illustrating the un-seen and articulating the un-said

62 Pages·2013·0.21 MB·English

ILLUSTRATING THE UN-SEEN AND ARTICULATING THE UN-SAID:
EXPLORING RACE, BODY IMAGE, AND SEXUALITY IN FANTASY
AND SCIENCE FICTION FOR YOUNG WOMEN
_______________
A Thesis
Presented to the
Faculty of
San Diego State University
_______________
In Partial Fulfillment
of the Requirements for the Degree
Master of Arts
in
English
_______________
by
Heather Tylock
Spring 2013

iii
Copyright © 2013
by
Heather Tylock
All Rights Reserved
iv
DEDICATION

For those seeking the un-seen and un-said in the hopes of seeing themselves both physically
and emotionally in their favorite literary characters
v
I’m not too big. This is too small!
-Ellie from Karen Healey’s
Guardian of the Dead
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ABSTRACT OF THE THESIS
Illustrating the Un-Seen and Articulating the Un-Said: Exploring
Race, Body Image, and Sexuality in Fantasy and Science Fiction
for Young Women
by
Heather Tylock
Master of Arts in English
San Diego State University, 2013

Rosemary Jackson’s Fantasy: The Literature of Subversion asserts that “the fantastic
in literature revolve[s] around this problem of making visible the un-seen, of articulating the
un-said.” The fantastic is “preoccupied with limits, with limiting categories, and with their
projected dissolution.” She explains that fantasy and science fiction also “subvert[s]
dominant philosophical assumptions which uphold as ‘reality’ a coherent, single-viewed
entity.” Though the current trend in young adult fantasy and science fiction marketed to
young adult women supports the hegemonic culture, there are a number of authors subverting
the presence of that “single-viewed entity.” This thesis explores the manner in which these
authors have created heroines that honor and celebrate the realities of their readership versus
supporting “dominant philosophical assumptions.” It will examine how their heroines reflect
various ethnicities, body types, and sexualities, creating a space for the “un-seen” and
articulating the “un-said.” Ultimately, the works created by these authors provide a valuable
critique of current cultural standards and a validation of young adult fantasy and science
fiction that promotes diversity. Of course, these works are subject to the constraints of
commodification and the genre’s sometimes less than positive image in academia. Despite
the criticism, the existence and propagation of these texts is essential, especially given the
dissolution of the limiting publishing environment in which these works are attempting to
survive.
vii
TABLE OF CONTENTS
PAGE
ABSTRACT ............................................................................................................................. vi
ACKNOWLEDGEMENTS ................................................................................................... viii
CHAPTER
1 INTRODUCTION .........................................................................................................1
2 RACE .............................................................................................................................9
3 BODY IMAGE ............................................................................................................23
4 SEXUALITY ...............................................................................................................35
5 CONCLUSION ............................................................................................................49
REFERENCES ........................................................................................................................53
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ACKNOWLEDGEMENTS
This process has not been an easy one. Clichéd as that might sound, the construction
of a thesis and the completion of this degree has been been filled with irritation, anxiety,
disappointment, and frustration. More importantly though, are the feelings of completion,
elation, satisfaction, and love I have experienced in exploring this topic and working with the
individuals who have coaxed, prodded, inspired, and supported me along the way. With this
in mind I owe a debt of gratitude to my family, especially my sister Shannon; my friends,
Aaron, Cindy, Amy P., and Amy W.; my friend Kate, for her patient and prompt peer review;
my committee chair, Alida Allison, for her encouragement, attitude, and countless hours of
editing; Laurie Edson, for agreeing to take on this project last minute with grace and
enthusiasm; Joe Smith, for his humor, practicality, and readership; my infinitely patient dog
Bert, who has sacrificed a number of long walks in the last few months; and last but not least,
Derek: without your love, support, and encouragement, I might still be thinking about getting
this paper done.
1

CHAPTER 1
INTRODUCTION
In a recent discussion on diversity in young adult [YA] fantasy and science fiction
that took place during the 2011 World Fantasy Conference in San Diego, California, I
listened quietly as New York Times bestselling author Cinda Williams Chima reminded an
eager yet uninformed member of the discussion that if one is not part of the solution, one is
part of the problem. Chima’s reminder is extremely pertinent considering the recent influx of
fantasy and science fiction literature geared toward young adult women, and the composition
of that literature in terms of diversity. The study of literature is not conducted in a vacuum.
So, admitting that the majority of heroines in this literary trend are lithe white females
engaged in heteronormative relationships is not a revelation. This narrow paradigm is the
standard in popular culture, and results in the devaluation of young women who do not
mirror this formula. The irony of this perpetuation is its presence in a culture that touts
innovation and individuality, making the lack of diversity in this current trend that much
more criminal.
This disconnect is particularly significant when discussing the systemic lack of
diversity and representation in the publishing industry. That deficiency, or institutional
disability,1 is blatant in literature for children and adolescents. This institutional disability is
perpetuated by an industry where approximately ninety-eight percent of its workforce is
Caucasian, resulting in the disconnect between producer and consumer (Bluemle). In a 2010
Publisher’s Weekly article, Elizabeth Bluemle admits that “we in the book trade have fallen
shamefully behind our own culture, and our own times. We can remedy that with open
dialogue, new paradigms, and concerted effort.” She continues:
It is our responsibility—as people who create, produce, and distribute the lion’s
share of books that reach and teach and entertain children—it is our highest

1 A term used repeatedly by best-selling author Kate Elliot during a panel at the 2011 World Fantasy
Conference.
2

calling to provide written, illustrated worlds that embrace and prioritize all
children, books that resemble the playgrounds and classrooms and homes of this
country and the rest of the world. And in order to do that, we must open the gates
of our publishing houses to a greater variety of voices and cast aside outdated
assumptions of what people will or won’t want to read, will or won’t want to edit
or publish or sell.
Correcting this deficiency in publishing requires a subversion of its current hegemonic
structure. Bluemle’s quest for “open dialogue, new paradigms, and concerted effort” to
increase diversification and reform prevailing publishing philosophies speaks to the
transformative potential that fantasy and science fiction literature embodies. Rosemary
Jackson’s Fantasy: The Literature of Subversion asserts that “the fantastic in literature
revolve[s] around this problem of making visible the un-seen, of articulating the un-said”
(48). The fantastic is “preoccupied with limits, with limiting categories, and with their
projected dissolution.” She explains that fantasy and science fiction also, “subvert[s]
dominant philosophical assumptions which uphold as ‘reality’ a coherent, single-viewed
entity” (48).
Jackson’s assessment, in conjunction with Bluemle’s disparaging but appropriate
comments on the publishing industry, is significant. Though the current trend in fantasy and
science fiction marketed to young adult women supports the hegemonic culture, there are a
number of authors subverting the presence of that “single-viewed entity.” These authors have
created heroines that honor and celebrate the realities of their readership versus supporting
“dominant philosophical assumptions.” Their heroines reflect various ethnicities, body types,
and sexualities, creating a space for the “un-seen” and articulating the “un-said.” The works
created by these authors provide a valuable critique of current cultural standards and a
validation of YA fantasy and science fiction that promotes diversity. Of course, these works
are subject to the constraints of commodification and the genre’s sometimes less than
positive image in academia. Ultimately, the existence and propagation of these texts is
essential in the “dissolution” of the “limiting” publishing environment in which these works
are attempting to survive.
In a 1984 article, Jack Zipes explores what he calls “commodified fantasticism” in
relation to children’s literature. He rightly discusses the lack of “vigorous theoretical or
critical attempt[s] to explore the meaning of fantasy within a socio-historical context,” and