Father’s Farmland, Daughter’s Innerland: Retelling and Recovery in Jane ...

Concentric: Studies in English Literature and Linguistics 29.1 (January 2003): 95-118.

Father's Farmland, Daughter's Innerland:

Retelling and Recovery in Jane Smiley's A Thousand Acres

Ying-chiao Lin Huafan University

Abstract

Jane Smiley in A Thousand Acres reinterprets King Lear, giving us the "other side of the story" by retelling it from the point of view of the two "evil" older daughters. Smiley lets us understand this evil as something more like psychological suffering at the hands of an abusive father: her main theme is the most brutal form of domestic violence--father-daughter incest--and the originally innocent daughters' reaction to it. In this study I center my analysis on the narrator-daughter's traumatic memory of sexual abuse and the therapeutic discourse through which she tries to overcome it. Here the domestic situation of the incest "survivor" greatly resembles the paradigm observed by Judith Herman and Lisa Hirshman: a dominating and controlling father, an absent or weak mother, and an abused daughter who is silenced by the tyrannical father from speaking about his abusive behavior. By utilizing Herman and Hirshman's clinical evidence on incest cases, Pierre Janet's theory of traumatic memory (as against narrative memory), and Herman's study on the recovery of the abused victim, this paper examines the image of the incestuous father, the survival strategies of the daughter, the disclosure of amnesia, and the victim's progress toward recovery through retelling her story of sexual violence. Even if in a state of mourning, the incest survivor, showing no sign of rage, "survives twice: survives the violation; and survives the death that follows it, reborn as a new person, the one who tells the story" (Culbertson 191).

Keywords father-daughter relationship, incest, traumatic memory, silence, amnesia, Jane Smiley,

A Thousand Acres, Judith Herman, trauma, recovery, Pierre Janet, case study

I, alas! Have lived but on this earth a few sad years, And so my lot was ordered, that a father First turned the moments of awakening life To drops, each poisoning youth's sweet hope [...].

--Percy Bysshe Shelley, Cenci

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A number of critics have commented that Jane Smiley's A Thousand Acres (1991) is a rewriting of Shakespeare's King Lear, viewing the text as a feminist response to the canonical narrative tradition of patriarchal culture.1 Though in plot her narrative roughly parallels Shakespeare's Lear, Smiley centers her story on the older daughters' struggle rather than the father's inner turmoil in Lear. In A Thousand Acres Smiley has transplanted the Lear story from the scene of public politics to the domestic realm, making an effort to explore and uncover the unspoken words of the two "evil" older daughters. Smiley sees that something remains unexamined in Shakespeare's text: "I'd always felt the way Lear was presented to me was wrong. Without being able to articulate why, I thought Goneril and Regan got the short end of the stick." In the same interview, she explains her reason for focusing on these two daughters: "There had to be some reason [Lear's] daughters were so angry. Shakespeare would attribute their anger to their evil natures, but I don't believe people in the 20th Century think evil exists without cause. I knew where that anger came from [...]" (qtd. in Anderson 3). Smiley's novel then aims to give her readers access to the two older daughters' heretofore unarticulated version of the story, so that they may know "the other side of the story."

A review of the literature on A Thousand Acres reveals surprisingly few papers that are in any way concerned with an analysis of the surviving incest victim's reestablishment of subjectivity and overcoming of a traumatic past through the recovery of key memories. As the Acres-Lear comparison has been undertaken by a number of critics, I center my analysis on the narrator-daughter's therapeutic discourse of/on her traumatic sexual experience with her father, that is, the discourse through which she tries to overcome this traumatic memory. Here the domestic situation of the incest survivor greatly resembles the paradigm observed by Judith Herman and Lisa Hirshman: a dominating and controlling father, an absent or weak mother, and an abused daughter who is forbidden by her father from speaking about his abusive behavior.2 Also, my discussion will include an analysis of the narrator-daughter's therapeutic narratives in a state of domestic and social alienation and the ultimate emancipation of her painful memory. By locating the crucial traumatic events within the home, Smiley not only questions the structure and values of the traditional male-centered family where individual identity is threatened by the anxiety of family relationships, but also

1 Those critics include, to name some, David Brauner, Marina Leslie, James A. Schiff, and Susan Strehle.

2 See Herman, Father-Daughter Incest (esp. 67-95).

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suggests alternative social units within an alienated community. With the story being told from the oldest daughter's perspective, A Thousand Acres probes into the patriarchal system, physical and mental orders, appearance and reality, the "territories" of land and female body, male violence and feminine fertility within the encompassing "family romance."

Though A Thousand Acres won critical acclaim when it was published in 1991, the novel was also attacked. Smiley's disclosure of the untold side of the Lear text is based, after all, on the most primitive and brutal form of domestic violence, incest, a theme that shocked some critics and even caused the novel to be banned in 1994 by a high school in Lynden, Washington.3 In an article in Harper's Magazine, "Making the Incest Scene," Katie Roiphe points out that "incest has become our latest literary vogue" (65). She specifically attacks Smiley's novel, saying here "the ancient theme of Oedipus Rex is accompanied by the clattering breakfast plates of twentieth-century realism and the tragic, shimmering myth becomes an actual event described in pornographic detail" (65). However, Smiley justifies her focus on issues of paternal incest and the victim's recovery: "In A Thousand Acres, men's dominance of women takes a violent turn, and incest becomes an undercurrent in the novel. The implication is that the impulse to incest concerns not so much sex as a will to power, an expression of yet another way the woman serves the man" (qtd. in Duffy 92). For Smiley, the primary concern then is with the breaking of the familial bond by an overwhelming and violent paternal desire, a power that governs the fates and lives of the mothers and daughters.

I. Fathering the Farm/Family

The daughter-father relationship is central to this novel in which the horror of domestic violence is uncovered in a patriarchal family. Here the father is practicing an "agrarian ideology" that subordinates not only the land but the women as well, women that are "usually concealed and peripheral," forcing them to fulfill their "duties as mothers and wives" and to devote themselves to "the overarching good of the farm" (Fink 25-26). Given his father's knowledge of the traditional agrarian/American

3 According to Marina Leslie, the novel gains "some notoriety in 1994 when it was banned in a high school in Lynden, Washington (population 5700), where a teacher assigned it as a companion text to King Lear in an Advanced Placement English class." See Leslie, 32-33.

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values, Larry Cook claims ownership of both land and daughters; they are jointly his property and he asserts his paternal authority over them; both satisfy his lust to possess. In the young narrator-daughter's (Ginny's) mind, only her own father can define "father" and "farmer": "When I went to first grade and the other children said that their fathers were farmers, I simply didn't believe them, I agreed in order to be polite, but in my heart I knew that those men were impostors, as farmers and as fathers, too. In my youthful estimation, Laurence Cook defined both categories" (19). Ginny has placed her father in a God-like position, powerful and overwhelming, identified with "the biggest farm farmed by the biggest farmer" (20). The omniscient father prescribes family rules and determines roles; this God-like father-figure is then too aloof, too far above, making communication impossible, thus blocking the possibility of genuine family harmony and warmth. He is therefore associated with certain landmarks that are "never dwarfed by the landscape--the fields, the buildings, the white pine windbreak were as much my father as if he had grown them and shed them like a husk" (20).

A real father should be "the sum of nurturing, protection, affection, guidance and approval given by the father to his child: it is his availability to give love and to be loved (to be used as love-object): to be admired, emulated, and obeyed (to be used as a model for identification and superego formation)" (Leonard 326; italics original). But Larry Cook substitutes his farming catechism for genuine fathering. Thus the dominating and remote father threatens the growth of the daughter's sense of self-esteem. According to Marjorie R. Leonard, "[w]hen a father holds himself aloof there is insufficient opportunity for day-to-day comparing and testing of the fantasized object with the real person. Moreover, constant lack of attention is experienced as rejection which is destructive to the sense of self-esteem" (329). Ginny, who is provided with little chance to identify with her mother and no assurance from her father, withdraws herself from the surface of most relationships, ignoring both her own needs and her sadness. With her father a stranger and a "monolith" (115), Ginny is forced to silence her individual voice so that her own subjectivity becomes deformed and detached. She remains defined as the daughter of her father, not as herself.

The father-image Smiley creates in A Thousand Acres unquestionably expresses her criticism of the destructive paternal role exemplified by Larry Cook, who persistently ignores his daughters' need for paternal love and care, and is even cruel to his daughters. On one occasion, during a violent confrontation with her father on the night of the storm, Ginny recalls a hurtful childhood experience. At the age of eleven

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she lost a shoe at school and failed to conceal the loss from the father because her mother "betrayed" her by asking her about the shoe. Her father then began to beat her, and when her mother tried to protest, he turned to her and said, "'You on her side? [...] There's only one side here, and you better be on it.' [...] he grabbed my arm and pulled me over to the doorway, leaned me up against it, and strapped me with his belt until I fell down" (182-83). Having suddenly remembered this Ginny makes a defiant speech to her father: "[Y]ou don't deserve even the care we give you [...] from now on you're on your own" (183). The juxtaposition of the past painful episode with the present bold response indicates the adult Ginny's attempt to recover from that particular traumatic memory, to heal its wounds. The father, of course, never actually knew (being cold and oblivious) how much his destructive act had injured his daughter emotionally.

The father's urge to possess and expand his land parallels his incestuous desire to possess and abuse his daughters, whom he calls his "livestock"--"Ask him. He'll tell you all about sows and heifers and things drying up and empty chambers" (10). Daughters are objectified and seen as insignificant, their existence defined in terms of their economic exchange value. But the father's irredeemable sin is his use of paternal power to effectively rape his own vulnerable and innocent daughters while feeling no regret about the permanent harm done by this violent and barbarous form of abuse. Living with the threat of a dominating and misogynist father,4 the daughters are interrupted in the process of their subject formation, their identity as young women remains somehow incomplete; this is most clear in the narrator-daughter's (Ginny's) muted and compromised nature.

II. Other Relationships

Having been raised by such an uncaring father, Ginny seems to be incapable of really loving her own husband: she has unconsciously brought the pattern of her own relationship with her father into her married life. Smiley has presented Ginny's husband Ty Smith, a down-to-earth farmer, as a counterpart of her father, and indeed Ty has in effect married the father and his one thousand acres: "The best thing about Ty

4 Barbara H. Sheldon remarks that the "blatant misogynism is an all-pervasive attitude in Ginny's

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