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As well as the changes to women's roles thatindustrialization brought to Ireland during the latter part of the nineteenthcentury, a devotional revolution occurred in the Irish Church that resultedin more rigid gender roles and a glorification of asexual maternity in thestyle of the Virgin (Gibbons 1996: 85). "The cult of the Virgin Mary,which flourished from the late nineteenth century--asserted in part inopposition to the Protestantism of the colonial rulers--strengthened theconstruction of asexual, maternal and domestic femininity upon whichhyper-masculinity and socio- economic and sexual regulation depended"(Nash 1997: 115). Not only sexual regulation but self-sacrifice was requiredof women: "The cult of the Virgin endorsed not merely chastity andmotherhood as womanly ideals, but also humility, obedience and passivesuffering" (Innes 1993: 40). Jenny Beale (1986: 52) contends that evennon-religious Irish mothers from the second half of the twentieth centuryfelt guilty about their inability to reach the ideal of motherhood that theVirgin personifies. Yet Home Rule and Holy Pictures contain disturbing(though at times humorous) portrayals of mothers mistreating their daughterswithout feeling guilty.

Like Kristeva's, Michelle Masse's ideas about femalemasochism in gothic novels shed light on the daughters' toleration oftheir mothers' cruelty in Home Rule and Holy Pictures. Masse analyzesFreud's beating drama that she contends underlies sado- masochisticrelationships in the heterosexual family. "In dealing with others, themasochist replicates the interpersonal relations she knows: she mayappropriate the power of the sadist and, in so doing, reproducesmasochism" (1992: 51). Though Home Rule and Holy Pictures are not gothicnovels per se, they do contain entrapment, abuse, suicide attempts, andmolestation. With a cold eye, Boylan reveals that the viciousness of somemothers towards their daughters may have continued, generation aftergeneration, in late-Victorian and early twentieth-century Dublin.

Masse explains the logic through which women may act cruellywhenever they can: "There is in such cases a basic conservativeidentification with the very system that assures their [women's]oppression: their limited status and power are asserted within such a systemby damaging other women, children, and servants, for example" (1992:62). Following Masse's model, Elinore Devlin of Home Rule makes hereldest daughter, Lena, into a household drudge as soon as she turns fourteen.Later, Elinore sends Lena away from her beloved suitor to work as an unpaidcompanion against her will. At the turn of the twentieth century, Elinoretreats her other daughters with similar callousness, taking some of them outof school to put them to work at an earlier age than she did Lena. Elinoreeven drives her child Weenie to attempt suicide by repeatedly cutting off thegirl's hair to punish her for allowing her baby brother to fall into acanal and drown.

Elinore's mistreatment of her daughters occurred during aperiod when few options were open to women for working outside of the home.The predicament of the unmarried daughter worsened after the Famine of the1840s; as Ireland became increasingly male- dominated, the percentage ofwomen working outside the home decreased from 29 percent in 1861 to 19.5percent in 1911 (MacCurtain 1985: 48). Besides having limited opportunitiesto work outside the home, women's options to marry were reduced by anincreasingly troubled economy. In 1861, 43.3 percent of women in Ireland weresingle, but in 1911, 48.26 percent of women in Ireland were single (Innes1993: 39). In forcing her daughters to serve her as unpaid servants, Elinoreis upheld by the gender ideology of her time. For example, The Victorian Girland the Feminine Ideal argues that "the good daughter was gentle,loving, self-sacrificing and innocent" (Gorham 1982: 37). Boylaninterrogates not only Elinore's behavior as an individual, but theeconomic forces and gender, religious, and class ideologies that compel herto act as she does.

Despite initial resistance, many of Elinore's daughtersbecome self-denying in response to her harshness towards them. For example,Lena becomes a little mother to her younger brothers and sisters, tirelesslycooking and cleaning for them. Soon after Elinore sends Lena to live with oldladies in the country as their companion, Lena leaves them because they workher too hard and do not feed her well. Also, she misses her suitor andsiblings. Notwithstanding Lena's sadness, Elinore forces her to returnto her position with the ladies. Eventually, though, Lena becomes devoted tothe old women; finally, they promote her to housekeeper. When they die yearslater, they leave Lena their fortune. At that point, Lena is happy aboutbeing able to put her mother and brother, Will, in the luxurious surroundingsshe believes that they deserve.3 Lena forgets to think about her ownhappiness, for she has learned to share her mother's prejudices,effacing herself as an Irish Catholic, female servant. Boylan exposes theinjustice of Elinore's manipulation of Lena, Beth, and Weenie so thatthey behave abjectly.

Writing in the 1980s and 1990s about a vanished era when Irishwomen's options were much narrower, Boylan depicts matrophobia to someextent. It is true that many of Boylan's mothers are cold, and thatdaughters dominate Home Rule and Holy Pictures; neverthelesss, seeingDaisy's growth from an unhappy daughter into an indifferent mother leadsthe reader to understand the reasons for her inadequacies. Since Boylan wroteHoly Pictures first, she may have later written its prequel, Home Rule , as avehicle for explaining Daisy's flaws as a mother and wife.Elinore's cruelty to Daisy, along with Danny's molestation ofDaisy, trains Daisy to become a neglectful and exploitative mother. Boylanexposes the Freudian beating drama of woman harming woman as an ongoing,destructive reaction against female powerlessness. It is also a brutalstrategy that keeps Elinore and Daisy affluent after they become widows.

When she is young, Daisy blames her mother for mistreating her andher sisters. It is only when Daisy goes through the pain of childbirth thatshe understands what her mother went through while bearing ten childrenagainst her wishes. During the late- nineteenth century, the "risks ofdeath in childbirth increased with each successive birth" (Lewis 1986:153). Elinore practices contraception through placing a bolster betweenherself and her husband on their bed, but he throws it away. She then lockshim out of their bedroom, but, on occasion, he climbs up the drainpipe andthrough the window. When she becomes pregnant for the tenth time, Elinorebathes in boiling water to try to abort the fetus. Under these circumstancesof numerous, inescapable pregnancies, readers can begin to understand whyElinore resents her daughters as well as her husband.

Home Rule and Holy Pictures mix comedy with tragedy to critiquethe damaging relationships of Elinore and Daisy with their daughters andhusbands. Michael Patrick Gillespie describes "the particularly Irishliterary inclination to integrate comedy (especially when tinged withridicule) into the most tragic of topics" (1996: 121). Boylan may havelearned that technique from Swift, Joyce, Beckett, Molly Keane, and FlannO'Brien. Comedy does not detract from Boylan's fiction'sdepth, however. Mikhail Bakhtin writes that through laughter, "the worldis seen anew, no less (and perhaps more) profoundly than when seen from theserious standpoint" (1968: 66). That may be particularly true for themarginalized woman writer questioning disparities of gender. "From Behn... there exists a tradition of women's comedy informed by and speakingto the experience of being female in a world where that experience isdevalued" (Barreca 1994: 28); in other words, "women's writingof comedy is characterized by its thinly disguised rage" (Barreca 1994:21). In line with this, anger erupts through Boylan's narrator, andespecially during Elinore's speeches. For example, Elinore mixes humorwith resentment when she explains that Danny misunderstood her youthfulallusions to Wuthering Heights: "'Whatever our souls are made of,yours and mine are the same,' I [Elinore] told him. She gave a sourlaugh. 'Do you know what he said?' 'Are you a Catholictoo?'" (HR 30). 041b061a72

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