Fiction in the Quantum Universe

Fiction in the Quantum Universe

By Susan Strehle

CHAPTER SIX – CAT'SEYEANDTHESUBJECTIVEAUTHOR: MARGARETATWOOD

Likeotheractualists,MargaretAtwoodbelievesthatartexpressesavisionofreality.Shearguesthatitintervenesinandmodifiesreality:likethenewphysicist,thewriterdoesnotsimplyreportonastaticexternaltruthbutratherchangesthesystemsheobserves.Writing,inAtwood'sview,actsasamoralagent."Ibelievethatfictionwritingistheguardianofthemoralandethicalsenseofthecommunity...fictionisoneofthefewformsleftthroughwhichwemayexamineoursocietynotinitsparticularbutinitstypicalaspects;throughwhichwecanseeourselves."Writingalsoexposesthepoliticaluseandabuseofpower."Traditionallythenovelhasbeenusednotonlyasavehicleforsocialcommentarybutasavehicleforpoliticalcommentaryaswell.Thenovelist,atanyrate,stillseesaconnectionbetweenpoliticsandthemoralsense,evenifpoliticians

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gavethatupsometimeago.By'political'Imeanhavingtodowithpower:who'sgotit,whowantsit,howitoperates."1

UnliketheothernovelistsI'vediscussed,Atwoodhasnotbeenreadasawriterofmetafiction.Instead,sheisoftenmisreadasanold-fashionedrealistwhosefictionisformallyconservative.AsMollyHitearguespersuasivelyinTheOtherSideoftheStory(1989),Atwoodisamongagroupofcontemporarywomenwriterswhoareseenasavoidingentirelytheformalexperimentationthatdistinguishespostmodernistfictionbymen.Whilepostmodernalternativestorealismhave,Hiteobserves,"strongaffinitieswithaspecificallyfeministinterrogationoftheassumptionsencodedinrealistconventions,"contemporarywomenwritersarenonethelessregardedas"conservative,upholdersoftraditionandthustobefoundamongtheperpetuatorsofarealismthatcontinuestoflourishalongsidethemodesofwritingthatplayoffit."2Atwoodis,therefore,excludedfromthe"rigorouslymasculinist"canonunderconstruction:thoughby1991sixmonographsandthreecollectionsofessays,aswellasscoresofjournalarticles,havearguedtheimportanceofherwriting;thoughshehaspublishedsevennovels,twobooksofnonfictionprose,fifteenbooksofpoems,andtwocollectionsofstories,Atwoodisnotlistedamongthehundred-oddwritersofPostmodernFictioninLarryMcCafferyextensive"Bio-BibliographicalGuide."AsaCanadian,sheisnotmentionedinstudieslikethosebyKuehl,LeClair,Klinkowitz,Caramello,Wilde,Gorak,Porush,andHayles,mostofwhichfocusonfictionwrittenintheUnitedStates.

Atwood'sfictiondeservesaplaceintheinternationalcompanyofexperimentalnarratives;thematicallyimportantandformallyinteresting,itstandsuptocomparisonwiththefictionofAtwood'ssouthernandeasternneighbors.AquicksketchheremayindicatethekinshipIseebetweenAtwood'sfictionandthatofotheractualists.Afundamentalimpulsetosatirizesocietiesgoneovertogreed,hypocrisy,andmaterialismappearsthroughallofAtwoodtexts,beginningwithherfirstnovel,TheEdibleWoman(1969);similarsatireappearsinJRandthroughoutBarthelme'sfiction.Afascinationwiththeneatnessoffinishedplots,bothfictiveandhistorical,setagainstthesprawlingaccidentalmessinessoflife,preoccupiesNixoninThePublicBurningandJoanFosterinLadyOracle(1976).Apreterite-eyeviewofsystemsofpower,withtheiroriginsinthelustsofinsecuremenandtheirendsinformsofsanctionedrape,appearsinTheHandmaid'sTale(1985)asinGravity'sRainbow.Thepast,bothhistoricaland

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personal,returnstotroubleandtofecundatethepresentvisionofartistsinCat'sEye(1988)asinLETTERS.

Likeotheractualists,Atwoodinvokessomespecificnewphysicaltheoriesinherfiction.Cat'sEye,hermostrecentandmostactualisticnovel,acknowledgesitsauthor'suseofmaterialfrompopularizedversionsofnewphysics:"ThephysicsandcosmologysideswipedhereinareindebtedtoPaulDavies,CarlSagan,JohnGribbin,andStephenW.Hawking,fortheirentrancingbooksonthesesubjects,andtomynephew,DavidAtwood,forhisenlighteningremarksaboutstrings."Oneofthenovel'stwoepigraphsisfromHawkingBriefHistoryofTime(1988):"Whydowerememberthepast,andnotthefuture?"3Thenovel'sbeginninginvokesrelativetheoriesofspace-time:"Timeisnotalinebutadimension,likethedimensionsofspace.Ifyoucanbendspaceyoucanbendtimealso,andifyouknewenoughandcouldmovefasterthanlightyoucouldtravelbackwardintimeandexistintwoplacesatonce"(3).Similarly,Hawkingwrites:"Imaginarytimeisindistinguishablefromdirectionsinspace....ifonecangoforwardinimaginarytime,oneoughttobeabletoturnroundandgobackward."4Throughoutthenovel,newphysicalconceptsareintroducedbyElaineRisley'sbrother,Stephen(named,perhaps,forHawking):hetellsElaineabouttheexpandinguniverseandrecedingstars(110),aboutthecurvatureofspace-time,aboutEinstein'sthought-experimentinwhichoneidenticaltwinreturnsfromajourneyinspacetofindtheothertwinolder,andabouttheintertwinednatureofmatterandenergy(233).Becomeafamousphysicist,Stephendeliversalecture,"TheFirstPicosecondsandtheQuestforaUnifiedFieldTheory,"whichechoesbothHawkingandJohnGribbinGenesis:TheOriginsofManandtheUniverse(1981).Inhislastmonths,Stephenexploresstringtheory(408-9).Atwoodmakes,ifanything,evenmorereferencetotherealmofphysicsthandoPynchon,Barth,orCoover.Likethem,shesetsherfictioninaworlddefinednotbyNewtoniancertaintybutbyHawkingianspeculationuponanalwaysuncertainground.

Inparticular,AtwoodfocusesinCat'sEyeonthenatureofsubjectivity,asitisconstructedin(andagainst)atraditionalandrocentricculture.Forthehumanisttradition,subjectandobjectareabsolutelyseparated;theyarealsogenderedandarrangedinahierarchyofvalue.Thesubject,orself,issovereign,transcendent,unitary--andmale.Theobject,conversely,ispassive,material,knowable--andfemale.Feministshavearguedthatthissubject/objectdualitybasicto

humanistconceptionsofself

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andworldfunctionstodevalueandexcludewomen.AsMargaretHomanswrites,

Forthesamereasonthatwomenareidentifiedwithnatureandmatterinanytraditionalthematicsofgender...womenarealsoidentifiedwiththeliteral,theabsentreferentinourpredominantmythoflanguage....Adualismofpresenceandabsence,ofsubjectandobject,structureseverythingourcultureconsidersthinkable;yetwomencannotparticipateinitassubjectsaseasilyascanmenbecauseofthepowerful,persuasivewayinwhichthefeminineisagainandagainsaidtobeontheobject'ssideofthatdyad.Womenwhodoconceiveofthemselvesassubjects--thatis,aspresent,thinkingwomenratherthanas"woman"--mustcontinuallyguardagainstfulfillingthoseimposeddefinitionsbybeingreturnedtothepositionoftheobject.5

Inthepositionofobject,womanissilent;aspartoftherealmofnatureandmatter,shedoesn'tshareintheprocessofthinking,knowing,andfigurationthatpositionsthemasculinesubjectinthesymbolicorderforFreud,Lacan,andtheWesterntradition.

Thesubject/objectdichotomyisascrucialtoclassicalphysicsasitistothehumanisttradition.Thescientificmethodofdetachedobjectivitypresumedanabsoluteseparationofsubjectandobjectandacleardivisionwithinthesubject."Man"can"know""nature"--leapacrossthegap--byvirtueoftherationalintelligence;abandoningallprivateandpersonalbias,desire,andfeeling,theNewtonianscientistandtherealistauthor/narratorcouldforgesecureconnectionsbetweentheknowingselfandthematerialobject.Thesubjectofscienceis,then,athinkingbutnotafeelingself:theaffectiverealmisgenderedfemaleandregardedasinferior.Thehighestformofsubjectivityappearsinscientificinquiry,wherescientificreason,purifiedofbaserattachments,solvestheriddlesofcreation.Butthesubjectofscienceisnot,asLuceIrigarayobserves,neutral,detached,unsexed."Hemanipulatesnature,utilizesit,exploitsit,butforgetsthatheisalsoinnature,thatheisstillphysicalandnotonlyinfrontofthephenomenawhosephysicalnaturehefailstorecognize.Advancingaccordingtoanobjectivemethodthatwouldshelterhimfromallinstability,fromallmoods,fromallemotionsandaffectivefluctuations,fromallintuitionsthatarenotprogramedinscience'sname,fromallinterferencebyhisdesires,especiallythosethataresexed,hesettleshimselfdown,inhisdiscoveries,inthesystematic."6Hissyntax,Irigarayargues,privileges

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identity,noncontradiction,andbinaryoppositions(liketheonebetweensubjectandobject);iteliminatesqualitativedifference,reciprocity,exchange,permeability,andfluidity.Hisdiscourseisgovernedbyadevaluationofhisownaffections,withtheresultthatheissplitwithinhimselfandalienatedfromhisowndesires.Thedivisionofsubjectandobjecthas,then,beendestructiveforthetranscendentmalesubjectaswellasforthemanipulatedfemaleobject.

Staticbinarydualitiesofallkindshavebeendiscreditedbycontemporarytheoristsandreplacedwithformsofexchangeanddynamicinteraction.Subjectivityisradicallyredefinedtoincludeinfluencesgoingbothwaysbetweensubjectandobject:thesubjectcan'terasepartsofitselfinordertoachieveanunmediatedconfrontationwiththeobject,andtheobjectresistsbeinggrasped.Objectivityandomnisciencearegone;inwhatmaybethemostdramaticshiftbetweenclassicalandnewphysics,scientistsnowperceivesubjectivitypermeatingtheirrelationtoreality,aninescapableaspectofthinkingaboutexternalstates.Sciencecannotproceedwithrationalobjectivity,noristhereanywaytodetachtheobserverfromtheobserved.Therecanbenotrueandvalidknowledgeofthephysicalworldintowhichthesubjectiveknowerdoesn'tenterfromfirsttolast.Einstein'stheoriesbegantomoveinthisdirection,thoughhecontinuedtohopeforobjectiveconfirmation;hewrotethat"physicalconceptsarefreecreationsofthehumanmind,andarenot,howeveritmayseem,uniquelydeterminedbytheobjectiveworld."7TheworkinsubatomictheoryofBohr,deBroglie,Schrödinger,andBornledtowardtheconclusionHeisenbergreachedwiththeuncertaintyprinciple:thattheobserverdoesnotissueaneutralreportonexternalfactsbutratherchangesthepicture--evendetermineswhichpartsofitarevisible--intheactofobservation.Whilethisrecognitionlimitsphysicists'powertoknownature,tospeakauthoritatively,andtopresent"truefacts,"italsoliberatesthemforafarmoreactiveuseofthesubjectiveimagination.Heisenbergfocusesthedynamicqualityofthisrole:"Sciencenolongerconfrontsnatureasanobjectiveobserver,butseesitselfasanactorinthisinterplaybetweenmanandnature."8

Wenowimaginesubjectandobject,notseparatedaccordingtotheconventionalpolarity,butratherinteractingin"oneinseparableprocess,"asRaymondWilliamssuggests.9Asaresult,ournotionsofart,science,andthoughtitselfarechanging.Traditionalmodelsofthewaysubjectivityisgenderedhavebeenexposedasdamaginganddangerous.Boththemalesubjectwho"transcends"hissubjectivitytodecodetheexternal

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worldandthefemaleobjectwhosenatureispenetratedbyhisgazereflectmythsofconquestandcolonization,rapeandenslavement,dominanceandsubmission.Respondingtotheoreticalassumptionsnewlyimportantinphysics,aswellasinpoliticalphilosophyandfeminism,thesubjectandobjectbecomepermeableandopentoreciprocityandexchange.Subjectivityextendstowomenaswellasmen;itisengaged,interested,andopentodialoguewithotherbeingsandwiththeworld.Thesubjectdoesnotloseitselfininquiry,nordoesitassertpowerovertheobjectsofitsstudy.Rather,thesubjectengagestheobjectinanunfoldingprocessofquestioning,inwhicheachmodifiestheotherwithoutcombat,conquest,orlosstoeitherside.

SuchanengagedsubjectivityanimatesAtwood'sfiction,whichportraysaninterplayofsubjects,whodisplayarangeofrationalandemotionalresponses,andobjectsthatcannotbeknown,grasped,orobjectivelyrepresented.ForAtwood,theartist'sinescapablesubjectivityleadsfromthesubjecttotheworld:"Inwriting,yourattentionisfocusednotontheselfbutonthethingbeingmade,thethingbeingseen....Itisnot'expressingyourself.'Itisopeningyourself,discardingyourself,sothatthelanguageandtheworldmaybeevokedthroughyou."10Atthesametime,theworldtheartistevokesrevealsitsdeepmasculinistbiasandtherebyforegroundstheaberrantgenderandsubjectivityofthewomanartistwhocallsittoaccount.Inexploringthisuneasyreciprocity,Atwoodoftenfocusesonthewomansubjectwhoserighttosubjectivity,andespeciallyrationalsubjectivity,isblandlydeniedbyherculture.Inherbest-knownnovel,TheHandmaid'sTale,amisogynistfundamentalismactstostripwomenofsubjectivity,inpartwithclothingthatidentifiesthemasobjectscategorizedforuse,inpartwithsocialproscriptionsthatdenythemaccesstolanguage.Rationalarchitectsofthesocialgood,thecommandersgivethemselvessovereignrightstosubjectivity.Thenamelesshandmaid,renderedasexualobjectandmaternalcontainerfortheseedofhercommander,barredfromthewrittenwordandorderedtospeakonlybanalformulas,tellsherstoryinadefiantactassertingthewomansubject.Yet,inthisdystopiansatire,thebroadersocial,economic,political,environmental,religious,andevenbiologicalconditionsmakewomen'ssubjectivityprecarious.

Exploringanartist'seducation--thewayhercultureinscribesmetaphysicalandmasculinistassumptionsthatwouldneutralizehervoice,thewayshelearnstotalkback--Cat'sEyeprobesthenatureofactualistic

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subjectivity.ItsfeaturesappearvividlyinElaineRisley'sself-portrait,alsocalled"Cat'sEye."

Myheadisintherightforeground,thoughit'sshownonlyfromthemiddleofthenoseup...I'veputintheincipientwrinkles,thelittlechickenfeetatthecornersofthelids.Afewgrayhairs.Thisischeating,asinrealityIpullthemout.

Behindmyhalf-head,inthecenterofthepicture,intheemptysky,apierglassishanging,convexandencircledbyanornateframe.Init,asectionofthebackofmyheadisvisible;butthehairisdifferent,younger.

Atadistance,andcondensedbythecurvedspaceofthemirror,therearethreesmallfigures,dressedinthewinterclothingofthegirlsoffortyyearsago.Theywalkforward,theirfacesshadowed,againstafieldofsnow(430).

Lookingatherself,thepainterseesimagessuggestingthedistorted,personal,"framed,"andenframingnatureofvision.Thepaintingisdoublymediatedbymirrors:shelooksinonemirrortopainttheportraitofherpresent,externalself.Informingthisobjectiveimageistheother,subjectiveimage,alsoseeninamirror--thelong-past,seen-from-behind,never-objectively-seenimageofthebackofherhead.Thedistant,condensedfiguresofherthreeinexorablefriends/tormentorsrevealthememorythatdrivesthepainter:notofaparticulareventthatoccurredinobjectivespaceandtime,butofasetoffeelings(exclusion,shame,humiliation,worthlessness,fragmentation,emptiness)shesubjectivelysufferedduringseveralyears.Thereflectioninthepierglassisnot"there"inanyobjectivespace,eitherpresentorpast,butisapaintedimageofthepower--theluminousanddisturbingpresence--ofthesubjective.

Yetthesubjectiverealminthepaintingdoesnoteraseorreplacetheobjectiverealm,nordoesit"explain"or"solve"theriddleoftheartist'svision.Conjoiningbothobjectiveandsubjectiverealms,theportraitsuggeststhatthetwomeetinanecessary,limiting,andliberatinginteraction.This"self-portrait,ofsorts"doesnotportraytheconventional"self"--sovereign,universal,self-present,unitary.Theobjectivelyseenfaceinthispaintingissplitandpartial,neitherwhollypresentnorformingastablecenterforthepainting:itisahalf-circle,off-center,bisectedthroughthenose.Whileclearlyrecognizableanddetailed(with"incipientwrinkles"),this"objective"imagefalsifiesreality,showinggrayhairsthatthepainter

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pullsout.Thesubjectivelyrecalledfigureinthepaintingissimilarlyfractured;only"asection"ofthebackofherheadappears.Noristhissubjecttranscendent,acreatorofartisticormnemonicorderbeyondthehistoricalrealm.Instead,sheisdrivenbyhistory,intheformofthreefigureswhorepresentgirlhoodasthediscoursesoftheircultureconstructit.Girlhood,inTorontoasinGilead,meansastyleofclothingandactingandthinking;itmeanssubmergingtheindividualsubjectinagroupidentity.

ThepaintingobservestheruptureofElaine's"self,"whichdoesnotappearwholeanywhereonthecanvas.Itshowsthewoman'sandartist'seyesthatemergefromthesiteoffracture,lowerright,toseeinadecenteredwayfromapositionatthemargins.Thepaintingseesinclusively,innonbinarytermssuggestingpermeabledoublerealms:itportraysbothpastandpresent,bothartistandworld,bothhistoryandfeeling.Itdoesnotromanticizeitsownartisticvision,nordoesthenovel(unlikeamodernistkunstlerroman)portraytheartisticsubjectastheoriginofmeaning,controllerofdestiny,orlocusoftimelesstruth.ThoughElaineenviesthecoolglassyeternityofthe"cat'seye,"thespherical,complete,contained,sightlessmarblelike"theeyesofsomethingthatisn'tknownbutexistsanyway...liketheeyesofaliensfromadistantplanet"(67),herowneyesarenotdetachedortranscendentbutfullyimmersedintheconflicting,fragmentarydetailsofthisactualplanet.

TheDividedWomanSubject

ReviewersofCat'sEyefinditpowerfulasastoryofgirlhoodfriendshipandcrueltybutflawed,indegreesrangingfrommajortominor,byanticlimaxanddisunity.Thereviewersobjecttothelackofaunitaryselfandplotinthenovel,andtheircomplaintsreflectthenovel'sunusual(troubling)treatmentofthewomansubject.ElaineRisley'slaterlifeappearstohavelittletodowithherintensebattle,atnine,toassertherownworthinthefaceofseverecriticismbyherfriendsCordelia,GraceSmeath,andCarolCampbell.Inafavorablereview,AliceMcDermottnotesthat"inevitably,theemotionalintensityoftheseearlyscenesmakesthemorefamiliarmaterialofElaine'slaterlifeseemsomewhatanticlimactic."11Inanegativereview,JudithThurmanexpressesgravereservationsoverthesameissue."But'Cat'sEye'mightbesthaveendedwhenElaine'sordealends,onpage206.Achildhasgambledandlostherselfand

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recoveredit,andfromhereonthetensiondissipates.AtwoodattemptstopumpsuspensebackintothenarrativeandtorestoreitsunitybyinsistingonRisley'sunresolvedobsessionwithCordelia....ShekillsoffStephenimprobablylongafterhe,too,hasceasedtocountinhissister'slifeorforthereader."12Thenovelfailstomeettheoldstandardsofunityandeconomy;itexceedstheboundariesoftheconventionalbildungsroman,whoseproperfulfillmentistherecoveryofthelostself.

AnevenmorerevealingreviewpraisesCat'sEyeforits"returntoform";thisreviewerlocatestheunitytheothersmiss.CaroleAngier'sbriefdescriptionoftheplotperformsmiraclesofselectioninmakingthenovelseemasingle,well-orchestratedstory,whilesuppressingtheelementsofdiscordandexcessthattroubleotherreviewers."It'sthestoryofElaineRisley,amiddle-agedpainter,whohaslostherselffor40yearsbecauseshe'sforgottenthecentralexperienceofherchildhood....Thebookitselfuncoversthemysterytouslittlebylittle,interleavedwithElaine'spresent,asshewalksthestreetsofTorontoforthefirsttimesincetheeventsshenowremembers."13Thedesirereflectedinthisinnocentsummary--topeelawayextraneousdetailandtoexposetheessentialcoherenceofAtwood'sendeavorinitsfocusontherecoveredself,theoldmetaphysicalselfofessences--appearsfrequentlyinthelargebodyofcriticismpublishedonAtwood.Suchapoeticseliminateschange:forgettingisalwaysfollowedbyremembering,andtheselfonelosesatninereappearsunchangedatforty-nine.Thissovereignselfhasneverreallyenteredthedifferentialmatrixoftheworldoutside;subjectandobjectdon'taffectoraltereachother.ButAtwoodhasn'twrittensuchanovel.Elainedoesn'timmediatelyleaveTorontotoabandon"thecentralexperience"ofherlostchild-self;shelivesinTorontofortwentyyearsaftertheeventsofherchildhood.Shecompleteshighschool,attendsuniversityandartschool,hasanaffairwithJosef,marriesJon,givesbirthtoSarah,beginstoshowherpaintings,andchangesdailyasshelivesinToronto.Thenoveldoesnotfocusontheilluminationofthemysteryofchildhoodtorture;thatstandsfullyrevealedandresolvedbypage206,leaving240pagesthatdon'tbelong,atleastaccordingtothereviews.

Atwoodchoosesherinclusionsanddigressions,herownformofunity,tosuithernovel'sfocusonawomansubjectwhoisdividedandscarredbyherpositioninaculturethatpreferstounderstandwomanasobject.Thewomansubjectfailstotriumphoverortranscendherculture:Cat'sEyedoesn'tendonpage206becauseitdoesn'tassumethatasovereignselfcanachievevictoryoverathreateningexternalworld.Atwood'sprotagonists

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haveneverbeenunitary,transcendentselvesseeninisolation;rather,theyaregenderedsubjectsstrugglingwithinandagainstculturaldefinitionsandexpectations.Theydon'tloseandrecoverselvesanymorethantheyvanquishculture;culturehelpstoshape,thoughitdoesn'tdetermine,whotheyare.InCat'sEye,aconservativepatriarchalcultureeducateswomen,exertingitsformativeinfluencethroughschools,churches,parents,stores,fashions,toys,comicbooks,andfriends.Theseauthoritiesteach"femininity":whatchoices,allegiances,limitations,value,andidentitygirlsandwomenmayhave,asdistinctfromboysandmen.Adoublestandardemergesonthefirstdayofelementaryschool,whenchildrenlearntheymustgoinbydifferentdoors.Boysandgirlsdon't,later,havethesamedoorsopentothem.

TheculturethatpositionswomeninAtwood'sfictionispatriarchal,authoritarian,andmisogynist;itplaceswomenatthebottomandonthemargins.Elainelivesherfirsteightyearsinnature,withparentswhorejectmanyofToronto'svaluesandassumptions.Whenherfamilyreturnstothecity,ElainereceivesanacceleratedcourseinculturefromCarolandGrace,whoteachherthedevaluedidentityassignedtowomen.Shelearnsatoncetodeprecateherownachievements;shelearnsthatwomendon'tachieve.ThegirlscutupEaton'sCatalogues,usedupnorthastoiletpaper,tomakescrapbookcollectionsdepictingwomenandthedomesticobjectswomen"properly"consume.Theypraiseeachother'spageswhiledenigratingtheirown:"'Oh,yoursissogood.Mine'snogood.Mine'sawful.'...Theirvoicesarewheedlingandfalse;Icantelltheydon'tmeanit,eachonethinksherownladyonherownpageisgood.Butit'sthethingyouhavetosay,soIbegintosayittoo"(56).Tosucceedasagirl,Elainerealizes,shedoesn'thavetomake"anyeffortatall":"Idon'thavetothinkaboutwhetherI'vedonethesethingswell,aswellasaboy.AllIhavetodoissitonthefloorandcutfryingpansoutoftheEaton'sCataloguewithembroideryscissors,andsayI'vedoneitbadly.Partlythisisarelief"(57).Whilemaleworthlikeherbrother'sprovesitselfthroughactiveeffortandaccomplishment,femalevaluecomesinahumblepassivity--indenigrating,muffling,andmuting,ratherthanasserting,one'ssubjectivity.

ThegrownwomeninCat'sEyefulfillthepromiseofthesescrapbooks.ThemothersofElaine'sthreefriendsdoverylittle,makeverylittle,earnverylittle;nonehasanincomeasidefromwhattheirhusbandsgivethem.Passive,conventional,andconcernedwithappearances,eachissquarelyplacedintheworldofdomesticobjects,andeachappearsasadependent

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object--forveneration,use,indulgence,control,consumption--toherhusband'ssubject.Carol'smotherbuys,treasures,aspiresto,owns,andconsumesdomesticobjects.Withlessmoney,Grace'smotherfranticallyconservesobjects,washingtheunderweartoadimgrayness,restrictingthesupplyoftoiletpapertothreesquarespervisit,guardingherownfrailandmeagerheartwithadailyrest.Cordelia'smother,themostwealthyofthethree,decoratesobjects.Shetakespaintingclassesandproduces"pretty"thingstohangonthewall;shedecoratesandredecoratesherhousesandherdaughters.Absentmindedandfrivolous,eachofthethreeisassilentasherobject-statuswouldprescribe;inparticular,eachhasnovoiceatallwhenherhusbandispresent.ThesewomenarenotmuchdifferentfromthewivesinTheHandmaid'sTale,whocolludedwiththeirhusbandstoproduceasocialsystemthateraseswomen'sfreedomand,surroundingthemwithluxuriousobjects,makesthemoneofthepropertiesofthehouse.

WomanasAbject:Cordelia

Fromtheroleofthesilentanddevaluedobject,thewomenofCat'sEyefinditeasytodescendthesmallsteptotheroleoftheerased,canceled,abjectobject.Inthisstateofpathologicalself-loathing,JuliaKristevasuggests,bothsubjectandobjectdisappear;anullified,canceledsubjectcan'tfindanerased,phantomobject.14Thewomanbecomesabject,castaway(fromtheLatinabjectus:ab-,"away,"andjacere,"tothrow").Theabjectiscontemptible,wretched,miserable,mean,vile.Split,worthless,andempty,thesubjectencountersnosustainingobject;noexchangeorengagementcanoccur,butonlysilenceandfear.Shebecomesanonobject,negatedanddenied.Itisthenext,logicaltransmutationofthewomanwho,inHomans's"traditionalthematicsofgender,"notonlybearsthewordof"herownstatusasasilentnaturalobject"butalsooccupiesthelinguisticplaceoftheabsentobject,theabsentreferent.15IntheculturedescribedbyAtwood'sfiction,womenaremadeintonullifiedobjects,renderedabsent,castaway.

Throughoutherfiction,Atwoodtakesforherfocusthewomanwhoisdeniedsubjectivity.Taughttobesubmissiveandpassive,toldbytheauthoritiesofherculturethatsheisworthless,andlessworthyofsubjectivity,thatshecontainsfilthanddefilement,andthatsheisnothingbutacontainer,womanfindsthatsheisaprecariouslyflawedobject.Trainedto

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listentoothervoices,shehearscontemptandloathingfrompaternalauthoritiesinhome,church,school,andstate.Forthedaughtersofpatriarchalculture,asaresult,acculturationhasbecomesynonymouswithabjection.Thisculturemakeswomentheabject,theoutcast,theerasedfromhistory.Forpoliticalreasons,then,womenwritethedaughter'sabjection,whoseeffectsricochetbackthroughculture:theritualizedpaternalrapeofTheHandmaid'sTale,thepaternaldesertionofLifebeforeMan,thepaternalbeatingsandrapeofBodilyHarm--andelsewhere,thepaternalabuseofAliceWalkerColorPurpleandJoanDidionDemocracy.

Raisedbyafatherwholoatheswomen,Cordeliastandsforthepossibilityofself-erasure;thoughsketchy,herstoryillustratesthereductionofthewomansubjecttoobjecthood,andeventuallytothestatusofthecanceledandnullifiedabject.Cordelia'sfatestandsasthecomplementaryotherhalfofElaine's:sheisnotsomuchElaine'snemesisasherreflectioninadistortingmirror.Herstory,itselfasfragmentedandpartialasthepaintingofElaine'shead,makesElaine'sreinventionofhernecessary,muchasheractiveinterventionhelpscreateElaineinherownimage.ThetwoappearinElaine'snarrative,notassubjectandobject,butasintertwinedsubjectivitiescreatingeachotherinresponsetoafatherwhowouldreducethembothtotheabject.

Toronto,andtheWestmoregenerally,orbitinCat'sEyethedarkpowerofthefathers,whohavedesignedhierarchiesofvaluethatplacewomenatthebottomandgirlsbelowthem.ThefathersofAtwood'sgirlsresembleBroderickSlothrop,usingtheirchildrenasobjectsandsellingthemout;thedifferenceisthatBroderickappearsaffableanddisinterestedinhisson,whileAtwood'sfathersdisplayactivecontemptandfurytowardtheirdaughters.Thefathersappearonlybynight:"Darknessbringshomethefathers,withtheirreal,unspeakablepower"(175).Fathersrageandpunish:Cordelia'sfatherterrifieshishousehold,andCarolCampbell'sfatherwhipsherwiththebuckleendofthebelt.EventheSmeathhousehold,whichappearstoberunbythemother,actuallyobeysagrimlyrepressivefather,forMrs.SmeathrulesinthenameofajudgmentalGod.Hereyesare"heavywithunlovedduty.TheeyesofsomeoneforwhomGodwasasadisticoldman"(427).Behindallthreegirls'punishmentofElaineundertheguiseofreformingherliesthefather'srefusalofhisdaughter'ssubjectivity--hiswilltorecastherasasilent,compliantobject,ortocastheroutastherepellentabject.Elainehasbeenexempt;herfatheriskindlyandnonabusive.Shemusthearthisfatherlyvoice,whichreignsinToronto,fromothers.HerbestfriendCordelia,namedforadaughterdestroyedby

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thefather,vocalizesthefather'spunitivecontemptassheforcesElaineintoabjectsilence.First,ofcourse,shesuffersthesameprocessherself.

Althoughheisnottheoriginatorofthechainofabuse,whichextendsbehindhimintopreviousgenerationsandabovehimtoMrs.Smeath's(andotherTorontonians')God,Cordelia'sfatherrepresentspatriarchalpowerinCat'sEyeandthusspeaksforhiscivilization.Heismostoftenabsentfromhishouseandrarelyseeninthenovel,yethispresenceloomsoverboth.Vengefulanddeceptive,hepunishesinprivatebuthideshisdestructiveangerbehindafacadeofcharmandaffabilityinpublic.Heistwo-faced:"Heislarge,craggy,charming,butwehaveheardhimshouting,upstairs"(77).Heconveysascarcelyevolved,wild-animalroughness,"withhiscraggyeyebrows,hiswolvishlook,"incongruouslyjoinedwithahighlycivilizedcharm:he"bendsuponmethefullforceofhisponderous,ironic,terrifyingcharm"(263).Hisspeechitselfisduplicitous,ironic,mocking,especiallywhenhedisclaimspower."'I'mhag-ridden,'hesays,pretendingtobemournful.'Theonlymaninahousefulofwomen.Theywon'tletmeintothebathroominthemorningtoshave.'Mockingly,heinvitesmysympathyandcollusion"(263).Hischarmisponderous,asbelievableandterrifyingashisfury.Bothexpresshisfearandloathingofthewomansubject;bothaimtocontrolher.

Thisfatherlycontemptforthewomanproduces(aselsewhereinAtwood'sfiction)adeeplydividedhouse.16Householdfunctionshavetwodifferentforms:whenheisthere,thewomenbehaveformallyandsuppresstheirvoices;whenheisnot,theyexpressideasanddesiresandfeelings.Whenheisabsent,dinnersarecasual,loose;thewomen"jumpupfromthetable,saunterintothekitchenformorebutter....Theytalkallatonce,inalanguid,amusedway,andgroanwhenit'stheirturntoclearthetable"(263).Whenthefatherishome,flowers,pearls,

candles,"neatlyrolled"napkins,properposture,andsilenceamongthewomenappearbycontrast.Inthepresenceoftheirfather,"Noneofthegirlsjokesordrawls"(77).Hemuzzlesandmufflesthewomen,whichmeanstheymustpretend,inhispresence,tobenonsubjects.

Hiswifeistheperfectproductofhisfatherlyconditioning:shealmostneverspeaks.Shehasrenouncedaggression,practicalcompetence,theproductionofmarketablegoods,andmostformsofadultresponsibilityinordertoremainchildlike,amodelofdecorative(girlish)femininity.Herdaughters"speakofherwithaffectionandindulgence,asifshe'sabrightbutwillfulchildwhohastobehumored.She'stiny,fragile,absentminded;shewearsglassesonasilverchainaroundherneckandtakes

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paintingclasses.Someofherpaintingshangintheupstairshall,greenishpaintingsofflowers,oflawns,ofbottlesandvases"(77).Herartsaredecorative,designedtogracethedomesticrealm;thesefloralpaintingsareatropefortheidentity(sweet,small,fragile,pluckable)sheoffersuptoherhusband'sconsumption.Whileshehassomeeducation(sheattendstheballet,shenamesherdaughtersPerdita,Miranda,andCordeliafromShakespeare),shecultivatesthe"absent-minded"airpreferredinwomen,inept,vague,fulloffloweryfeelingbutwithoutthought.Inchoosingthenamesofthreedaughtersraisedmotherless,taughtbytheirfathersandusedasinstrumentsofpatriarchalwill,Cordelia's"Mummie"acquiescestoapowerstructureinwhichsheiseffaced,erased,andmummi-fied--reducedtoafemaleobject.

Cordelia'soldersistersareplaguedbytheirowndeepdivisionsbetweenexperiencingthemselvesassubjectsandbeingreturnedbythewaytheyareseentothepositionofobjects.Astheymature,theyinevitablytakeonthefeminineidentityendorsedbytheirparentsandtheirculture,withitsdualassertionthattheirvalueemergesfromtheirstatusasbeautifulobjects,andthattheyaremerelyfemaleobjects,worthlessandinadequate.Theirgreatestinvestmentsoftimeandartaredevotedtobodilyself-perfection.Theyfiletheirnails,heatwaxtoremovethehairontheirlegs,anxiously"lookintotheirmirrors"astheyperformtheseritesofself-improvement(97).But,inahousewhereDaddycomplainsheis"hag-ridden,"thesisters'mirrorishauntedbythisspecter:theold,unmarried,useless,andunwantedwoman-object."Sometimestheysay,'Ilooklikeanabsolutehag,'andsometimes,'IlooklikeHaggisMcBaggis.'Thisisanuglyoldwomantheyseemtohavemadeup"(76),Elainethinks,thoughDaddymorelikelybroughtherintotheirdiscourse.Predictably,thegirlsfindthemselvesmostwanting,mostflawedandfailing,whentheyaremenstruating:"IlooklikeHaggisMcBaggis!It'sthecurse!"(97).Theyearnestlypolishandimprove;theyfail,againandagain,tocomeuptothemark,becausetheirartsarebetrayedbynature--specifically,bytheirnatureaswomen.

Thefiguremostdeeplysplitbyherfather'smisogyny,Cordeliavacillatesbetweeninsistingonherownsubjectivityinpassionateactsandgestures,whichtheadultsaroundhercanreadonlyassignsofrebellion,andattemptstowinadultapprovalbyactingthepolite,restrainedfemaleobject.Fromherfirstappearanceatagenine,shehasoneparentallyapprovedside:shehas"beautifulmanners,"a"voiceforadults,"anda"smilelikeagrown-up's"(123,74).Sophisticated,sheknowsGiselleand

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Swedishglass.ButCordeliaisalsorebellious,wildwhereGraceandCarolaretame,untidyinherroomandsloppyinherpersonalhabits,andinherentlydisrespectfulofadults(138).ThissideofCordeliaexpressesitselfin"adefiant,almostbelligerentstare,"a"stubborn,defiantlook"(239,378).Feelingherselfasubject,CordeliarefusestoplaytheEaton'sCataloguegame,drawsmustachesonthemodels,invents,acts,andcreatesdramas.Shenotonlyrefusestorepressabjectandexcrementalsubstancesbutexposesandexplorestheminfascination--sheshowstheothergirlsmenstrualblood,andherfirstremarktoElaineis,"There'sdogpooponyourshoe"(97,75).Elaineunderstandsthispositionasuncivilized,unfeminine,andinherentlyrebellious.Mr.SmeathandStephen"areonthesideofoxeyeballs,toejamunderthemicroscope,theoutrageous,thesubversive.Outrageoustowhom,subversiveofwhat?OfGraceandMrs.Smeath,oftidypaperladiespastedintoscrapbooks.Cordeliaoughttobeonthissidetoo.Sometimessheis,sometimessheisn't"(132-33).Cordeliaswingsbetweenthepolesofpassivesubmissionto,andenergeticdefianceof,theroleoftidypaperlady-object.Inheroutrageousphase,shenotonlyrefusesthelimitsofculturalpropriety,shealsorejectstheconstraintsoffemininity:sheplaysthemaleroleinthegirls'dramasanddrawsmustachesonfemalemodels,asiftoescapeobjecthoodbyrenouncinghergender.

Cordelia'sfatherreduceshertoobjectandabject.Hepreventsherself-possessionandpunishesanyexpressionofhersubjectivity.Hewouldlikehisdaughterstobehisownsilentpossessions,andCordeliahasalwayshadahardtimepretendingtocomply.CordeliatellsElainethatasachild,shewantedtodigaholeinthegroundwhereshecouldsitbyherself."Iwantedsomeplacethatwasallmine,wherenobodycouldbugme.WhenIwaslittle,Iusedtositonachairinthefronthall.IusedtothinkthatifIkeptverystillandoutofthewayanddidn'tsayanything,Iwouldbesafe....WhenIwasreallylittle,IguessIusedtogetintotroublealot,withDaddy.Whenhewouldlosehistemper.Youneverknewwhenhewasgoingtodoit.'Wipethatsmirkoffyourface,'hewouldsay.Iusedtostanduptohim"(267-68).Cordelia'sfatherinstructsherinherownabjectworthlessness.Heteacheshertofearmaleangerandtoavoiditbykeepingstill.Cordelialearnshiscontemptanddisgust;thesehaveevidentlylittletodowithheractions("Youneverknewwhenhewasgoingtodoit")butratherwithherexistence,herexpression,hersexandage.Sheunderstandsthatshehasthewrongface.Shetriestoeffaceherself,toputonmasksandroles.SherealizesthatshehasnoplaceinDaddy'shouse,

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andforeshadowingherlaterlife,shemustdigagraveinordertomakearoomofherown.

Atnine,CordeliaadoptsElaineasadouble,twin,andalterego:determinedtopreserveherownworthiness,CordeliaprojectsontoElainetheroleofthebad,rebellious,defiantchild,thedaughterDaddyrejects.Cordeliadigsaholetomakeherownspaceinthebackyard;thensheburiesElaineinit,asiftodramatizethetransferalofher"bad"sideandherwilltopunishandrepressit.Cordeliaplaysthelong-sufferingparentteachinganabnormal,errantchildproperbehavior."Wipethatsmirkoffyourface,"shesaystoElaineonvariousoccasions,aligningherselfwithherfather'sperspectiveonoffensivegirls(183,205).IntheviciousnessofhercrueltytoElaine,Cordeliashowshowbitterlyhurtandangryshefeelstowardherownparent.Simultaneously,shedemonstratesanearnestwilltobethegooddaughter,notonlybydetachingherselffromthose"bad"traitsthatexpressthewoman'sforbiddensubjectivity,butbycondemningthedaughterlybadnessshelocatesinElaine.

AfterElainebreaksaway,Cordeliaislefttostrugglewiththeforbiddensubjectwhocomeshome.Shecannolongerprojectheroutwardanddisownher;neithercanshereintegratethedefiance,aggression,desire,andangershefeels,orapprovethesubjectiveresponsesshehasbeencondemnedforhaving.SentofftoprivateschoolbyDaddy,Cordeliarebelsagainstmaleauthority;shedrawsapenisonabatandlabelsitwiththeteacher'sname(217).Expelled,shereturnstopublichighschool,whereshebecomesacaricatureofthefemalemindlessnessandineptitudethatconfirmherfather'sjudgment.Cordelialosescombsandhomework,failstestsandcourses.Asshebecomesanobject,progressivelynullifiedbyherinabilitytopleaseherfather,shegrowssloppyandindifferenttogrooming:ableachedstripofhairgrowsout"soit'sdisconcertinglytwo-toned....Herlipstickdoesn'tseemtofithermouth"(270).ThesetwomouthsandtwoshadesofhairannounceCordelia'sdivisionandemptiness,whileherfacesometimeslooks"asifshe'snotinsideit"(234).Annulled,shecowersoutofsight.WatchingCordeliaandherfather,Elaineunderstandsthat"herdithering,fumble-footedeffortstoappeasehim"aredoomed:"nothingshecandoorsaywilleverbeenough,becausesheissomehowthewrongperson."Cordeliacanonlyannihilateherself,whileElainewatchesinangrydisbelief:"Howcanshebesoabject?"(264).

Inherlastappearance,abouteightyearsafterhighschool,Cordeliahasbecomethewoman-object,thepowerlessmummy.Confinedina"discreetprivateloonybin,"sheisplump,conservative,andmuted.She

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wearshermother'scolors,the"softgreentweedsandtailoredblousesofhergood-tastebackground,"andherhairhasbeendonein"tightlittlewaves"(374-75).Shecannotact;shecanbarelystandorwalk.Amadwomanintheatticdoublytrappedintheguiseofanangelinthehouse,sheisledbyamotherlyattendant,madedocilebyachemicallyinducedinvalidism.Hervoicehasbeen"slowed-down,"thickenedanddamagedbyheavydosesoftranquilizers.Forcedintothemeek,dependentpassivityofthegooddaughter,Cordeliabecomesbythesamestrokeasadlyreducedversionofhermother:mindless,inept,irrelevant,neat,unsexed.Sparksofdefianceremain--afumbledprofanity,anexpresseddeterminationtogetout.ButCordeliaisnownullified,gone;shehasthrownherselfaway.Hereffortstowinapprovalfromapatriarchwholoatheswomenhaveculminatedinasuicideattemptand,morebroadly,inherhaving"letgoofherideaofherself"(376).ThoughCordeliadisappearsfromthehome,Elainehasnoreasontosupposeshecanresurrectasubjectfromtheabyssintowhichshehassunk.

SpeakingtheWomanSubject:Elaine

Cat'sEyeexpressesanoriginalunderstandingofwomen'sintertwinedandresponsivesubjectivity,aswellasofthepoliticsthatwouldkeepitatbay.WhiletherepressionofhersubjectivityleadsbothCordeliaandElainetoart,Atwoodfocusesonthecosttobothwomenandcultureofitshabitualtranslationofwomanintoobjectorabject;Atwoodattemptstoencourageafeministartthatquarrelswithitsowngrimorigins.Herfictionwouldbethewayout;itwouldlimitthepatriarch'spowerandendorserepudiationratherthancomplicityinthedaughter.Itwouldreconceivethewoman,neitherasabjectnorasobject,butassubject.OutofherchildhoodexperienceasCordelia'srejectedhalf,theabhorrentfemale,ElaineRisleybecomesanartistcommittedtodisruptingherculture'sviewofwomen.Inthecrucialsecondhalfofthenovel,shechallengesthefather'sloathing.Atwoodequipshertodoso,notwitharecovered,essentialself,butwithanacquiredpolitics,anartisticvoice,awoman'sengagedsubjectivity.

Elaine,likeCordelia,intuitivelyseeksapproval;sheappearsfromtheoutsetasthegooddaughterwhoisobedienttoparentalauthority.Shelearnstofightsilentlywithherbrotherandnevertattle,andhereagernesstopleaseoftendictatesherresponse,asintheEaton'sCataloguegame.Her

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readysubmissiontothewillofothersmakesheraneasypreyto,andablecolluderwith,Cordelia.LikeCordelia,Elainetrieshardtosucceedasadaughter,towinlovebypleasinganimplacableparent.ForcedtoplayCordelia'sabject,unapprovedside,Elainerespondswithangelicsubmissiveness:shebecomesthesilentobject,shestaysinwhateverplacesheisassigned,shemakesherselfsmall,invisible,andinoffensive.Shebecomes,inthisrole,thenullifiedobject,andsheembracestheroleasCordeliadoes,abjectly.Forbothwomen,silence--ortheself-effacingrepetitionofthefather'sdiscourse--isthesigntheyhaveyieldeduptheirsubjectivity.

Duringtwomiserableyears,Elainesuffersthepainofthecanceled,thenonobject.ThrownawaybyCordelia,shetriestocastoutherownbasequalities.Shefeelsdeeplyshamedandnullified:"Cordelia,Ithink.YoumademebelieveIwasnothing"(211).Sherespondsbydividingherself;shewoulddistanceandexpeladefiled,badside,asCordeliadid,topreserveaworthyside.Elaineliterallyrendsherself:shepeelstheskinfromherfeet,shredstheskinonherfingers,bitesherlips.Creatingadramaticmetaphorforthesubject/objectsplit,shecultivatestheabilitytofaintatwillandleaveherobject-bodybelow.Shecomestoseeherselfasvisiblysplitanddoubled,atransparent,forcelessI-subjectcoupledwithanumbobject:"Ifeelblurred,asiftherearetwoofme,onesuperimposedontheother,butimperfectly.There'sanedgeoftransparency,andbesideitarimofsolidfleshthat'swithoutfeeling,likeascar"(184).Whenshereassertsherselfonpage206,itisnotthe"self"shebroughttoTorontobutoneshapedtherebythecontemptshehassuffered.Elaineisnolongercontinuousorself-identicalbutmiredindifference:from"herself,"first,andthenfromCordeliaandalltheotherkin,friends,doubles,andpartnersshewilllaterhave.

ElainewalksawayfromCordeliaonlywhen,makingaliteraldescentintotheabyss,sheinventsanewparentforherself--apowerfulmotherwhoapprovesthedaughter'ssubjectivity.Hercrisisoccursintheravine,asymbolicallyaptplaceforrenewedconnectiontothemother(thoughLadyOracle'sprotagonistisrescuedthereinasimilarscenebyafairygodfather).17Havingrenouncedthecondemningpatriarch,theSmeath'sGod(whois"onasidefromwhichI'mexcluded"[192])andthefatherwhoexpresseshisloathingthroughCordelia,ElainepraystotheVirginMary.Punished,sentintotheravinealoneinthedark,shefallsthroughtheiceandispowerfullytemptedbynumbness,stasis,pureobjecthood,theannihilationofdeath.ShehasavisionofMaryasthenurturingmother

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whowalkstoearth,speaks,warms,actstopreserveherdaughter:"Youcangohomenow,shesays.Itwillbeallright.Gohome"(201).Herwordsstandinoppositiontothefather'swilltoestrangeandbanishthedaughter;theyaffirmherrighttolifeandwarmth.18

AsafirstresultofElaine'svisionofthepowerfulmotherwhoacceptsher,sheregainsvoice.Shespeaksup;sherejectssilentobjecthood;sherefusesanyfurtherpunishmentfromCordelia.Then,inadolescence,sheneatlyturnsthetables--sheadaptsCordelia'sownbitingironytotalkbacktoher.SheterrifiesCordeliabytellingastoryaboutthedeadreturningtohaunttheliving;Cordeliainventedasimilarstory,aboutthesamegraveyard,toscareElaineatnine(246,79).Elainediscoversa"meanmouth"ingradeeleven:shehasseizedtheboldlycritical,eveninsultingverbalwitthatcharacterizedtheyoungCordeliaandprovidedthebasisforherpowerovertheothergirlsingradefive.Elaineusesher"meanmouth"toinsultCordelia,achievingexactrevenge:"ThepersonIusemymeanmouthonthemostisCordelia.Shedoesn'tevenhavetoprovokeme,Iuseherastargetpractice"(248).Elaine'smeannessvergesonprofanityandskirtsbadtaste,asdidCordelia's;hertargetsarealwaysgirls,aswereCordelia's;girlsfearherandfollowhalfastepbehind,astheyfollowedCordelia.IllustratingwhatMikhailBakhtincalls"dialogicdiscourse,"Elainebringsinthefather'scriticalvoiceandturnsitbackonhisminion,Cordelia.19

ButthetransformationgoesbeyondawilltopunishCordelia,forElainebecomeswhatCordeliathrowsawayandlearnstotalkbacktothefather.Shegraduallybecomesthe"bad"Cordelia,thedaughterDaddycan'ttolerate,theinventive,defiant,mouthy,assertivefemalesubject.ThroughCordelia,Elainetakesinthediscursiveauthorityofherculture,withitscondemningfatherlyvoice;unlikeCordelia,Elainefindswaystogiveitback,toreworkthefather'sobjectionsandrepliesforherownpurposes,andintheprocesstostripthefatherofhisauthoritytospeakforher.WhileCordeliabecomesprogressivelymoresilentinthefaceofthefather'scriticism,Elaineengagesincreasinglyin"mean"rejoinderstotheculturalpositioningofdaughtersandtodaughterswhoacceptameekandsubordinaterole.Herrefusal,afterhighschool,toplaythegooddaughter;herrejectionofallformulaicconstructionsofwhosheisorshouldbe,aswomanorartist;herrecalcitrancewiththejournalistwhowillshertobethe"feministartist":theseandotheracidretortstoothers'versionsofElaineinsistonherownauthority.

Becausesherejectsafeministlabelandbecausesheemergesfromher

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experiencewithCordeliadistrustingwomen,onereviewersensedan"undercurrentofmisogyny"inCat'sEye.20Elaineremainsthroughtherestofherlifeuneasybothwithwomenandwithfeminism,andthoughherpaintingsareenthusiasticallyreceivedbybothwomenandfeminists,shefindsherselffrozen,unabletotrustandformfriendshipswithotherwomen.Somereadersofthenovelfinditproblematic,asaresult,becausethenovel'sclearlyfeministcritiqueofpatriarchalculturedoesnotleadtoanyevidentcriticismofitsprotagonist'sdistrustofandrefusaltojointhefeministcommunity.Inplaceofcondemnation,thenarrativeappearstoendorsepityforElaine,asorrowfulrecognitionofwhatshehaslost.Atwoodremarksinaninterviewthat"Cordeliareallygotaround,andshehadaprofoundinfluenceonhowthelittlegirlswhogotrunoverbyherwereabletorespondtootherwomenwhentheygrewup."21Thefather'srefusalofthedaughter'ssubjectivityramifiesoutward.DaddypunishesCordelia,whopunishesElaine,wholosesthetrustthatmakeswomen'sfriendshippossible.Elainerefusesafeministmanifesto,andsheisnotparticularlynicetothejournalistwhotriestomakehersubscribetoone.Aswellasmistrustofthewomen'sagenda,Elaine'sattitudereflectsarefusaltobespokenfor,aninsistenceonspeakingforherself.Itsrealobjectiveisresistancetothefatherlyvoiceofculturethatwouldreturnwomantoherpositionasasilentobject.

ManyofElaine'sadultchoicesemergefromherfiercerenunciationoftheabjectdaughter'sacquiescentpropriety.Sheselectsherfirsttwolovers,forexample,forthetriangularrelationshipstheyofferandfortherevolttheypermitheragainsttheproperbehaviorofthegooddaughter,Daddy'ssubmissivepossession.ShedoesnotfeelromanticloveforeitherJoseforJon;whenshefirstsleepswithJosef,shebelievesshehasrenouncedmarriagetoanyone.ShechoosesJosefinpartbecauseofhisinvolvementwithSusie(adoubleandanechoofCordelia)andJoninpartbecauseofhisvarioussemiattachedgirls.Elaineistwoentirelydifferenthalf-objectstothesemen:Josefidealizesher,dressesherinPre-Raphaelitegowns,andseeksanetherealothernessinher;Joncallsher"pal"andoffersheranescapefromgrown-upresponsibilities(334).Therelationshipsoverlapandrequireconcealmentanddeception,shieldingElainefromintimacywitheitherman.Sheenjoysthedangerandfindsthattreacherymakesherfeel"safer.Twomenarebetterthanone,oratleasttheymakemefeelbetter....havingtwomeansthatIdon'thavetomakeupmymindabouteitherofthem"(332).Shehaschosentwoforthis

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reason;theyarea"pairofbookends"allowinghertoremainfreestanding(340),herownbookishwordkeptquietlytoherselfbetweenthem.

Elainealsomakesachoicetobecomeapainterthroughaseriesofrepudiationsoffatherlyauthority.Shehasintendedtostudybiology,andwhenshechoosesartinstead,sherejectsherownfather'sprofession--heisanentomologist.Shealsodisappointsandworriesbothherparents,who"reactedwithalarm"toherdecisiontopaint(289).Shetakescoursesinarthistory,wheremaleprofessorsteachthetraditionsofherartisticforefathers;thesetoosherejects.Sheobservesaheavyconcentrationofpaintingsofnakedwomen,who"arepresentedinthesamemannerastheplatesofmeatanddeadlobsters,withthesameattentiontotheplayofcandlelightonskin,thesamelusciousness,thesamesensuousandrichlyrendereddetail....Theyappearservedup"(342).Herownpaintingswillrefuteandreplacethisviewofwomenasobjectsforartisticrepresentation.Shealsoleavesbehindherownpersonalguides,JosefandJon,eachaself-proclaimedauthorityontheproperdirectionforcontemporaryart.Sheabandonsthefavoredmedium,oilpaint,andteachesherselftomakeanduseeggtempera.Shediscardsthecurrenttrendtowardabstractionandpaintshumanfigures;"I'mawarethatmytastesarenotfashionable,soIpursuetheminsecret"(343-44).

Elaine'spaintingstalkback:theyinterrogatetheculturalpositioningofwomanasemptysurface,ascontainerforthemasculineword,asluscious"skin"andsensuousobject.Womanasmodelandmuseforartistheultimateformoftheabject/objectdaughter:sheisthesilent,passivespaceinwhichthefatherly"master"musesonbeautyandfindsitwithinhisgrasp.Here-presentsit,bringsittofruitionunderhiscontrollinggaze,turnswomantohisownmaster"piece,"andrendersthefemalesubjectaseroticobject.Atwood'sreflectionsontherepresentationofwomeninWesternartrevealasophisticatedawarenessoftheconnection,importanttofeministarthistoriansandfilmtheorists,betweenartformsthatobjectifywomenandpoliticalsystemsthatoppressthem.KateLinkerdefinestherelationclearly:"Theapparatusworkstoconstitutethesubjectasmale,denyingsubjectivitytowoman.Woman,withinthisstructure,isunauthorized,illegitimate:shedoesnotrepresentbutis,rather,represented.Placedinapassiveratherthanactiverole,asobjectratherthansubject,sheistheconstantpointofmasculineappropriationinasocietyinwhichrepresentationisempoweredtoconstructidentity."22AtwoodgivesElainepowertorespondtothishistoryinpaintingsthatsuggestthe

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ungraspable,unrepresentable,layered,hidden,richlymultiplenatureofwomen.Elaine'spaintingsexpressapersonallyrootedpoliticalvision.Theyspeakoutaboutgenderandculture,resistingsimpleformulasasvehementlyasElainerefusesothers'agendas.Shepaintsrelationshipsthathaunther,inimagesthatdisclose(sometimesdespiteherexpressedintention)unresolvedquestions,unmasteredanxiety,turbulence.Thepowerinherpaintingsderivesfromtheirlackofmasteryoverthesubjectstheyshow.23

SomeofElaine'spaintingsrespondexplicitlytothetraditionalartist'spositioningofwomanasabjectobject,appropriatedbythemasculinegaze."FallingWomen,"forexample,addressesaconventionalideaaboutwomen'ssexualityanditsrepresentationinart.FeministarthistorianLindaNochlinobservesa"sexualasymmetrypeculiartothenotionoffalling";fallenmenhavebeenkilledinwar,butfallenwomenhaveindulgedinsexualactivityoutsideofwedlock.Thefigureofthefallenwoman"exertedapeculiarfascinationontheimaginationofnineteenth-centuryartists."24Thefallenwomantypifiesabjection,andinthepaintingsNochlinsurveyssheoftencowersbeforeanuprightmalefigure.Elaine's"FallingWomen"altersthisspatialconfigurationandstripsawaythejudgmentagainstthewomen:threewomenare"fallingasifbyaccidentoffabridge,"skirtsbelledbythewind,ontomenwholieunseenbelow.Thepainting,shesays,is"aboutmen,thekindwhocausedwomentofall";itsuggeststhegravitationalpullofthosemen,andtheoddinappropriatenessofthenotionthat"fallen"describesthewomen'srelationtomenwholie"jaggedanddarkandwithoutvolition"inwaitforthem(282)."LifeDrawing"exploresthewaymaleartistscreateimagesofwomen--servethemup--oncanvas.JosefandJonstandoneachside,paintingamodelseatedatthecenter.Themenarenude,seenfromtherear,objectifiedandsensuouslyrenderedtoevokethetraditionalrenderingofwomen.Eachpaintsthesamemodel:Josefproducesavoluptuouswomanwithabrooding,Pre-Raphaeliteface,andJonaseriesof"intestinalswirls"inredandpurple.Herownpaintingofthemodelemphasizesherplainness--herbarefeetare"flatonthefloor,"herhandsare"foldedneatly"--whileinsistingontheungraspablemysteryofherconsciousness:"Herheadisasphereofbluishglass"(386).Notseenasacommodity,notgivenorbroughttopresence,womanexistsinadifferentdimensionfromthoseinwhichshehasbeenrepresented.

Elaine'spaintingsoftheVirginMaryrevisetheimageofthesacredwomancentraltoWesternart,especiallybyrejectingtheetherealand

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passivequalitiestraditionalartistshavegivenMary.Sincedivinequiescenceandself-effacementendorsewomen'sacceptanceofobjecthood,Elaine'ssacredwomanmusthaveasubjectivityandanactiveroleintheworld.Forher,Maryisnotavesselforthemasculineword,areceptivecontainerfortheOther'spower,oracalmspiritualitymeditatinginreposeabovethesecularrealm.Inonepainting,Maryhastheheadofalioness,Christacubinherlap:"MyVirginMaryisfierce,alerttodanger,wild.Shestaresleveloutattheviewerwithheryellowlion'seyes.Agnawedboneliesatherfeet"(361).Sheemanatesherownfiercewill,herownnaturalpower,andshetakesapositionofalertwatchfulnesswhich,withthegnawedbone,suggestsherreadinesstoactintheworld.Inanotherpainting,Maryisdescendingtoearthinawintercoat,apurseoveroneshoulder,carryingtwobagsofgroceries.Thingshavefallenout."Shelookstired"(361).Marytakesanactiveplaceinanonidealizedsecularworld,amidthedomesticactivitiesofcontemporarywomen.Farfrombeingarepletecontainerwhopassivelyawaitsdelivery,shecarriesherownload,evencoldandtiredandunabletocontrolhergoods,whichspillintothesnowandslush.Whatfallsfromherbags,moreover,isnotthemasculinewordbutsymbolsofmythicfemininity:anegg,anonion,anapple.Thispainting,titled"OurLadyofPerpetualHelp,"suggeststhathelpcomesfromMaryaswoman.

Elaine'sportraitsofwomenrefusetomaketheirsubjectsintoobjects,"servedup,"sensuous,or"richlyrendered."Theyshowwomenbusyorthoughtful,notabsorbedinbeingseenbythepainter.Theyfocusonwomen'sconsciousnessandprovideimagesforitslayeredcomplexity.Elaine'swomenareneversimplybeautifulorvoluptuous;theyarenevergraspedorgraspable;theyareoftentroubled,butneveremptyorabject.HermostfleshypaintingsexposeMrs.Smeath,whoseexistenceinfleshintrudestoundermineherhypocriticalclaimstoapurelifeofthespirit.UnwrappingMrs.Smeathinthepanelsof"WhiteGift,"onefindscheapunderclothesandflabby,pallidflesh,andbeneaththatadiseasedheartsuggestingthefailureofcharity(369).Yetthroughherangeratthemotherwhosawthegirls'punishmentofElaineasGod'srighteousjudgment,ElainealsopaintsMrs.Smeathwithlight,depth,andpity.Yearslater,lookingatthepainting,shesees"defeatedeyes,uncertainandmelancholy,heavywithunlovedduty"(427).

WhenshepaintsCordelia,Elaineproducesavividimageofdouble-sidedandrepressedconsciousness.Titled"HalfaFace,"thepaintingshowsCordelia'sentireface;behindher,hangingonthewall,is"another

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face,coveredwithawhitecloth.Theeffectisofatheatricalmask.Perhaps"(239).ElainechoosestopaintCordeliaatthirteen,withherdefiantlook--buttheeyesescapeherandrevealfearinstead.Thefearfreezesthedefiance;thedefiancerevealsthefearemanatingfromanimpossible,emptyobject.Theshroudedsecondfacehidesitsexpression,suggestingthemaskedqualityofthefaceturnedtowardtheworldandthedepthsitrepresses.Thesesevered,shrouded,fearfultwinhalvesofCordeliasuggestthedeadlinessforwomenofthebinarylogicofsubjectandobject.

Elaine'slatestpaintingistitled"UnifiedFieldTheory,"afterthephysicists'sought-aftertheorythatcanbridgedualitieslikeparticleandwave,quantumuncertaintyandrelativity,andmakeauniversefullofseeminglyirreconcilableoppositionsonewhole,interactivefield.Inthepainting,awomanstandsinair,abovetherailingofabridge."SheistheVirginofLostThings.Betweenherhands,atthelevelofherheart,sheholdsaglassobject:anoversizedcat'seyemarble,withabluecenter"(430).Thewomaninthepaintingbridgesdifferentlevelsofpast:shebringstogetherthecrisispointinElaine'slifewhenshehadavisionofMaryonthebridgeandthepointyearslaterwhen,goingthroughatrunkinthecellarshortlybeforehermother'sdeath,Elainerediscoveredherfavoritebluecat's-eyemarble.Bothmomentsaresignificantfortherecoveryofalostsubjectivity.Inthefirst,Elainereassertsherrighttobeasubjectinthefaceofaculturethat,speakingthroughCordelia,reduceswomentoobjects.Inthesecond,sherecoversthetalismanthathassymbolizedhersubjectivityunderduress:hard,impervious,glassy,withitsrichnessburiedinside.ThemarblereplacesthetraditionalsymbolsassociatedwithMary--theredheartthatsignifieshersympatheticintercessionforhumankindandtheChristchildwhoisthemasculinewordshebears.Thecat's-eyemarbleisneither"feminine"affectivefeelingnormaleseedofamasculinedeity.Itcomesfromtherealmofchildren'splayandisvirtuallytheonlyplayElainerecallsfromherschooldaysinwhichgirlsandboysparticipatejointly,withequalenthusiasmandinterest,withoutbarriersorhierarchiesbasedongender.

Manydetailsinthebackgroundofthepaintingreinforceitsattempttotranscendtraditionalbinaryoppositionswithavisionofthedynamicfield.AsElainedescribesit,thepaintingbridgesdisparaterealms,includingboththefardistantspaceofinterstellarnight,with"staruponstar,red,blue,yellowandwhite,swirlingnebulae,galaxyupongalaxy:theuniverse,initsincandescenceanddarkness,"andthecloseathand,themicroscopic"beetlesandsmallroots"fromunderground(431).Initsoddlyconflatedimages,thepaintingcombinesdarknessandlight,small

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andlarge,earthandsky;eventheblackcloakwornbythewomancontains"pinpointsoflight."Thelighttoneatthebottomofthepaintingisthe"clearblueofwater"--likethebluemarble,thecreekconjoinsvitalityanddeath,foritcomesfrom"thelandofthedeadpeople."Insettingupdialoguesbetweendifferentsystems,scales,andvalues,thepaintingsetsitsvisionresonatingwiththeuncannyenergyofaunifiedfield.

Cat'sEyesuggests,throughtheevidentpowerofElaine'spaintings,thatwomencontributetochangingthehistoricalcontextbythewaytheydefinetheirproblemssurvivingit.Butthenovel'semphasisisnotontheconsolingprocessthroughwhichgreatsufferingproducesgreatart,orgreatartbetterpolitics.Thenoveldoesnotsuggestthatartcanresolvetheproblems,changetheculture,orgivewomenpositionsofgreaterdignity.Rather,Cat'sEyemeasuresthecostforbothindividualsandcultureoftheencodingofwomenasobjectswhomayberenderedabject.ForElaine,thiscostislarge:shesurvivesasuicideattempt,butshesuffersongoingboutsofdepression,dayswhensheliesonthefloorinthedark(121).Sheremainsdivided,hauntedbyself-doubtandyearningtoachievethereunionwithCordeliathatwouldreunifyherself.Butthereunionneveroccurs,andElaine'srecognition--"I'vebeenpreparedforalmostanything;exceptabsence,exceptsilence"(435)--amountstotherealizationofalossascompleteasdeath.ElaineneverlearnsCordelia'sstory.Surely,though,thestoryofStephen'sdeathextendsoutwardtosuggestCordelia's.Stephen,thestranger,brother,double,andcompanionforElaineinheryouth,alsodoublesforher"sister"andbestfriendCordelia.LikeCordelia,StephenfiguresasEaine'stwin,inaseriesofreferencestodoomedtwinsthatrunsthroughthenovelandbindsthethreecharacterstogether.25LikeCordeliaandElaine,StephenisalientothecultureofToronto--unassimilable,different.LikeCordelia,heappearsaloneandisolated.StephenisshotbyterroristsintheMiddleEast;hediesfiveyearsbeforeElaine'sreturntoToronto,butshetellsofhisdeathveryneartheend.Stephen'sdeath,bizarre,accidental,andunexplained,inhabitstheblankinthetextleftbyCordelia'sabsenceandsuggestswhytheonlytraceofherElainecanfindinTorontoisahungryghost.

Elainefindsthisghostintheravine,wherethepresentmeetsthepastatthenovel'send.Shehasastrangevisionthere,notofunityandidentitybutofdifference.Sheexpectstoseeherselfatnineinablueknittedhat;instead,sheseesCordelia,andseesherasother.ShefeelsanechooftheworthlessobjecthoodshesharedwithCordelia."Thereisthesameshame,thesickfeelinginmybody,thesameknowledgeofmyown

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wrongness,awkwardness,weakness;thesamewishtobeloved;thesameloneliness;thesamefear.Butthesearenotmyownemotionsanymore.TheyareCordelia's;astheyalwayswere"(443).InplaceofidentificationwithCordelia,Elainenowperceivestheirdistance.SheunderstandsthatthefeelingofnonexistentemptinessemanatedfromCordelia.Elainebecomes,then,thematernalfiguresheimaginedforherselfwhensheneededrescue,andshereachesouttoCordelia'sghostwithforgiveness.Butshetakesbacknoeaseorconsolation.OnherflighthometoVancouver,ElaineaddressesCordelia:"ThisiswhatImiss,Cordelia;notsomethingthat'sgone,butsomethingthatwillneverhappen.Twooldwomengigglingovertheirtea"(446).Therecognitionofallshehaslostandmissed--anabilitytomournherlosses--iswhatElainegathersinToronto.