Why is Magic Presented as an Embodiment of Power for Character Transformations in Fantasy Fiction? & Omniscience - Krystal Cassar Dissertation PDF

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Graded a first. Creative writing, ten-thousand word thesis. ...

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School of Humanities BA Creative Dissertation Project: LA690 2018-2019

Why is Magic Presented as an Embodiment of Power for Character Transformations in Fantasy Fiction? & Omniscience This Dissertation has been submitted in partial fulfilment of the requirements for the BA in English Literature and Creative Writing

By: Krystal Cassar

Student No: 17838310

Word Count: 11,022

Supervisor: Irralie Doel

Declaration I certify that the information on this cover sheet is correct. I certify that the content of this dissertation is my own work, and that my work contains no examples of misconduct such as plagiarism, collusion, or fabrication of results. Candidate’s signature: KRYSTAL CASSAR

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Table of Contents Acknowledgments …………………………………………………………………… 3 Abstract……………………………………………………………………………….. 4 Combination of Magic and Power ……………………………………………………5-7 Magic Breaking Free from Racial Prejudice …………………………………………8-11 Magic Breaking the Patriarchy ………………………………………………………11-13 Creative Prose Omniscience …………………………………………………………14-26 Magic Reforming Hierarchy: Creative Commentary …………………………………26-28 Conclusion …………………………………………………………………………….28-29 Bibliography …………………………………………………………………………..30-31

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Acknowledgments

A big thank you to those who helped me through this thesis and the past three years to finally be where I am. Thank you for your endless support Irralie and to Craig who gave me the opportunity to study at Brighton University. And also to Ralph, you always inspire me to be enthusiastic about life.

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Abstract

This dissertation will examine how the narrative technique of magic, in fantasy fiction, can be used for character transformations. Despite the fact, the genre is the ‘construct of the impossible’ (James and Mendlesohn, 2014), I will show evidence that demonstrates magic can be used to highlight power constructs that exist within our real world. By exploring the juxtaposition of power in an individual character, before and after gaining magic, a link has been created in fantasy fiction that allows fantasy authors to explore ideologies that restrict personal and social power attributes. I am bringing attention to the fantasy field, that the genre can provide more to the reader and author than the limited idea that fantasy is escapist literature. It can, instead, contribute to worldly opinions on racial and gender ideologies that exist within the real world. This dissertation will analyse classic fantasy authors, such as J.R.R Tolkien and George R.R Martin, who used their novels to demonstrate this connection. With stereotypes of racial prejudice, and the torment of women in a patriarchal setting, each ideology is seemingly condemned by the author, by allowing their protagonist to transform and reform their restrictive racial and gender ideologies. The chapters of this dissertation will explore of the constructs of both power and magic. After this, I will be examining J.R.R Tolkien’s presentation of race in The Hobbit and how magic was used to subvert prejudice. As well as George R.R Martins exploration of women in a medieval era, showing evidence magic transformed and challenged the patriarchy in his novel. This dissertation will also provide a creative section, a complete short story titled Omniscience, which demonstrates the connection between magic and the construct of power. It explores hierarchies, in a patriarchal setting, that is subverted and transformed by the female protagonist gaining magic. By acknowledging this connection in my own prose, alongside this dissertation, I am encouraging both readers and authors alike to look at fantasy fiction with a new eye, one that looks into our own world, by examining the construct of the impossible.

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Why is magic presented as an embodiment of power for character transformations in fantasy fiction?

Introduction: The Combination of Magic and Power Novels, in a variety of genres, may use narrative techniques that highlight constructs of power through the use of themes, symbolism, plot and character. Fantasy fiction allows the author to perform this in creative and innovative ways, with the presentation of narrative techniques that are unique to the fantasy genre, such as world-building and magic. Notable fantasy based theorists, such as Tzvetan Todorov and Rosemary Jackson, ‘agree that fantasy is about the construction of the impossible’ (James and Mendlesohn, 2014:1). Although authors may build worlds, create new geographical locations and history for their texts, one of the most common, and unique, construct in the genre is magic. Roberts argues, ‘readers picking up fantasy titles in search of a ‘magical’ […] are acting upon a desire to be aesthetically sublimated into a state of mind that does not admit of ration reduction.’ (James et al, 2014:26), however the surface-belief of fantasy solely being used as ‘escapist literature’ restricts the possibility of what fantasy literature may offer authors and readers. As Irwin argues the ‘"impossible" universe somehow converges creatively on readers' understanding of the real world.’ (1976:66). Therefore the ‘magical’ may not just be a state of mind for the reader, but a tool for the author to illustrate, either negative or positive, opinions on ideologies in the real world. This is evident in Breaking the Magic Spell, as Zipes states, ‘The forms, shapes, and messages of folk and fairy tales are determined by the conflicts […] in the public sphere.’ (2002:ix) Magic has always existed alongside mankind, as Malinowski states, ‘There are no peoples, however primitive, without religion and magic.’ (1948:1), and this is also the case within literature- written or oral. Before understanding the significance of magic in the original fantasy story, the folk tale, magic as a construct must be clearly defined. Merriam Webster’s dictionary defines magic as ‘the use of means (such as charms or spells) believed to have supernatural power over natural forces.’ (2019) To ensure clarity of this definition, it is best that the quote is broken down into sections in order to explore the meaning in its totality.

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‘The use of means (such as charms or spells)’ alludes to an ability that allows for the opportunity of magic to take place. In this definition, magic is restricted beyond the use of charms and spells, however as we go on to explore fantasy fiction novels, it can be seen that magic is illustrated in a number of ways- including objects, acts and mystic creatures. In the second half of Webster’s definition, it explains that the ‘ability’ has ‘to have supernatural powers over natural forces’. This means the ‘ability’ must have powers that transcend laws of nature for unknown reasons, within the text-world and the real world. The act of magic, which is not limited to spells and charms, have existed within folktales long before evolving into fairy-tales and eventually fantasy novels, ‘fantasy literature owes its origins […] with its interest in folk tradition’ (Nikolajeva, 2003:139). Zipes believes that the involvement of magic in oral stories, throughout history, was included to subvert societal ideologies that had accumulated into the everyday life. As Zipes states ‘the fairy-tale proves itself to be a characteristic national form, expressing the need for greater justice and more rational alternatives in opposition to arbitrary socio-political repression.’ (2002:46). Thus believing the act of magic for characters in folktales elevated the listener or reader, who usually identified themselves with the character who possessed magic, above the oppressed position they found themselves within society. Therefore, the narrative technique of magic is presented as a metaphorical and imaginative embodiment of power within the self. Power, similar to that of magic, must be defined to understand the distinct link between the two constructs. Merriam-Webster’s (2019) definition will be the starting point of this exploration to ensure the reader grasps the concept of power that is being discussed. Webster states that power is ‘the ability to act and produce an effect’ and have a ‘possession of control, authority or influence over others’, these two definitions explore the notion of power as both a personal and social exercise. Bierdstedt argues, ‘power, in short, is a universal phenomenon in human societies and in all social relationships. It is never wholly absent from social interaction.’ (1950:730), thus highlighting a distinct connection between personal and social power, an exploration of one cannot exist without the other. Therefore, this thesis will examine why magic transforms characters, giving them both personal and social power to break free from restrictions and ideologies imposed upon them. As Cahill states, ‘Magic exists as both a signifier of the genre and a device in which to explore real world concepts.’ (2012:6), however it can be seen that these ‘concepts’, or rather ideologies of power, being explored are in fact being criticized.

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The analysis of this statement will refer to the Grandfather of fantasy, J.R.R Tolkien’s The Hobbit (1937) and the epic, contemporary fantasy George R.R Martin’s A Games of Thrones (1996). From the analysis of their own work, to scholarly opinions of the constructs of magic and power, alongside my own individual analysis; a link is being acknowledged between magic and personal and social power. Significantly, the argument is proposing that magic becomes transformational for characters to break free from ideologies that prevent them from being able to ‘act and produce an effect’ and ‘possess control, authority or influence over others’. (2019) Bould and Vint claim magic is used as the ‘shifting of constructs’(2014:102), therefore setting the premise that magic can be used as transformational. For magic to be transformative for the characters, they must have existed in the text-world absent of any magic. In addition, for this argument to work, there must be a moment where the character gains and wields magic. This thesis is not concerned by how, or what kind of magic the character receives. It is, instead, highlighting that authors use the narrative technique to transform the characters allowing them to obtain personal and social power they lacked prior, as Bould and Vint state, ‘magic is important to reshaping and transforming social structures.’ (2014:107) All of this research has been gathered to benefit and give meaning to the creative prose at the end of this thesis. From discovering a connection between power and magic, which allows characters to undergo social and personal transformations, it has encouraged and inspired a new outlook on what fantasy fiction has to offer. Due to this being the case, I wanted to explore this in my own writing: Omniscience. Tolkien’s novel, The Hobbit, inspired the premise for the critical analysis, demonstrating that magic has existed within fantasy to transform characters since the beginning. On the other hand, Martin’s exploration of gender in his novel inspired the research of Omniscience, when examining constructs of power for women in patriarchal environments. I decided to use an Aboriginal setting for my short story, therefore it was imperative to research hierarchies in a family dynamic of an Aboriginal tribe. Authors such as Lambert and Parker (1993) have been used as knowledge and inspiration. Although I have found writing that has benefitted my research, such as Zipes and Jackson, I am pleased to be aiding the fantasy field, by making a connection of magic being the embodiment of power for character transformations. The fantasy field will benefit by this research due to a deep analysis of what magic, not only brings to the reader, but to the authors and what the narrative technique can represent in their own novels.

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Chapter One: Magic Breaking Free from Racial Prejudice in J.R.R Tolkien’s ‘The Hobbit’ J.R.R Tolkien’s The Hobbit, written in 1937, demonstrates how magic allows characters, specifically Bilbo, to break free from societal views and personal restrictions. It is imperative to establish how magic is presented in the text-world, as a whole, in order to inform the reader of the social and personal value of wielding magical abilities. The first, and most predominant, character who possess magic is Gandalf. In the text-world Gandalf, often known as ‘the wizard’ (Tolkien, 8), wields social power; as he is able to influence other characters: ‘“I have chosen Mr. Baggins and that ought to be enough for all of you. If I say he is a Burglar, a Burglar he is.’ (Tolkien, 23). As well as social power, Gandalf also possesses personal power, with the ability to act and create an effect, ‘But not Gandalf. Bilbo’s yell had done that much good. It had wakened him […] a terrific flash like lightening in the cave, a . magic, to defeat his and other characters enemies, demonstrates how he is able to produce a desired effect that results in a positive outcome for him and the others. Recognising the connection between magic and power, in regards to Gandalf, is significant as it demonstrates there is an interchangeable link between the two constructs. Despite the fact, Gandalf is a perfect example of how a character’s magic provides them with both social and personal power, the exploration of Bilbo gaining magic- after wielding none, confirms that the construct becomes transformative for characters. The main difference, between Gandalf and Bilbo, is the latter is a demonstration of a character gaining magic, to break free from personal barriers and social ideologies inflicted due to racial prejudices. In Tolkien’s essay On Fairy-Stories, he emphasises that the genre explores truths about reality and should not be discredited as children’s tales, ‘It is at any rate essential to a genuine fairy-story, as distinct from the employment of this form for the lesser or debased purposes, that it should be presented as ‘true’.’ (2014:35). With the belief established, that fantasy fiction (fairy-tale or otherwise) is used to examine reality, it is imperative for readers to explore how Tolkien presented race within his novels, due to the fact Tolkien distinguished, ‘his various characters as “races,” indicating that, within Middle-earth, he had created an essentialized structure of difference between peoples.’ (Farrell, 2009:iv) Although readers and scholars may question Tolkien’s presentation of race, and whether it was purposefully written to condone or condemn restrictions and ideologies, it cannot be

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disregarded nonetheless, as Farrell affirms, ‘the cultural impact of Tolkien’s work cannot be overstated.’ (2009:3) Hamilton and Trolier define stereotypes as ‘cognitive structures that contain the perceiver's knowledge, beliefs, and expectations about human groups’ (1986:133). By analysing the description of Bilbo’s race, a hobbit, there is evidence to show that the knowledge, belief and expectations of his race is perceived and categorised in a restrictive box, ‘Hobbits were merry folk who love bright colors, are good-natured, love food and drink, but mistrust strangers. Hobbit society is a peaceable one […] This is not to say, however, that Hobbits were living in an idyllic region free of “foreign” or “dark” forces: they simply ignore and keep out these entities.’ (Farrell, 2009:30) Although, from the research compiled, hobbits do not seem to be an analogue of a race which exists within the real world, it presents the reader with a common, and prejudicial, ideology that a person or character will act and have formulated characteristics due to their race. Tolkien writes Bilbo who, undoubtedly, conforms to the stereotypes of his race which causes him to lack both personal and social power. Steven Luke’s statement, in Power and Authority, highlights the presentation and/or absence of power within the individual, ‘power is the production of casual effects. It is ‘the bringing of consequences.’’(1986:1) Earlier the examination of Gandalf demonstrated how his magic enabled him to bring consequences as he killed the goblins. Bilbo, on the other hand, is restricted in his ability to make consequences which is evident when the dwarves ask him to join them on an adventure. ‘He shuddered; and very quickly he was plain Mr Baggins of BagEnd, Under-Hill, again. He got up trembling.’ (Tolkien, 19). Tolkien’s decision to describe Bilbo’s fear in such a way, demonstrates a hobbit’s stereotype of ‘keeping out ‘ ‘dark’ entities.’ Bilbo’s aversion highlights how the race, within its collective description, live in a society of peace. Anything that may threaten it, or present itself as ‘foreign’, will be ‘ignored’ by hobbits. (Farrell, 2009) Alongside the prejudice restricting Bilbo’s personal power, there is evidence to show that his race prevents him from possessing social power. When the dwarves ask Bilbo to join the adventure, many of them doubt his capability because he is a hobbit. By claiming ‘“He looks more like a grocer than a burglar!”’ (Tolkien, 22), they are discriminating Bilbo due to his appearance, which is a physical characteristic of his race, as Farrell highlights, ‘‘Tolkien’s characters again and again misjudge one another on the basis of assumed characteristics.’ (2009:29) The hobbit is met with discrimination, as the characters around him misjudge his capability due to his race.

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The manifestation of Bilbo’s personal and social power is presented, only after the gaining of magic, as Opie claims ‘‘The magic of the tales […] lies in people and creatures shown what they really are’, being shown what they are really and realistically capable of accomplishing.’ (1974:11) Prior to the presentation of magic, Bilbo’s race hindered his ability to act and create an effect and also prevented him from influencing characters around him. However, after wielding the magic ring, he is shown as ‘what he really is’ and ‘what he is capable of accomplishing’ (Opie, 1974), he transforms from an incapable and mocked hobbit into character who possesses personal and social power. In Margolis’ theory, she argues ‘power cannot be theoretically reduced to a singular attribute’ (1989:353) however, when analysing magic in fantasy novels, there is evidence to show that power can be reduced to a single attribute in the genre: magic. This is visible after Bilbo finds the ring and is able to bring consequences and influence other characters. (Luke, 1986) Bilbo transformed from ‘plain Mr Baggins’ (Tolkien, 19), who was looked upon as a ‘grocer’ (Tolkien, 22), to a character now viewed as a hero; the unlikely hero, who was breaking racial ideologies by being called as such. Bilbo transformed into a character who had the means to produce consequences and no longer feared doing so; ‘…and he soon realised that if anything was to be done, it would have to be done by Mr Baggins, alone and unaided.’ (Tolkien, 196). The acts of personal power, as Bilbo fought the spiders and put the dwarves into the barrels and spoke to the dragon, were the result of his magic. Despite the fact, stereotypes of his race still exist within the text-world, which is demonstrated in the later trilogy Lord of the Rings, Bilbo’s magic allows him to be the first of his race to break free from the prejudice. Dismantling the idea that he must behave in a particular way and removing the stereotype of how he is viewed by others; the stereotype of his race, no longer hindered him. Merriam-Webster’s definition, although a good starting point to this thesis, arguably lacked an in-depth exploration of its description of personal and social power. Bierstedt, on the other hand, wrote an extensive list of attributes connected to possessing power; ‘power has variously been identified with prestige, influence, eminence, competence, ability, knowledge, dominance, rights, force and authority.’ (1950:730) Now this is not to say Bilbo possessed all of these characteristics after finding the magic ring, however it is reasonable to state that his influence, competence and ability magnified after gaining magic. There is evidence that shows Bilbo gained prestige, a trait a hobbit never wielde...