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• W117514557 abstract "You are entitled to have your story told in your language...or law is failing.1 I. Introduction In Pulitzer Prize-winning A Thousand Acres,2 Jane Smiley rewrites King Lear3 from daughters' perspectives, because [b]eginning with [her] first readings of play in high school and continuing through college and graduate school, she had been cool to both Cordelia and Lear; rather, she was attracted to Regan and Goneril, older sisters, figures of pure evil according to conventional wisdom.4 Smiley relates that Regan and Goneril sounded familiar, especially in scene where they talk between themselves about Lear's actions, and later, when they have to deal with his unruly knights.5 In describing her composition of A Thousand Acres, Smiley explains that in wrestl[ing] with Machiavellian vision, she became lawyer for Goneril and Regan: I proposed different narrative of their motives and actions that cast doubts on case Mr. Shakespeare was making for his client, King Lear. I made Goneril star witness, and she told her story with care. I made sure that, insofar as I was able to swing it, she was an appealing witness as well-cautious, judicious, ambivalent, straightforward .... The goal of trial was to try or condemn father, but to gain an acquittal for daughters. The desired verdict was innocent, but rather not guilty, or at least, not proven.6 As Smiley points out, A Thousand Acres is a response to play,7 rewriting, my own King Lear,8 which was influenced by feminist, Marxist, and environmental concerns.9 Her purpose in re-telling Lear was to cut [Mr. Shakespeare] down to size little bit.10 One of her feminist hopes was that the minds of adolescent girls would encounter A Thousand Acres first, and that it would serve them as prophylactic against guilt about proper daughterhood that I knew King Lear could induce.11 In judging whether Smiley succeeded in fulfilling her purposes, primary hurdle reader must overcome is whether Smiley's rewriting to include Larry's (Lear's) incestuous relationship with Rose (Regan) and Ginny (Goneril) and daughters' longing for dead mother exceeds bounds of storyline to such an extent that plot changes create completely different story, or whether, as Smiley says she intended, novel is feminist rewriting of Lear. Is Smiley's incest plot cheap trick that manipulates reader's emotions, or feminist re-vision that challenges patriarchal structures and provides discourse for suppressed feminine voices? This article ultimately argues that plot changes are cheap trick intended to manipulate reader's emotions, but feminist re-vision, which succeeds or depending on reader's critical feminist perspective. Thus, Part Two delineates several feminist stances, such as liberal feminism, radical feminism, social feminism, and postmodern feminism, and summarizes plot changes Smiley has imposed on King Lear. Part Three considers one major plot change - longing for mother - in terms of patriarchy's suppression of maternal genealogy and feminine language. This part argues that novel successfully demonstrates difficulty in overthrowing patriarchal suppression in order to create woman-centered experience that feminists such as Luce Irigaray and Adrienne Rich describe. Part Four considers another major plot change - incest by father - in terms of patriarchy's suppression of feminine reality. Smiley's re-vision succeeds by providing voice for silenced feminine perspectives, and although some readers might consider incest theme cheap trick because it manipulates readers' emotions, this part provides several responses to that accusation. On one hand, Smiley's re-vision is unlike Shakespeare's own re-vision of folklore motif and historical Leir story. …" @default.
• W117514557 created "2016-06-24" @default.
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• W117514557 date "2001-10-01" @default.
• W117514557 modified "2023-09-22" @default.
• W117514557 title "Incest in a Thousdand Acres: Cheap Trick or Feminist Re-vision" @default.
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