Contemporary Irish and Welsh Women's Fiction

Gender, Desire and Power

Linden Peach

• Publisher: University of Wales Press
• Year: 2020
• ISBN:
  9781786837295
• Edition: 1
• Topic: Literatura
• Subtopic: Crítica literaria para escritoras

Presents a comparative study of fiction by late twentieth and twenty-first century women writers from Ireland, Northern Ireland and Wales. This work is of interest to students interested in women's studies, gender studies, and cultural studies as well as Welsh, Irish and Celtic studies.

1 Introduction

Contemporary fiction in English by women from Wales, Ireland and Northern Ireland has much to offer the reader interested in gender identity and how desire is mediated by sociocultural discourses. In exploring these themes, this writing often provides insights into the most pressing issues of the day concerning family, community, nation and identity. Focusing on a select range of specific texts, some of which are better known than others outside the academy, this book explores the way in which contemporary women’s writing has used the subjects of gender, desire and power to challenge hegemonic historical discourses and to contribute to debates about what is meant by ‘Wales’, ‘Ireland’ and ‘Northern Ireland’.

The focus of this particular study is upon Welsh writing in English. It must be noted, though, that most writers from Wales who work only in English regard themselves as ‘Welsh’ and that there are many others who work in both the English and the Welsh languages. In the case of the latter, and more generally through translation and accounts in English of Welsh-language work, there is an increasing amount of exchange between English-language and Welsh-language cultures. Indeed, it would be as much of a distortion to see the one as divorced from the other as to think of Wales as having only two languages and to ignore the importance, especially in the more densely populated parts of Wales, of other community languages. In addition, Wales, Ireland and Northern Ireland have a range of different faith communities, some of which have long histories of settlement in these countries, such as the Jewish communities of Cardiff in South Wales and Cork in Ireland and the Islamic peoples in Cardiff Bay.

Throughout the book, a distinction is made between Northern Ireland and Ireland. The latter term is always used, as it should, to refer to the Republic. It is important to recognize that Northern Ireland and Ireland have distinct histories and many social, cultural and political differences. However, in many respects, the histories, lived experiences and cultures of the two are interwoven one with another. There is (and has been) considerable exchange and social, political and cultural intercommunication between the two, although this does vary from community to community in both Northern Ireland and Ireland.

One of the principal distinctions that this study assumes between Northern Ireland and Ireland has been summarized by Conor McCarthy. He points out that the process of ‘“modernisation” in the North can be understood in terms of the broader development of social democracy in the post-1945 United Kingdom’. But the Republic enjoyed a ‘long post-war boom in the Western capitalist economies’ which unravelled not only as a result of the oil crises of the 1970s but with ‘the arrival on the Northern scene of more radical reformist movements’, such as the Civil Rights campaigns, which demanded more rapid progress in areas such as employment and housing, many directly affecting women.¹ Whereas the nature of the 1960s in the Republic was determined by an extensive programme of reforms, to which Chapter 3 returns in more detail, the 1960s in Northern Ireland highlighted the discrimination against Catholics in many areas of social and civil life, especially employment and housing. The Northern Ireland Women’s Rights Movement (1975) is an example of how women’s campaigns brought Unionist and Nationalist women together, but campaigns on subjects such as police searches and harassment have generally been Nationalist led.

As a result of modernization, both Ireland and Northern Ireland experienced, at the end of the twentieth and the beginning of the twenty-first century, the rise of a media-oriented, postmodern consumer society which brought them into contact, if not alignment, with wider global processes of change and offered both women and men different ways of perceiving themselves, not all of them positive. Not surprisingly, engagement with postmodern society is a feature of both Northern Irish and Irish fiction, although the most successful works in this respect are written by male authors such as Glenn Patterson in the North and Roddy Doyle in Ireland. Women writers from the North, such as Linda Anderson, whose work is discussed in Chapter 4, have been largely associated with radical alternatives to the more documentary texts on the Irish troubles which have given the impression, as Glenn Patterson has said, that fictional representations of the North have ‘stuck about 1972’.² Both Northern Ireland and Ireland have produced novels that engage critically with postmodernism rather than texts that in form and structure are themselves postmodern and both societies have experienced crises arising from what McCarthy describes as ‘national ambivalence coming into contact with, and frequently articulating with and being expressed through postmodernism’.³

As far as the Republic is concerned, despite Ireland’s contribution to European modernism at the beginning of the twentieth century, the country itself, as McCarthy says, had little ‘experience of Modernist cultural internationalism’ and its Romanticism was never fully challenged by ‘a socially radical indigenous modernism’.⁴ This proved to have a significant impact upon how women were viewed in Ireland and also perceived themselves. While Catholics remained a minority in Northern Ireland throughout the twentieth century, they achieved power in Ireland when the war of independence ended in the creation of a semi-independent Free State in 1922. This came about partly as a result of the fusion of the Nationalist movement and the Catholic Church but also because the Protestants, who had held power for several centuries by passing laws denying Catholics equal rights, did not find their support of Irish independence rewarded in the ways they had expected. The Constitution of the Republic (1937) embraced Eamon De Valera’s romanticized vision of a Catholic, rural, isolationist Ireland, dependent upon agriculture and defining a woman’s proper place as in the home. Challenged much later than if Ireland had had the experience of industrialization or of ‘the socially radical indigenous modernism’, of which McCarthy speaks, De Valera’s image of Ireland remained in the public psyche and in the consciousnesses of women as well as men for much of the twentieth century. The fact that many women in Ireland lived in isolated communities, in small villages or on scattered farms, meant that the power of the State and the Catholic Church tended to go unchallenged. As we shall see from the way women’s experiences are depicted by contemporary women writers from Ireland, this has meant that female aspirations and desires in Ireland have remained inhibited, distorted or denied by hegemonic cultural and economic forces for longer than in Wales and Northern Ireland.

In Wales, Ireland and Northern Ireland, the arrival of television, cinema and other international media provided women with potentially different self-images from the ones with which they had been brought up, some of which were embraced and others rejected. In Wales and, to an even greater extent, in Ireland, the nation has been associated with women. It became increasingly clear to many women in both countries that female sexuality and gender identity had histories bound up with ways in which women had been culturally defined in order to serve Nationalist, and largely male-oriented, aspirations. However, the association of women in Ireland with the Virgin Mother proved particularly complex, giving them status within Catholic communities, while some of the key images, such as the Virgin Mary kneeling at the feet of her son, suggested their inferiority to men. The most obvious demonstration of this kind of ambivalence in Wales is the Welsh national costume worn by women which is still much in evidence today in Welsh Eisteddfodau. Based on the Welsh peasant’s dress, and linking nationalism with the rural as in Ireland, it was also a defiant symbol of Welsh-language culture and identity. But it would be misleading to suggest that in these countries there is only one ‘Women’s History’. Women’s experiences are diverse and, as we shall see in the course of this book, influenced by the communities and localities in which they find themselves.

Although this book is not a survey of contemporary women’s fiction from Wales, Ireland and Northern Ireland, it acknowledges the different kinds of writing, life experiences and social experiments that constitute what in contemporary Ireland, Northern Ireland and Wales is a diverse body of artistic achievement. Hopefully, it will provide the young scholar or the general reader new to this fiction with an introduction that will inspire further reading.⁵ This writing has now reached a maturity and level of excellence where it is the subject of extended critical and scholarly attention.

But the question to begin with is, why focus only on contemporary women’s writing and not include literature written by men? In Wales, Ireland and Northern Ireland, there is a strong published history of writing by women, but the issues involved in tracing a history of women’s writing have to date been more fully developed in the criticism and scholarship on Irish and Northern Irish literature than on Welsh writing. Christine St Peter points out, in relation to women’s writing:

So if a writer or critic draws a circle around women’s writing, looks at it apart from the writing of men, this is not a denial of its connection to that larger shared literature [by male and female writers]. Rather such an exercise asserts that the conditions of a woman’s work, the subjects of her writing, and the experiences of her life will be, inevitably if variably, connected to … the progressive changes of the last generation and the continuing oppressions specific to women’s lives.⁶

Without distinguishing at this point between Ireland and Northern Ireland, she highlights ‘the importance of women’s sexuality, sexual orientation and reproductive lives as sites of conflict and resistance … and a ubiquitous sense of the contradictoriness of forces that together are reshaping life on the island’.⁷ Whilst not pretending, in the space available, to be inclusive or definitive, this book is concerned with pursuing the importance of the two preoccupations that St Peter emphasizes – the incremental modernization from which women have generally benefited and the continuing discourses which have oppressed them – for contemporary women’s fiction in Wales as well as Ireland and Northern Ireland.

Thus, an important area of study as far as literature is concerned that emerges from what St Peter says is not women’s sexuality and sexual orientation per se, but the way in which they are situated at the centre of wider conflicting forces in society that seek to configure women and female desire in different ways. The Welsh critic M. Wynn Thomas has coined the term ‘corresponding cultures’ to mean the different ways in which Welsh- and English-language discourses in Wales have existed together and, as suggested earlier, related, directly or indirectly, to each other.⁸ The following chapters explore some of the correspondences and incongruities that may be found within writing from Wales, Ireland and Northern Ireland over the last twenty or thirty years around the specific and important agenda that St Peter identifies.

Gender, power and nation

As has been suggested in the previous section, Ireland and Wales are small countries with different histories, cultures and national aspirations. However, each of them has two principal languages, in addition to further community languages, and a complex relationship to England, Europe and the United States. At the level of the lived experience of their people, and especially women, they are diverse societies, undergoing radical and wide-ranging change, and are full of internal contradictions.

Books in English through the end of the previous century and into the present have conspicuously borne witness to the rise of contemporary writing in Wales and, especially, the Republic. This occurred for a variety of reasons: the world-wide feminist movement; publishing houses such as Honno in Wales and Arlen and, subsequently, Attic in Ireland dedicated to women’s writing; the increased presence of women in public life and in senior appointments in higher education, publishing, arts and government; and the fact that more women, like the principal protagonist in the Irish writer Jennifer Johnston’s The Railway Station Man,⁹ have had the means and the time to devote to artistic expression.

For some scholars this might appear to be an over-optimistic interpretation of the publishing of women’s writing. The first anthology of short stories by women was not published in Wales until 1994.¹⁰ In her Foreword to this volume, Jane Aaron thinks in terms of a ‘present consciousness stepping on towards a future shaped by the shadowy hand of the past’. That ‘shadowy hand’ reveals itself for Aaron in the way in which some stories in the anthology ‘echo the painful and enforced resignation characteristic of many of the earlier texts published by women in Wales … disappointment and the wastage of female potential on a massive scale’.¹¹ The editors of the first anthology of women’s writing from Ireland to be published in the United States, five years before the first anthology of Welsh women’s short fiction, are much more upbeat than Aaron about their women authors: ‘They represent the period during which Irish women “began to look at themselves differently” and to express themselves differently and during which a far wider social range of Irish women have been writing and publishing for the first time.’¹² Thus, Ireland seems to have been ahead of Wales in the 1990s in publishing women writers from diverse social backgrounds. The majority of Welsh women writers who are published by the leading presses have a university background. But the Irish-American editors acknowledge, like Aaron, that achieving publication was a long haul for many women authors because of the male-centred nature of the publishing industry.

Thus, the most obvious rationale for a study devoted to women’s fiction is that, despite what we have already said about women’s writing flourishing, it is still underrepresented in many critical studies of Welsh and Irish and Northern Irish literature. But another case to be made is that women’s writing shares with the work of authors from other groups that have been marginalized or silenced at least the trace of the history from which it emerged. Despite the differences between Wales, Ireland and Northern Ireland and the different backgrounds from which women’s literature has come, such writing is grounded in a matrix of empowerment and disempowerment; struggle and confrontation; and categorization and prioritization. As will become clear from this book, sometimes this background is present in the literature in covert ways, as in the Welsh writer Clare Morgan’s enigmatic An Affair of the Heart¹³ which explores the subtleties of heterosexual or same-sex desires. In other works, such as the Irish writer Emma Donoghue’s collection of short stories, The Woman Who Gave Birth to Rabbits,¹⁴ which recreates the lives of women who have been written out of history, it is much more explicit.

The history from which women’s writing has emerged is not simply ‘about women’, or even ‘about feminism’; it is about the way in which women and feminism are implicated in social structures. Thus, such writing is about power, politics, nation, history, religion and education in a broad sense and the importance of each of these to the imaginative formulation, and reformulation, of Wales, Ireland and Northern Ireland. It also shares with that of other marginalized groups a profound concern to create art that interrogates, rather than simply delineating, the different sociocultural contexts in which we all live. It goes without saying that nation and history, and everything affiliated with those concepts, from the Catholic Church in Ireland and Nonconformity in Wales to how each country’s history has been taught (or not taught), are central to the dominant discourses around Welsh, Irish and Northern Irish cultures. Central to these concepts is gender, as a manifestation of the defining discourses circulating in a nation and culture at any particular time. This was very much the case when the Irish Constitution was published in 1937, linking women with the hearth and the home. At the same time gender is one of the most potentially subversive elements within those hegemonic discourses.

As the reader moves between writing by women from Wales, Ireland and Northern Ireland, their shared preoccupations become evident, notwithstanding the obvious differences between them. Of these, few stand out more than their recurring concern with themes and metaphors by which the subject of gender becomes a lever to prise open notions of ‘nation’ and ‘history’ from a particular group’s perspective. In late twentieth-century Irish, Northern Irish and Welsh literary criticism this has led to a configuration of the nation in terms articulated by the postcolonial critic Homi Bhabha, who points out that a nation must not ‘be seen simply as “other” in relation to what is outside or beyond it’ but ‘must always itself be a process of hybridism’, incorporating new peoples.¹⁵ The implication of this, which is evident in the texts discussed in this book, is not only that a nation is inevitably more heterogeneous than the rhetoric of national identity allows, but that the composition of a nation changes over time. Thus, when the ‘new “people”’ articulate their experiences it is frequently ...

Table of contents

• Cover
• Title Page
• Copyright Page
• Dedication Page
• Contents
• General Editor’s Preface
• Preface
• Acknowledgements
• 1 Introduction
• 2 Unspoken Histories: Groundbreaking Short Fiction
• 3 Unspoken Desires: Writing Same-sex Relationships
• 4 ‘Heroic Spaces’: Re-imaging ‘Ordinary’ Lives
• 5 The Changing Self
• 6 Fields of Vision
• 7 Religion, Spirituality and Identity
• Notes
• Select Bibliography