Child of Rage

Diane Setterfield's debut novel The Thirteenth Tale is a study of the female experience, especially with regard to childhood. She explores the concept of childhood and transition through the prism of twin-ship.

In The Thirteenth Tale, Margaret Lea, an amateur biographer, is invited to write a biography of the famous writer Vida Winters. Through the course of her stay at Ms. Winters' residence, Margart learns the power of Ms. Winters' story-telling, and to distinguish between fact and fiction. Most importantly, she learns to read between the lines, to pay just as much attention to a subplot, as the story being narrated. As Vida and Margaret embark on a journey together, secrets about their pasts are revealed, secrets that connect the two women. Both women come to terms with the ghosts that haunt them, and learn what it is to suffer, cherish, and endure.

As the title of this post suggests, the novel makes references to children, and how they are dealt with in other works of literature. The two most important books alluded to are Brontë's Jane Eyre, and James' The Turn of the Screw. Wuthering Heights also assumes a degree of importance. These novels are seamlessly embedded throught Setterfield's mastery of intertextuality.

The Angelfield family's isolation and lack of parental figures is reminiscent of the Earnshaws in Wuthering Heights and the inhabitants of Bly in James' novel. While the two children, Isabelle and Charlie engage in a disturbing relationship, Miles and Flora's behavior toward each other also raises similar questions. Setterfield's Hester Burrow is the counterpart to the governess in James' story. Both Hester and James' governess view ghosts. Hester, like the governess, is eager to solve the mystery of the children's behavior. Like the governess, she becomes increasingly sexually aware. We learn that Hester and the married doctor, who is a guardian figure for the twins, entertain a scandalous relationship. Children are used as a vehicle to project adult relationships. Setterfield's twins, Adeline and Emmeline, have already had a tainted birth, and now help to bring Hester and the doctor together. Similarly, Miles and Flora are responsible for the governess' awakening sense of sexuality, as shown through Quint and Miss Jessel's relationship. Both novels question the children's innocence: can children be 'tainted'? Can children feel just as adults feel? Are children capable of doing harm? Are children sexually aware?

Tale is similar to Wuthering Heights in its exploration of brother-sister relationships. Furthermore, there are vivid discriptions of violence, much like that found in Wuthering Heights. Just as Catherine and Heathcliff have a relationship that could potentially be called incestous, Isabelle and Charlie's relationship is anything but virtuous. Adeline and Emmeline's relationship is akin to that of soulmates, thus resembling Catherine and Heathcliff's. Hindley's ability to inflict pain is similar to Charlie's. Linton is an absent, but doting father, just as George is to Isabelle. While the Heights has Nelly and Joseph for servants, Angelfield has the Missus and John as its caretakers. The most important point that links Tales to Wuthering Heights is the foundling-child: Heathcliff, when Mr. Earnshaw finds him, is initially dirty and malnourished. Ms. Winter, like Heathcliff, is an orphan and in a similar state when the servants find her, and is brought up in Angelfield as if she was one of the family, while all the time aware of the fact that she will always be an outsider, a charity's child.

Setterfield's novel is densely filled with references to Jane Eyre. Angelfield shares a suffix with Thornfield. The secret is revealed through its connection to Jane Eyre. Just as Jane is an outsider, Ms. Winter represents the rejected relative. Both Jane and Ms. Winter are fond of reading and often steal to the library with caution. Jane is close to Bessy just as Ms. Winter is close to the Missus. The Missus and John have a platonic relationship while Bessy and her John marry while at Gateshead. Aurelius inherits his true 'family' just as Jane finds hers at the end. Both Angelfield and Thornfield burn down, as a result of the "other" women, women who show a split in identity.

This split of identity is shown by the existance of the twins: Adeline and Emmilne are shown to be polar opposites. Emmilines overflows with kindness while Adeline is filled with rage. Adeline is possessive while Emmeline is passive. Emmeline is naive, and albeit, rather dimwitted, while Adeline is more manipulative. In Brontë's novel, Bertha is akin to Adeline and Emmeline, in some sense, is akin to Jane. Emmeline is innocense while Adeline is passion, and its extreme, violence. Tales suggests that these two disparate natures can in fact be united. More imporantly, that they are two parts of a coin, yin and yang; that one will not surivive without the other, just as the twins pine for each other when they are seperated. There is an intangible cord of sympathy that connects Adeline and Emmline just as there is a 'cord of communion' that links Jane and Bertha. It is Adeline's possessiveness of her sister that brings her to destroy the "innocent", the baby, just like it is Bertha's possessiveness that tempts her to destory Jane, and later, Thornfield.

By offering us Ms. Winter, Setterfield suggests that the extremes of the likes of Adeline and Emmeline, Jane and Bertha, can in fact coexist within a single individual. But at the same time, Setterfield also points us that this third person, who outwardly resembles the twins, is merely a ghost. Like a ghost she can exert her influence but also disappear at ease. But I wonder what implications this can have in terms of freedom. While it allows Ms. Winter to gain access to worlds that she would otherwise have been shunned from, she is also not noticed, and has to live in stealth. Her freedom, while immense, is also fragile.

The last few weeks, or months rather, were filled with a flurry of activities. I had had to make important decisions regarding my job and graduate school. Trying to complete the coursework for two classes only made me more frazzled. Campus visits and extension requests aside, I spent the better part of this past weekend attempting to relax and catch up on things I used to enjoy. I watched The Namesake on Saturday and spent all of Sunday (unsual for me!) curled up on the couch, reading Diane Setterfield's The Thirteenth Tale. Intrigued by this story, I couldn't resist putting my thoughts into words and this will be the subject of my next post.

The Temptations of the Imagination: A Review of Katherine Paterson's Bridge to Terabithia

Katherine Pateron's book Bridge to Terabithia is one that speaks to both adults and children alike. It's a story of the bonds of friendship, family ties, courage, and most importantly, the power of the Imagination. Having seen the newly released film, I realize that the story contains a message that strikes the core of the human conscious: we all search for that elusive "other", who is often refered to as best friend, or most likely, soulmate. Jesse and Leslie not only share a beautiful friendship, but they also share feelings that arise from being "different". Their friendship also remains platonic and I believe that it's this very nature of their frienship that elevates this story from being just another teen boy-meets-girl tale. By abandoning their more adult (sexual) desires, and remaining as children, Leslie and Jesse are able to indulge in their imaginations, and in the process find freedom, courage, and a love that transcends the earthly.

The story revolves around two fifth-grade children: Jesse Aarons and Leslie Burke. Leslie and Jesse's friendship forms when Leslie beats Jesse (the then 'fastest boy in fifth-grade') in a school race. Jesse, though mortified at first, later learns that Leslie is far from a Miss Goody Two-Shoes. She is different from the other girls in school and gets just as many insults from the school bullies for dressing differently (in punk/hippie items), not having a television at home, and living with eccentric parents who are both authors. Jesse's interest in Leslie grows when he hears her read an essay she coined for a class assignment. Her desciption of scuba-diving totally wins Jesse, who is himself a talented artist, prone to sketching magical creatures in his sketchbook, much to the chagrin of his father, who would much rather his son didn't have his 'head in the clouds'. Though both Jesse and Leslie are ignored by their parents, Leslie has a closer bond with her father while the only person in his family who seems to value him is his six year-old little sister May Bell. One day, Leslie and Jesse cross over a little stream (with the help of a rope attached to a tree) and find a forest that Leslie names 'Terabithia'. Together, Jesse and Leslie imagine ruling this Kingdom as King and Queen, respectively, strengthening their fort (a tree house), and warding off their enemies, which include large squirrels, trolls, and giants. Then, a tragic event happens, which tests Jesse's faith in Leslie, their friendship, and teaches him about overcoming his fears and making a difference.

Terabithia represents the Imagination. Paterson's choice of title makes a reference to C.S. Lewis' The Chronicles of Narnia , in which Terabinthia is a land in the vicinity of Narnia. It is important to note that Terabithia exists when the children are in the land that lies beyond the stream. The children have to cross over to that land in order to construct their magical kingdom. In the land of their every day lives, Terabithia does not exist. Even Leslie, in a house with writers for parents, needs to escape to her own world, away from that of her parents, and she needs an accomplice, a friend who will share her visions and allow them to flourish. Whereas both children were lonely in their respective homes, they are no longer the same in Terabithia, for they have each other and their Imaginations to keep them company there. In this sense, the book suggests that one needs a space that would allow one freedom to imagine, in the vein of Virginia Woolf's argument in A Room of One's Own.

The children's friendship blossoms when the two worlds, the World of the Imagination, and Real World, are split. Jesse and Leslie cannot discuss Terabithia in their real worlds. But the book asks the question whether this must always be the case. Can the two worlds coexist, or are they exclusive? Can we build a bridge between the two worlds or are they very distant from each other?

It seems that Paterson is ambigous about answering this question: while it is possible to build a bridge, and Jesse contrives to do that at the end, we also see that the 'bridgeing' comes at a tragic cost. In some sense, Paterson suggests that building a bridge between the Real and the Fantastic, is a task worthy of immense sacrifice. It is the result of a fall from innocence to experience, except that while "They (Adam and Eve) hand in hand with wandring steps and slow,/Through Eden took thir solitarie way," Jesse enters the "New World" without Leslie. However, as he bridges the two worlds, he has his sister's hand to hold onto for support, and so we learn the importance of family. Just as Leslie had taught him to have his 'mind open wide', he applies that and teaches May Bell to do that same.

As humans, we strive to bridge the two worlds. Leslie succumbs to the Imagination more than Jesse. The Imagination, like a temptress, encroaches upon the Rational side of her. She can no longer keep the two aspects of her life (one as a girl in the Real World, and the other as ruler of Terabithia) seperate, and so she attempts to bridge the two first. Thus, Leslie is the first to cross that stream on that fatal day, even though the torrential rain had caused flooding and had probably weakened the rope. She was too eager to escape into her fantasy world, risking her own life in the process. In the absence of a bridge, a safe way of crossing over to the other place, Leslie makes a leap that triggers the events that follow.

Another important detail consists in the fact that on that fateful day, Jesse is out of the country. He is out of the world that foster's his literary imagination. He is out of the dirt and grime of his simple country shack, and the woods of Terabithia. When he embarks on that trip with his teacher, he enters the modern city: he enters Modernity, the World of Rationality. Here, instead of him doing the drawing, he views the exhibits of art by dead painters. Thus, in the modern world, Art is displayed instead of created. The book suggests that while in the city, like the other artists, Jesse the artist, is also dead. He is no longer the one who does the creating, as he did while in Terabithia. In a sense, when Jesse metaphorically dies in the city, Leslie literally interprets this act in the country. As soulmates, Jesse and Leslie need each other to be alive, for their imaginations to soar. Without the other, each feels betrayed, changes, and cannot cope. Incidentally, this idea is also central to love theme in Wuthering Heights.

I could elaborate further about this story, but it would suffice to end this post on this note: Bridge to Terabithia is beyond wonderful. In fact, Wonderful is an understatement. It is one of the best stories I have ever read. With its rich symbolisim, as well as inherant simplicity, Bridge speaks to not only the child, but rather, the human, in all of us. Like the moonbeams Leslie captures in her purse, Katherine Paterson's tale has faithfully captured the essence of what it means to live, love, and endure.