Popular Feminist Fiction as American Allegory
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1 Popular Feminist Fiction as American Allegory
2 Jane Elliott s Previous Publications The Currency of Feminist Theory. PMLA 121, no. 5 (October 2006): Time of Death: The End of the 1960s and the Problem of Feminist Futurity in The Women s Room and Vida. Modern Fiction Studies 52, no. 1 (Spring 2006):
3 Popular Feminist Fiction as American Allegory Representing National Time Jane Elliott
4 POPULAR FEMINIST FICTION AS AMERICAN ALLEGORY Copyright Jane Elliott, Softcover reprint of the hardcover 1st edition All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. First published in 2008 by PALGRAVE MACMILLAN 175 Fifth Avenue, New York, N.Y and Houndmills, Basingstoke, Hampshire, England RG21 6XS. Companies and representatives throughout the world. PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin s Press, LLC and of Palgrave Macmillan Ltd. Macmillan is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN ISBN (ebook) DOI / Library of Congress Cataloging-in-Publication Data Elliott, Jane, 1969 Popular feminist fiction as American allegory : representing national time / by Jane Elliott. p. cm. Includes bibliographical references and index. 1. Feminist fiction, American History and criticism. 2. Feminism and literature United States. 3. United States Civilization American fiction 20th century History and criticism. 5. American fiction Women authors History and criticism. I. Title. PS374.F45E dc A catalogue record of the book is available from the British Library. Design by Scribe Inc. First edition: June Cover image: Laurie Simmons, Walking Pocket Watch (color)/the Music of Regret (2006). Courtesy the artist and Sperone Westwater, New York. Chapter 2 first appeared as an article entitled Time of Death: The Problem of Feminist Futurity and the End of the 1960s in The Women s Room and Vida and was published in Modern Fiction Studies 52, no. 1 (Spring 2006). The author thanks Johns Hopkins University Press, publisher and copyright holder, for permission to reprint this material.
5 Contents Acknowledgments Part I Temporal Politics vii Introduction 3 1 The Problem of Static Time: Totalization, the End of History, and the End of the 1960s 21 Part II Feminism as Static Time 2 Heir Apparent: Legacies of the 1960s in The Women s Room and Vida 49 3 Dead-End Job: The Stepford Wives, Domestic Labor, and the End of History 71 4 Promiscuous Times: Rubyfruit Jungle, Fear of Flying, and the Desire for the Event 89 Part III Feminism as Futurity 5 Alice Walker s Hindsight: Meridian, The Color Purple, and the Production of Prolepsis My Mother, My Self: Sentiment and the Transcendence of Time in The Joy Luck Club and The Divine Secrets of the Ya-Ya Sisterhood 137 Coda: Hurried Woman Tales 163 Notes 169 Bibliography 199 Index 219
6 Acknowledgments T his book could not have been written without the help of my mentors, colleagues, family and friends. The ideas explored here had their first incarnation in a seminar paper on Marx, working-time, and The Stepford Wives written for a course taught by Richard Dienst, and I am particularly grateful for the encouragement he gave me to return to this material. I was very fortunate to have my dissertation supervised by Marianne DeKoven, a wonderfully wise and supportive mentor who helped me find my way back from several blind alleys and kept me from straying into countless others. I am thankful not only to have received her guidance but also to have in her example such a splendid ideal to strive for in my own teaching of graduate students. The other members of my dissertation committee Samira Kawash, John McClure, and Joan Scott offered diverse and insightful comments that continue to shape my thinking on this topic. In particular, both Marianne DeKoven and John McClure generously shared their passion for the politics of the 1960s and 1970s while allowing me to develop my own take on the period, one that has been shaped not only by my intense cathexis to the New Left and the women s liberation movement, but also by my inevitably belated relationship to those political bodies. Especially in light of the vitriolic struggles between feminist generations, I was extremely lucky to have mentors who encouraged me to explore the way my own location in time enabled a particular reading of an historical moment in which I did not participate but whose shadow has overlain the experience of radical Left politics in my lifetime. Parts of this manuscript were drafted and revised with the suport of a postdoctoral fellowship in the Orders of Time seminar at the Pembroke Center for Teaching and Research on Women at Brown University. The Pembroke offered a tremendously encouraging and invigorating venue for evolving my approach to this material. My thanks to all seminar participants for their comments on versions of material from Chapters 1, 2, and 6 and to Elizabeth Weed, Tamar Katz, Flora Keshgegian, Wendy Alison Lee, Ellen Rooney, Rebecca Schneider, and Samuel Solomon in particular for making my year at the center such a stimulating and pleasurable one.
7 viii ACKNOWLEDGMENTS My cofellows, Rama Mantena, Adam Gutteridge, and Janelle Blenkenship, provided many fascinating conversations on time and politics during our countless meals and drinks together. I am particularly grateful to the Pembroke seminar leader, Rey Chow, for giving so much of her time and energy to the postdoctoral fellows. Her extraordinarily generous engagement with us and with our work fostered a sense of community among the fellows that was remarkable for both its warmth and its sense of shared intellectual excitement. In addition to the sage advice she offered in several conversations regarding my research, I am indebted to Rey Chow for reading and commenting on portions of an earlier draft of this material. At the University of York, both colleagues and students have given me the opportunity to discuss and expand ideas developed in this book. I m particularly grateful to my colleagues in the English department for responses to my research presentation on The Stepford Wives and the end of history, to colleagues and students in the Centre for Women s Studies for their discussion of my lecture on mother/daughter narratives and the politics of sentiment, and to the graduate students in my Contemporary Feminist Theory seminar. Both Derek Attridge and John David Rhodes were instrumental in helping me to find my feet at York in a way that gave me the time and energy required to complete this project. As my co-organizers for two different conferences, each played a key role in making my first years at York the site of such fruitful intellectual engagement for me. This book has also benefited enormously from the comments provided on various portions and drafts by colleagues and friends, including Jo Applin, Elizabeth Freeman, Theresa Geller, Natasha Hurley, Anthony Lioi, John David Rhodes, and Jennifer Worley. Heather Tirado Gilligan and Katherine Sugg both read the manuscript in its entirety, and their comments were hugely helpful. My thanks also to the Palgrave reviewer who chose to remain anonymous. For a very thoughtful and thoughtprovoking workshop of Chapter 6, I would also like to thank the members of my writing group in York, including Heather Blurton, Catriona Kennedy, Alison O Byrne, Reena Sastri, and Helen Smith. My fabulous friends and family also provided various means of support in times of intellectual, psychological, and financial crisis, especially Nora Davenport, Todd Davenport, Judy Gran, Peter Gran, Scott Hartwig, Elizabeth Ho, Steve Jackson, Jonathan Kessler, Kathy Kline, Pat Regnier, Brian Phillips, H. D. Richards, and Jennifer Worley. My parents, Robert and Frances Elliott, and my sister, Beth Elliott, have provided encouragement in countless ways, perhaps most importantly through the excellent example they have each given me of sustained commitment in the face of trials, tribulations, and absurdly delayed
8 ACKNOWLEDGMENTS ix gratification. Special thanks go to Gabriel Sena and Katherine Sugg, my longtime companions and comrades-in-arms in the ongoing daily battle that is writing; I could not have completed this project without the profound sense of solidarity and perpetual inspiration their friendship provides. My final debt of gratitude is to my partner, Stephen Gran, whose marvelous combination of intellectual rigor and academic irreverence helps me both to work and to play. I do not think it is possible to repay the kindness, understanding, and sheer equanimity he has shown in the face of this seemingly endless undertaking, but I am looking forward to making the attempt.
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