w n and l o o k
s t u b b o r n l y a f f r o n t e d when somebody t e l l s h e r
she l o o k s l i k e a g o d d e s s , (p. 135)
Clearly,
appears
Angela i s t r y i n g
at dinner i n this
on t h e g o d d e s s
costume, j u s t
charms on D a v i d :
"Angela
try
on a c o u s i n
them o u t e v e n
child"
(p. 1 5 6 ) .
sexual
relationship,
practising
She
on D a v i d ,
i s trying
r o l e when
she
a s she t r i e s
out her
o u t h e r powers; she
she has known s i n c e
will
she was
i s t o o young t o be r e a d y t o e n t e r a
but prepares f o r t h i s
who
i s s a f e l y beyond
coming
phase
her r e a c h .
by
a
156
In h e r
she
journal
is still
behaviour
too, Angela
too young, t h a t
since
living
with
tries
on a r o l e
of c r i t i c
of her
f o r which
mother's
George:
"I have s e e n h e r c h a n g e , " A n g e l a has w r i t t e n i n
h e r j o u r n a l , "from a p e r s o n I d e e p l y r e s p e c t e d
i n t o a p e r s o n on t h e v e r g e o f b e i n g a n e r v o u s
wreck.
I f t h i s i s l o v e I want no p a r t o f i t .
He wants t o e n s l a v e h e r and us a l l and she w a l k s
a t i g h t r o p e t r y i n g t o keep him f r o m
g e t t i n g mad."
(p. 147)
Subtly,
Angela's
of Roberta's
journal
declining
reinforces
the n a r r a t o r ' s account
self-confidence
and
growing
desperation.
"Labor
reflect
Day
Dinner" uses
c h a r a c t e r and
weakness and
daughter
d e p e n d e n c e upon men.
lace curtains,
she
i s d r e s s e d up
(p. 1 3 8 ) .
BRIDE OF
feminine
i n a costume made o f
Eva
is.
T h u s , she
c o n t e x t of S i r Walter
o f THE
r e f e r e n c e s to
When t h e h o s t e s s ' s
s a y s , " I know who
B r i d e o f Lammermoor"
heroine
literary
t o e l a b o r a t e t h e theme o f
g r e e t s E v a , who
romantic
brief
Scott.
She's
the
p l a c e s Eva
The
i n the
unfortunate
LAMMERMOOR i s t h e pawn i n a
family
o
struggle
f o r power.
the s i m i l a r
The
c i r c u m s t a n c e s o f t h e mother and
daughters
i n "Labor
good w i l l
o f t h e man
book t i t l e s
listed
her confused
childhood
realism,
S c o t t r e f e r e n c e a c t s as a g l o s s
and
state
Day
D i n n e r " because
chosen
Her
adult
she
reflect
i s between
r e a d i n g m i x e s romance
literature.
the
Furthermore,
summer r e a d i n g l i s t
o f mind, p o i s e d as
and
two
t h e y depend upon
the mother.
i n Angela's
adolescence.
children's
by
her
on
and
Its contrasts
157
reveal
t h e wide e x t e n t o f h e r s e a r c h f o r f e m i n i n e
models t o
emulate:
D u r i n g t h e summer A n g e l a h a s s p e n t a l o t o f t i m e
reading.
She h a s r e a d ANNA KARENINA,
THE SECOND SEX, EMILY OF NEW MOON,
THE NORTON ANTHOLOGY OF POETRY,
THE AUTOBIOGRAPHY OF W.B. YEATS, THE HAPPY HOOKER,
THE ACT OF CREATION, SEVEN GOTHIC TALES.
Some o f t h e s e , t o be a c c u r a t e , s h e h a s n o t r e a d
a l l t h e way t h r o u g h , (p. 148)
T h i s book l i s t
could belong
Angela's
Against their
age.
t o many o f t h e women i n MOONS a t
b e t t e r judgement, t h e y a r e
attracted
t o romantic
tradition
o f THE NORTON ANTHOLOGY'and Y e a t s ' s
his beloved
reflect
v i e w s o f women s u g g e s t e d
by t h e p o e t i c
devotion to
Maud Gonne. ANNA KARENINA a n d SEVEN GOTHIC TALES
a E u r o p e a n p a s t t h a t i s remote f r o m
o f a young C a n a d i a n g i r l ,
the
b u t exerts a powerful
experience
attraction,
nevertheless.
The
inclusion
o f L.M. Montgomery's EMILY OF NEW MOON i s
a r a r e i n s t a n c e o f Munro's r e f e r r i n g
han
in
an E n g l i s h ,
1923,
t o a Canadian,
A m e r i c a n o r E u r o p e a n work.
EMILY OF NEW MOON i s an e n d u r i n g
about an orphan r a i s e d
b y maiden a u n t s
First
rather
published
c h i l d r e n ' s novel
on a P r i n c e Edward
9
Island
farm.
Its heroine
a forerunner o f Del Jordan
therefore
recent
own
Munro's
i s an a s p i r i n g
i n ambition
poet,
i n some ways
and i n c l i n a t i o n ;
comments on EMILY OF NEW MOON i n h e r
interview with
T i m S t r u t h e r s shed
conception of therole
of the a r t i s t
new l i g h t
on h e r
i n Canadian
s o c i e t y . Munro a c k n o w l e d g e s Montgomery's n o v e l
as an e a r l y
158
f a v o r i t e which s t i l l
would
someday l i k e
interests
h e r , and a b o u t
which she
to write:
I f e e l i n t h a t book s h e was g e t t i n g v e r y c l o s e t o
t h e book s h e s h o u l d have w r i t t e n and n e v e r d i d
write.
T h e r e ' s a r e a l s e n s e o f b r o o d i n g and
menace a n d e v e n h o r r o r i n t h a t book w h i c h s h e
j u s t does n o t p e r m i t h e r s e l f i n a book l i k e ANNE
OF GREEN GABLES.
T h e y ' r e a b i t l i k e TOM SAWYER
and HUCKLEBERRY FINN.
You know how i n TOM SAWYER
everything i s sort of popular-entertainment
l e v e l , a n d i n HUCKLEBERRY FINN we g e t down t o
some r e a l s t u f f .
W e l l , EMILY OF NEW MOON
i s a b i t l i k e that.10
Munro r e v e a l s h e r f a s c i n a t i o n w i t h t h e d a r k
side of
e x i s t e n c e w h i c h s h e c o n s i d e r s i n d i s p e n s a b l e i n a work o f
art.
She b e l i e v e s
distinguishes
she
willingness
t h e s e r i o u s from
sympathizes
polite
that
k e p t h e r from
of J u p i t e r ' s
insinuates
she i s c o n v i n c e d t h a t h e r
novelist.
t o EMILY OF NEW MOON, Munro p a y s
speeding
presence
influencing
her daughters
being driven without
a drinking
moon i n t o h e r own i m a g e r y
EMILY OF NEW MOON.
Day D i n n e r " t h e moon h a s become a
c a r which narrowly
which Roberta,
(p. 1 5 8 ) .
another
moons by means o f t h e t i t l e ,
t h e e n d o f "Labor
dominating
is
Although
t o L.M. Montgomery's i n f l u e n c e on h e r , a n d
simultaneously
By
thepopular a r t i s t .
becoming a f i r s t - r a t e
N e v e r t h e l e s s , by r e f e r r i n g
tribute
darkness
w i t h Montgomery's r e l u c t a n c e t o b r e a k t h e
conventions o f her time,
timidity
to face this
a l l their
escapes
lives.
crashing into
thecar i n
and h e r l o v e r a r e t r a v e l l i n g ,
lights.
The d r i v e r ,
p a r t y , "sees t h e r o a d by t h e l i g h t
Before t h e i r
The
narrow escape,
returning
from
o f t h e moon"
Roberta
points out
159
the gibbous
moon and
recalls
how
meaning o f t h e word, g i b b o u s ,
more t h a n h a l f
appropriate
as a
later
full.
figure
The
she
a term
gibbous
rather
i s never
to persuade
on new,
but
principle.
structures
The
scaffolding
functions without
without
her audience
she
calling
verse quoted
r e a d e r can
by
grasp
a l o n e : "'Behind
Gates
o f H e r c u l e s ; / B e f o r e him
facing
cast
to i t s e l f .
For
Moons o f J u p i t e r "
the ghost
only shoreless seas'"
(p. 2 2 5 ) .
likely
with
uncertainty.
The
p a s t accomplishment
poem a f f o r d s
several
u n s t a t e d i n the s t o r y ,
d i s c o v e r y , both
t h e poem's r e f r a i n ,
familiar
"On,
on!"
man
and
other p a r a l l e l s
World
and
metaphors of d e a t h .
sail
A
future
i s "Columbus",
i t w i t h t h e i d e a o f t h e New
the
t o have h i s
contrast
of
the
of
" b e f o r e " , and
connects
of
the
from
"behind"
title,
example,
l a y the gray Azores,/Behind
not
light
this
l i n e s w h i c h r e p e a t t h e words
Its
on
not
i n p l a c e , but
a d a n g e r o u s o p e r a t i o n would be
mind f i x e d
a u t h o r does
i t s general significance
him
the
the source of the fragment
i n "The
even
suggested
old stories
i s firmly
lines
s h o r e s , / B e f o r e him
that
attention
the f a t h e r
still
The
are
h e r work a c c o r d i n g t o
bothering to trace
also,
Thus,
duty, yet
Correspondences
upon t h e r e a d e r .
attempt
but
Montgomery.
does d o u b l e
strained.
than f o r c e d
Roberta,
moon, i s a c o n t i n u a t i o n and
i t e m i n a book l i s t
symbolism
f o r t h e moon when i t i s
f o r the middle-aged
p h a s e o f t h e new
the
moon n o t o n l y i s an
e x t e n s i o n o f t h e r e f e r e n c e t o L . M.
a single
t a u g h t George
m i r r o r s the
too.
which
o f a voyage
Moreover,
father's
160
11
fortitude.
With her usual
fragment o f verse
leaves
restraint,
to reflect
explanations
Munro p r o v i d e s t h e
the father's
s i t u a t i o n and
to the c r i t i c .
W i t h t h e same s u b t l e t y , t h e work's c o n t r o l l i n g metaphor
of
J u p i t e r and t h e moons i s i n t r o d u c e d
desultory
during
the
conversation
their
last
through a seemingly
between t h e n a r r a t o r
visit
and h e r f a t h e r
i n the h o s p i t a l . After
she d e s c r i b e s
show she h a s j u s t w a t c h e d a t t h e p l a n e t a r i u m ,
they
try
t o remember t h e names o f t h e moons o f J u p i t e r , and between
them r e c a l l
The
that
that
male) i n o r b i t
sexual
holds
four
moons
a t t r a c t i o n i s implied
(p. 2 3 3 ) .
Munro p r o v i d e s
colloquial
term
relationship,
list
"girlfriend",
as
their
Duncan o r A l e x
i n t o one modern
they?"
epithet.
sexual
i n "Dulse", through the
"Duncan spoke a b o u t h i s
Ruth, p e r t
Judy,
vivacious
. . ." ( p . 5 2 ) . Men
i n "Bardon B u s " r e s e m b l e J u p i t e r i n
commitment t o t h e c h a s e , t h e i r
Lydia
" I o and
two s t o r i e s
has o v e r t o n e s o f a
w i f e l y Maxine
woman once t h e y have c a p t u r e d
like
than s t a t e d :
thereby condensing
lovers:
Efficient
Delores,
and t h e power
o f J u p i t e r ' s , weren't
shown p r e v i o u s l y
former g i r l f r i e n d s .
like
rather
usage, g i r l f r i e n d
o f Duncan's d i s c a r d e d
Diane, elegant
f e m a l e s and one
t h e l i n k by means o f t h e f a t h e r ' s
t h e god's amorous p u r s u i t s
In r e c e n t
(three
a r o u n d a c e n t r a l male p l a n e t ,
E u r o p a , t h e y were g i r l f r i e n d s
of
E u r o p a and Ganymede.
c o r r e s p o n d e n c e between t h e power o f g r a v i t a t i o n a l
attraction
of
they a r e Io, C a l l i s t o ,
her.
loss of interest i na
For t h e i r
i n "Dulse", Prue, o r the n a r r a t o r
p a r t , women
o f "Bardon B u s "
161
cling
to their
rekindle
l o v e r s a s Juno c l u n g
t o J u p i t e r , hoping t o
t h e dead embers o f p a s s i o n
i n men who have
abandoned
them, and j e a l o u s o f t h e women who have
displaced
them.
Y e t none o f t h e s e
parallels
between t h e
G r e e k myths and M u n r o s men and women a r e s p e l l e d
1
this
r e s p e c t , Munro's method i s more l i k e
than
a prose
allows
fiction
into
account
o f memory w h i c h
i t s p e c u l i a r power t o make r e c o l l e c t e d
resemble r e c o l l e c t e d
experience.
transforming
o f remembering b r i n g s
together.
as
Having d i s c o v e r e d
literature
process
Munro i s a b l e
recollections
combines e v e n t s and
f a m i l y anecdotes o f e a r l i e r
characters,
writers
As
most o f whom a r e r e a d e r s ,
The e m p h a s i s on
suits
t h i s group o f
and some o f whom a r e
as w e l l .
M u n r o s p r o t a g o n i s t s change f r o m a p r e - w a r
1
with
a high-school
generation
with
a university
but
literate,
volume, i n c o n t r a s t t o t h e
collections,
generation
against
experience,
t h e semblance o f a
of this
c a n be
and t h a t t h e
m i d d l e - a g e d n a r r a t o r ' s remembering v o i c e .
literary
t h e two c l o s e
f o r meaning i n p a s t
t o reproduce
stories
t h a t memories o f s t o r i e s
of r e c o l l e c t i o n
i n i t s search
takes
The o r g a n i z i n g ,
i n t e n s e as memories o f e x p e r i e n c e s ,
associative
poet's
itself.
MOONS i s a c o n c e p t i o n
process
In
w r i t e r ' s : s h e c r e a t e s h e r image a n d
i t t o speak f o r
Underlying
a lyric
out.
education
education,
a background d e r i v e d n o t o n l y
a l s o from
literary
tradition.
rural
t o a post-war
they
see t h e i r
from f a m i l y
The l i t e r a r y
urban
lives
tradition,
influence i s
162
strongest
values
on t h o s e
and f o r g e
parents.
who a r e a t t e m p t i n g
new, l e s s
restricted
Not s u r p r i s i n g l y
then,
to cast off inherited
lives
given
than
her f a i t h
i n progress
i n LIVES i s
and
her longing
f o r s e l f - i m p r o v e m e n t , Ada J o r d a n
the
outstanding
instance
work f o r whom l i t e r a r y
of a character
references
T e n n y s o n i a n p e n name, P r i n c e s s
element
to her c h a r a c t e r i z a t i o n .
mother's dogmatic r e l i g i o u s
writing
the
i n search
writing
as d e t e r m i n e d l y
gospel.
Munro s recent
1
Having r e j e c t e d her
Ada h a s t u r n e d
to secular
question
the t r u t h of secular
as Ada o n c e q u e s t i o n e d
references
faith i n
the truth of
add a n o t h e r
layer to
w r i t i n g , b u t i t i s a l a y e r w h i c h does n o t
by s h o w i n g a mind s e t i n c e r t a i n
On t h e c o n t r a r y ,
ambiguity,
raising
characters
understand
about t h e e x t e n t
truth.
important
i n MOONS i s t h a t t h e i r
Literary
to f i x character
lines.
adds an
Ada's
The d i f f e r e n c e between Ada and
h a s d e c l i n e d and t h e y
religious
tend
of ideals.
women Munro d e s c r i b e s
progress
faith,
i n Munro's e a r l y
are provided.
Ida,
their
literary
references
doubts about t h e extent
their
own b e h a v i o u r ,
add a l a y e r o f
t o which
as w e l l
as d o u b t s
t o w h i c h t h e w r i t t e n word c a n embody t h e
163
Notes
1
A l i c e Munro, THE MOONS OF JUPITER: STORIES BY A L I C E
MUNRO ( T o r o n t o : M a c m i l l a n , 1 9 8 2 ) .
A l l subsequent r e f e r e n c e s
appear i n t h e t e x t .
2
S i r Walter Raleigh, "Written thenight before h i s
death.
Found i n h i s B i b l e i n t h e G a t e - h o u s e a t
W e s t m i n s t e r , " (1618; r p t . L o n d o n : B l a c k i e , n.d.) p . 370.
3
X a v i e r a H o l l a n d e r , THE HAPPY HOOKER (New Y o r k : D e l ,
1972).
4
C h a r l e s L o u i s I I M o n t e s q u i e u , THE PERSIAN LETTERS:
WITH INTRODUCTION AND NOTES, NOW COMPLETELY DONE INTO
ENGLISH FROM THE ORIGINAL BY MONTESQUIEU (London: Athenaeum,
1 8 9 7 ) , p . 15.
5
W i l l a C a t h e r , A LOST LADY (1923; r p t . B o s t o n : Houghton
M i f f l i n , 1 9 3 8 ) , p . 120.
6
W i l l i a m S t e v e n s o n , GAMMER GURTON'S NEEDLE, A c t I I ,
Song. ( c . 1562; r p t . L o n d o n : G i b b i n g s , 1 9 0 6 ) , p . 14.
7
Suzanne L a n g e r , FEELING AND FORM (New Y o r k : C h a r l e s
S c r i b n e r ' s S o n s , 1 9 5 3 ) , p . 242.
8
S i r W a l t e r S c o t t , THE BRIDE OF LAMERMOOR, (1819; r p t .
London: Dent, 1906).
9
L.M. Montgomery, EMILY OF NEW MOON, ( T o r o n t o :
McClelland & Stewart,1923).
10
J . R. (Tim) S t r u t h e r s , "The R e a l M a t e r i a l : An
I n t e r v i e w w i t h A l i c e Munro," i n PROBABLE FICTIONS, e d . L o u i s
K. M a c K e n d r i c k ( T o r o n t o : ECW P r e s s , 1983) , p . 18.
11
J o a c h i n M i l l e r , "Columbus," i n BEST LOVED STORY
POEMS (Garden C i t y , N.Y.: H a l c y o n House, 1 9 4 9 ) , p . 310.
164
Conclusion
In A l i c e
told
provide
Munro's f i c t i o n ,
ironic
experiences.
narrators,
in
daily
settle
they
life
adding
the
form tends
unlike
strong
in
v e r s i o n of the
LIVES are
the
every
anecdote,
i d e n t i f y with
tale
t h e h e r o e s and
the
limitations
world.
They r e j e c t
a
community, b u t
small
Their
first
identity
not
stories
with
and
i n books
meals.
their
legend
who
and
s t e p toward d e p a r t u r e
are
of
personalities.
they
significance
are
told.
of s t o r i e s ,
reality.
and
and
geographical
intellectual
to
They
often
Frequently,
are determined
upbringing
also their
but
understanding
them, s t o r i e s
only t h e i r
w h i c h i s as d i f f e r e n t
t h a t i s so
teenagers
between s t o r i e s
of a p r o v i n c i a l
short story
the c h i l d r e n
heroines
Munro's p r o t a g o n i s t s a r e g i r l s
they
as work and
allegorical
and
to
life,
around
attribute
having
Thus,
and
found
e x e r t throughout
preoccupied
i n molding
fairy
cannot d i s t i n g u i s h
truth.
stories
Since
people
paramount i m p o r t a n c e
children
or
her
ambiguity
rounding-off
influence stories
t h e m s e l v e s and
and
characters' lives
i n childhood.
DANCE and
to t h a t of
sense of c l o s u r e t h a t the
Munro makes o r a l
shows t h e
Typically,
complexity
t o impose, t h e n e a t
life.
especially
the
viewpoints
a l l o w Munro t o a v o i d f i n a l l y
commonplace i n h e r
She
rival
reflect
and
t h a t are mentioned
commentary o n ' h e r c h a r a c t e r s '
f o r o n l y one
counter
as
By
stories
to
escape
enter a wider
isolation
isolation.
i s to c o n s t r u c t
an
as p o s s i b l e f r o m t h a t
of
in
165
their
mothers.
emulate, they
Searching
rely
f o r models o f a d u l t women t o
on o r a l
stories
reading
t o supplement t h e i r
stories
abound
and
distort
encouraging
limited
i n the l i t e r a t u r e
their
or stories
experience.
their
Romantic
t o w h i c h t h e y have
t h i n k i n g by r a i s i n g
them t o w a i t
from
passively
false
access,
expectations or
t o be r e s c u e d
by a male
hero.
In
two o f Munro's works
artist-protagonist
(LIVES
widens t h e scope o f s t o r y r e f e r e n c e s .
Not
o n l y does t h e young a r t i s t — D e l
but
also
they
One
she r e f l e c t s
distort
dwell
on p o v e r t y
human l i f e
soiled
by l e a v i n g
i s preoccupied
existence usually
left
out s i g n i f i c a n t
with
stories
out of l i t e r a t u r e ,
toilets
and p h y s i c a l
t o women b e c a u s e t h e y
clean-up
t a s k s and e n d u r e b e a t i n g s .
women a r e s t o r i e s
MOONS l o o k s a t a s p e c t s
little
from
stories
which
world,
Also significant to
t h e n a t u r a l c y c l e s o f female
o f women's l i v e s w h i c h
examining
of
their
d e p e n d e n c e upon men, and s h o w i n g how t h e y
to
need men d e s p i t e g r e a t e r p o s s i b i l i t i e s f o r
independence than
existed
many s t o r i e s
i n their
change
the extent
continue
female
mothers' day.
t h a t Munro's c h a r a c t e r s t e l l
of a Chinese
one o f
violence, i s especially
one g e n e r a t i o n t o t h e n e x t ,
units
details.
a r e o f t e n f o r c e d t o perform
which r e f l e c t
life.
smallest
extent
about a s p e c t s o f
Munro i m p l i e s t h a t t h i s
familiar
The
stories,
as a c o n d i t i o n i n which t h e s q u a l o r o f
dominates.
laundry,
or R o s e — t e l l
upon them, w o n d e r i n g t o what
the truth
work, WHO,
and WHO) an
Box s t r u c t u r e .
are the
They a r e
166
enclosed
inside
can
by Munro's s h o r t
stories,
which a r e themselves
a l a r g e r box, t h e s t o r y c y c l e .
Beyond i t , t h e
d i s c e r n the o u t l i n e s of y e t another enclosure,
which i s i m p l i e d but not r e t o l d
followed.
story,
I t serves
rather
in detail
as a c o n t e x t
Triple
by t h e t i t l e
story.
Jordan,
thus a l t e r i n g
the c l a s s i c a l
common i n Munro's f i c t i o n .
highwire
is
a c t without
omission
questioning
strictly
i t s own
contained
Munro's o t h e r
LIVES uses
f o r D e l and Ada
reference
pattern
departure,
myth.
s i n c e t h e s u b j e c t o f SOMETHING
with
point-of-view
narrative strategies.
within
cycles.
more
T h i s work t e s t s t h e b o u n d a r i e s o f
n a r r a t i v e by e x p e r i m e n t i n g
those
and
Y e t , i t i s more
b o u n d a r i e s t h a n any o f
I t does n o t r e a c h
outside
itself
to
t h e s t r i n g s o f myth.
The
fiction
as
i t i s the
t h e s a f e t y n e t o f an i n f o r m i n g
itself.
own
I n t h i s work, Munro p e r f o r m s h e r
i s appropriate
storytelling
catch
I n WHO,
The most r a d i c a l
however, i s i n SOMETHING.
closely
f i g u r e of
G o d d e s s , and i n MOONS, t h e g o d , J u p i t e r .
T e n n y s o n ' s poems as a f r a m e o f r e f e r e n c e
a myth
f o r Munro's
o r a g l o s s on i t . I n DANCE, t h e m y t h i c a l
Orpheus i s i n v o k e d
The
o r even
reader
structural
s i g n i f i c a n c e of stories
i s far-reaching.
The n a r r a t o r s
i n Munro's
claim
storytelling
a mode o f t h o u g h t n a t u r a l t o women and s t r i v e
a feminine
way
of w r i t i n g f i c t i o n
contrivance
i n favor of submission
discovery.
Finally,
Munro d e c l a r e s
which r e j e c t s a u t h o r i a l
to a process
by h e r c o n s t a n t
her b e l i e f
t h a t man
to develop
references
of
to s t o r i e s ,
i s a storytelling
animal.
167
Of
a l l the t o o l s
important.
another
them
t h a t he has y e t d e v i s e d , words a r e t h e most
They a r e t h e l i n k s
and t h e p a s t .
into
By t e l l i n g
words, her c h a r a c t e r s
their
lives.
their
hopes f r u s t r a t e d .
and
life
failures,
their
explain,
that
lives
t o one
stories,
putting
attempt
lives
to gain control
are often
inner
events
l i v e s , t h e memories
by making up t h e i r
their
own
their
seem mere a p p e a r a n c e and
reality.
Munro's
fictions
limitations
over
unhappy,
t h e y have c o n s t r u c t e d , redeem
the true
and f o r g i v e
characters
their
But t h e i r
making a c t u a l
inner
survive
Outwardly, t h e i r
stories
joining
that
and
characters
excuse,
failures.
168
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