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In Holy Pictures (1983) and Home Rule (1993), Clare Boylandeconstructs the family dynamics of urban Ireland a century earlier,portraying mothers who contradict the Irish ideal of maternal selflessness.Boylan critiques the Irish family structure of the late 1800s and early 1900sby showing how it can pressure mothers to become sadists. In addition, Boylancomplicates the stereotypical heterosexual romance by portraying cruel wives.This essay draws upon Freud, Julia Kristeva, Michelle Masse and othertheorists to illuminate the sado-masochistic dynamics in Boylan'snovels.
Elinore realizes too late that illusions gained from fictionprevented her from grasping the significance of her beloved's differencein education, religion, nationality, and class. The narrator, like Elinore,creates edgy comic commentary when describing Elinore's feelings aboutDanny upon their marriage night: \"he was like a man trying to killsomething that would not die\" (31). Even before getting pregnant,Elinore, conditioned by Victorian praise of the asexual lady, perceives avery real threat to her health posed by Danny's desire. Taking advantageof her higher-class status, Elinore treats Danny with increasing disdain, inorder to prevent pregnancy. She becomes the rejecting, controlling one--he,the imploring, submissive one; in their marriage, Elinore's superiorclass standing, nationality, education, and force of character reverse thestandard heterosexual dynamic. (5)
Danny's neighbors think of him as a hero for having saved awhole street from typhus and a would-be-suicide from hanging herself;nevertheless, this hero repeatedly molests Daisy after Elinore bans him fromtheir bedroom. Boylan shows how the lack of contraceptives causes alate-Victorian wife to adopt the only method she can think of--abstinence,without imagining the consequences for her daughter. During Danny'sattacks on Daisy, \"He was like someone looking for something he hadlost\" (HR 13). Turned into an object of her father's perversedesire, Daisy is betrayed again and again by the one person she loves most.It is no surprise that, once grown, Daisy duplicates her mother'sexploitation of women and children, since Daisy herself experienced theultimate in exploitation.
Like her mother before her, Daisy sees love as determined byGothic conventions. Masse writes of heterosexual relationships that,\"Every girl, and every Gothic heroine, learns that it is only in themirror of his [the beloved's] regard that she exists, only in theplenitude of his subjectivity that she is whole\" (1992: 90). Beforemarriage, Daisy is the insecure one. Daisy undergoes periods of anxiety whenCecil does not write to her: \"She would do anything to recover themoment when he asked her to marry him, to recapture that confidence\" (HR164). Daisy recalls his phrase about being set on fire by her beauty:\"By such a careless phrase could a man waste a woman's youth\"(HR 185). To rekindle Cecil's interest, Daisy has Janey write himpassionate letters; Daisy signs the letters without reading them. Cecilbegins to write her daily, to Daisy's relief. Here the underside ofromance comically appears in Janey's letters that border on soft porn.Ironically, while Cecil fantasizes about their potential physical love,Daisy, like a heroine in a fairy tale, waits for her handsome prince to saveher from becoming an old maid. Similarly, as a child Daisy had waited for hergood-looking father to rescue her from her mother's rejection, thenfound his abuse instead.7 After waiting for Cecil for five years,Daisy's beauty dims. When he finally arrives, he is just as good-lookingas he was five years ago. The narrator explains: \"Passing women admiredhim and then appraised his mousy partner [Daisy]. Her heart was sore withworship. She felt speechless and despairing\" (189). As Masse comments,\"women's devaluation enables and maintains men'sovervaluation. . .\" (1992: 90). Daisy's abject relation to Cecilsomewhat comically echoes her brief spell as a potential bride of Christ.
However, Daisy and Cecil's power positions reverse aftermarriage. Because Daisy is frigid as a result of being molested by herfather, Cecil falls in love with her all over again. Thinking of Janey'sdisconcerting advice to wives to hold themselves back if they want to sustaintheir husbands' interest, Daisy realizes that \"without herpermission a part of her was shut off from him [Cecil] forever. She rejoicedat this accident\" (197). The idealistic soldier who had fallen in lovewith a nun is enamored with his reluctant wife. The once unavailable Ceciland the formerly imploring Daisy exchange roles; Cecil now takes the role ofabjection, and Daisy, of distant unavailability. In this they replicateElinore and Danny's marital roles. Nancy Chodorow observes that whensimilar problems recur in marriages across the generations, they are often\"part of the routine process of family reproduction\" (1989: 66).
themselves naturally manage it by idealizing\" (1987:28). As a little girl, Nan realizes: \"She knew mother liked her and Maryand that they loved her, but to their mother love must always be somethinggrand and beautiful and they were small and rather plain\" (HR 287).
The generational beating drama of mother against daughtercontrasts with this solidarity among sisters which Mags did not achieve inher generation. For not only had Mags never trusted Janey, who consistentlylooked after Mags's interests, Mags did trust Ba, who betrayed her.Later, Mags had tried to exploit Weenie, the sister whom their mother hadmistreated the longest.8 Nan and Mary's mutual support embodies whatKristeva calls \"herethics\" (1986: 185), a generalized beneficencethat defies the hatefulness of the Madonna ideal. Yet in Ireland during the1930s after the novel ends, Nan and Mary will presumably experience the samepressures to compete for men and for maternal attention that Mags and hersisters once faced, since employment options for women will not haveimproved. The Irish Constitution of 1937 encouraged women to adopt the rolesof mother and housewife (Owens 1984: 132), kept women from serving on juries,and prohibited married women from working for the civil service (Pelan 1996:50). The Constitution officially reduced options for women by labelingmotherhood as women's vocation: \"The political identification ofwoman and motherhood in Ireland, enshrined in the Irish Constitution . . .signals the conjunction of the power of the state, the Church and familyideology in the construction of femininity and in the coding of the femalebody\" (Rooks-Hughes 1996: 84). Given these conditions for women, readerswould know that Nan and Mary's escape from the self- abnegation expectedof them might end when their picnic does. Boylan's next novels, whichare set during the latter half of the twentieth century in Dublin--Room For aSingle Lady (1997) and Beloved Stranger (1999)--leave