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• W602755247 abstract "Tis like the bible, Vinnie had said and Mary had believed her, had expected stories of giants and floods, of storms and bolts of lightning coming out of heaven, yarns with great ringing phrases, rolling words like those that leapt from Ned's mouth when he was happy or excited. Instead Lavinia has written of women clearing gardens, of making fish, or hay, or candles -- Mary would not have given the of day to. Whenever is she goin' get around somethin' happenin'? the old woman would ask peevishly after Rachel has been reading about berry-picking or boat building for an hour (Morgan 1992: 92-93). This excerpt from Bernice Morgan's novel Random Passage (1992), an historical romance that narrates the trials, challenges and intrigues of early Newfoundland settlers on fictional Cape Random, highlights one of the novel's main preoccupations: the domestic, the workaday, and the mundane. Such narrative might seem an unusual choice in discussion about festival. Traditionally, the term festival has been defined in opposition deprivation and fasting, work, and the Etymologically the term festival, writes Alessandro Falassi, derives ultimately from the Latin festum, for `public joy, merriment, revelry,' and feria, meaning `abstinence from work in honor of the gods' (1987: 2). Clearly, then, one of the crucial components of festival is rest from work, whether this break be night of mummering, daylong birthday celebration, or week of Christmas festivities. A marked departure from the habitual activities of society, festival operates, use Falassi's phrase, in out of time (1987: 7). In festival time, participants leave behind the rhythms of ordinary life celebrate, often playing with conspicuous display and excess, symbolic reversals, and the subversion of what are generally regulated activities. Given the exaggeration and celebration inherent in carnival, festival is, ultimately, remarkable. Festival is loud. Festival is joyous. It is, generally, anything but boring. The non-festival, by contrast, is comprised of the unremarkable, the ordered, the ritualistic, the ordinary and the commonsensical. Non-festival dwells in the realm of the mundane, an adjective that comes from the Latin mundus, meaning As the etymology suggests, the involves the banal activities and common material objects of the world. The word smacks of the routine and the boring. Washing the dishes, brushing your teeth, or getting dressed -- all activities -- hardly make for exciting existence. Indeed, we might not consider the be rivetting or worth celebrating or aestheticizing at all. What then, one might ask, is the relationship between the and the festive in novel like Random Passage and others that stylistically construct the space of the everyday in regional texts? A novel, I contend, can bridge the festive and non-festive; it can, paradoxically, celebrate experience and ultimately serve therapeutic and community-building function for region. In some respects, Random Passage enacts space of non-festival, stylistically: the syntax, word choices and narrative structure do not indulge in excess, in symbolic reversals, in subversions, or in play, but rather -- as I demonstrate -- emphasize the ordinary. In narrative content, too, the book follows for the most part the day-to-day activities on the Cape: women learning how split fish, pick berries, gather eggs and stretch provisions throughout the winter -- mundane things we might not give the of day to (Morgan 1992: 92-93). Yet regional novel, no matter how its style and content -- or perhaps, because it seems and right -- can become (for local readers, at least) what Victor Turner calls a celebratory symbol (1982: 20) as it is read and celebrated as means of knowing oneself as regional subject. …" @default.
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• W602755247 date "2001-01-01" @default.
• W602755247 modified "2023-09-23" @default.
• W602755247 title "Stylizing the Mundane: Bernice Morgan's Random Passage" @default.
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