Repression and Realism in Post-War American Literature

Abstract

This thesis focuses on the uncanny in literature produced in America during the first decade following World War II. The period between 1945 and 1955 was marked by repressive socio-political forces such as McCarthyism and cultural conformity which complicated the representation of what Philip Roth refers to as "demonic reality." I explore the ways in which the avoidance and minimisation of the unpleasant created a highly circumscribed version of postwar American life while also generating a sense of objectless anxiety.According to the theories of Sigmund Freud, repression inevitably stages a return registered as the "uncanny." Animism, magic, the omnipotence of thoughts, the castration complex, death, the double, madness, involuntary repetition compulsion, live burial and haunting are all deemed capable of provoking a particular anxiety connected to what lies beneath the surface of accepted reality. Although it is common to argue that fantasy genres such as science fiction and gothic represent the return of what is repressed, this thesis explores several realist novels displaying uncanny characteristics. The realist novels included here are uncanny not only because they depict weird automaton-like characters, haunting, and castration anxieties, thus exhibiting a conscious use of Freudian theory, but because the texts themselves act as the return of the repressed. Norman Mailer referred to this unsettling phenomenon when he described writing as the "spooky" art; spooky because although a writer might sit down to consciously write a particular story, another unwilled story might very well appear.My most heartfelt thanks go to my supervisors Charles Ferrall and Anna Jackson whose tireless efforts in reading innumerable drafts, offering suggestions and editing manuscripts was only matched by their generous willingness to provide letters of support for financial assistance and job opportunities. Over the four years it has taken to complete my MA and PhD, they have never once failed to make time for me, regardless of the significant demands posed to them by teaching, research and family.Their expertise and intelligence has been invaluable; so too has their encouragement and humour -I doubt that other postgraduate students enjoy such lively supervisor meetings! The best parts of this study must be attributed to their insight and support, while any deficiencies are entirely my own. I would also like to thank the staff in the School of English, Film, Theatre and Media Studies at Victoria University of Wellington, particularly Harry Ricketts, who took time from his busy schedule to share his expertise in the poetry of World War I, and Mark Williams, whose advice was eagerly sought and generously given. His cheery "Good Morning" at the start of each day was much appreciated. Thanks to Helen O"Sullivan, who patiently guided me through various administrative duties and never once laughed at my inability to work the fax machine. Special thanks go to Peter Whiteford, who kindly took the time to advise me on writing a curriculum...