WRITING AND IDENTITY IN THE SHORT STORIES OF
SIDAORU'ANG (1975-1990)
Rachel V. H arrison
P resented for the Degree of Doctor of Philosophy of the
U niversity of London
(School of O riental and African Studies)
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ABSTRACT
T his th e s is m ak es th e th e o re tic a l a ssu m p tio n t h a t lite ra r y an aly sis will consider th e in te rra c tio n b etw een th e read er, th e w riter and the texts.
The In troduction explains th e significance of S id ao ru 'an g and h e r sh o rt story w ritin g in the context of contem porary T hai lite ra tu re an d of academ ic studies of th e lite ra tu re of South E a st A sia. I t discusses some problem s in a d d re ss in g th e v ario u s audiences who m ay find th is work of in te re s t. In ad d itio n it outlines the theoretical approach tak en in th is study.
C h a p te r One d isc u sse s S id a o r u 'a n g ’s ow n p e rs o n a l background, defining th e significant events a n d influences which led h er to begin w riting sh o rt stories in the 1970s.
C h a p te r Two pro v id es syn o p ses a n d a n a n a ly sis of S id ao ru ’ang's sh o rt stories published in th e in itia l stage of h e r lite ra ry career, betw een 1975 and 1976. It sets th ese works in the context of h er own developm ent as a w rite r an d w ith in th e troubled political clim ate in which she was working.
C h a p te r T hree exam ines th e effects of th e a fte rm a th of October 6, 1976 on S idaoru’ang's fiction. It goes on to discuss the b ro ad en in g range of th em es w ith w hich S id a o ru ’ang b eg an to deal as h e r in te re s ts moved aw ay from p o litical activism an d tow ards the fam ily and m otherhood.
C h a p te r F o u r a tte s ts to a m uch s tro n g e r id e n tity in S id ao ru 'an g herself, b o th re su ltin g from , an d conveyed in, h e r w riting. In th is period of h er career, from 1983-1986, h er m ajor
concern lies w ith them es of isolation and in carceratio n , silencing and suppression, sexual in eq u ality and m adness.
C h a p te r Five c o n c e n tra te s la rg e ly u p o n th e h ig h ly experim ental form of Sidaoru'ang's w riting d u rin g th e 1987-1990 period of h er work. As a re su lt of having consolidated h e r literary c aree r S id a o ru ’ang's sto ries d e m o n stra te a m ore playful an d experim ental approach to them es which have in te re ste d h er since the 1980s.
In conclusion th is th e sis a ss e rts t h a t th e re la tio n sh ip betw een Sidaoru'ang's own identity and h e r sh o rt story w riting is one of complex interdependence. The act of w ritin g serves th e p u rp o se of allow ing S id o a ru ’an g to a s s e r t h e r s e lf in a n environm ent very different from the one in w hich she originated;
and h er shoi't stories them selves are often investigations of highly p erso n al issu es w hich c o n trib u te to th e co n so lid atio n of h e r identity.
Appendices include a detailed list of th e publishing history of each of S idaoru'ang's sh o rt stories, a lis t of lite ra ry aw ards m ade to Sidaoru'ang, and tran slatio n s into E nglish of four of h er texts, one from each period of h er work d elin eated in C h ap ters Two-Five.
3
NOTE
1. Thai words are rom anized according to th e L ibrary of Congress system , w ith th e sim p lificatio n of som e its less accessible featu res.
2. T hai a u th o rs are referred to by first nam e in references and bibliography.
For Anne and Colin
CONTENTS
page
A b stract 2
Note 4
A cknow ledgem ents 7
In tro d u ctio n 9
C h a p te r
I Sidaoru'ang - the w riter 23
I I The early short stories : 1975-6 55 I I I From political consciousness to
m o th erh o o d : 1977-82 96
I V W ords, silence, isolation and
in c a rc e ra tio n : 1983-1986 148 V C onsolidating and m ultiplying
identities : 1987-1990 193
C onclusion 234
A ppendix
I Publishing H istory 237
I I Prizew inning Stories 258
I I I A Drop of Glass 259
IV My Friend h as not yet R etu rn ed
from the City 272
V The M ating Snakes 283
V I B etter the D evil... 290
Bibliography 300
ACKNOWLEDGEMENTS
I would like to express my utm ost th an k s to th e continued support of D r David Sm yth for th e com m itm ent w ith w hich he carried out the ta s k of supervisor to th is thesis. T h an k s a re also due to my colleagues in th e D ep artm en t of South E a st A sia and th e Islands for th e supportive working environm ent th ey have provided while I was w orking on th is dissertatio n . My p a rtic u la r g ratitu d e goes to D r M anas C hitakasem and D r Ulrich K ratz.
T his piece of w ork could not have been com pleted w ith o u t th e en d less help an d cooperation of T hai w rite rs, jo u rn a lis ts an d p ublishers who p erm itted m e to interview th em and who len t me m aterial to which it is otherw ise impossible to gain access. I w ish in p a rtic u la r to th a n k A phichat D am dee, A tsiri T ham m achote, 'B u n ra t', C h a rn w it K a se tsiri, C h a rtu re e T in g sab a d h , K am pol N ira w a n , K h a n ch a i B u n p a n , K w andee R a k p o n g se , P hinyo Ko’ngtho'ng, P ra d h a n a H a rn m a y th ee , R u ’a n g d e t C h a n th a lu ri, S ek san P raso etk u n , S a th ia n C a n th im ath o 'n , Seni Saow aphong, Sucit W ongthet, S u w an n a R rien g k raip etch , Thaw ip W oradilok, Udom S isu w an , W a sa n t P aileek lee, W at W a n ly an g k u n an d W itth ay ak o rn C hiangkul.
My very g reatest th an k s are due to Suchat Saw atsi, Mone Saw atsi, and to Sidaoru'ang h erself for th e ir help, su p p o rt, kindness and valued friendship throughout th is project.
7
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INTRODUCTION
There is no single m eaning to any work o f art; th is is true not merely because it is better th a t it should be true, th a t is, because it m akes a rt a richer thing, but because h isto rica l a n d personal experience show it to be true. Changes in historical context and in personal mood change the m eaning o f a work a n d indicate to us
that artistic understanding is not a question o f fact but o f value.
Lionel Trilling*
S id ao ru 'an g is a contem porary Thai, fem ale w riter, well-known among the Thai intellectual elite , though enjoying a more lim ited p o p u la rity w ith th e re a d in g public in g e n e r a l.2 H er class background, h e r m in im al education an d h e r experience as a m anual labourer from th e age of twelve u n til h e r early 30s, define h e r as a n u n u su a l m em ber of th e T hai lite r a ti. N evertheless, these factors have also proved excellent qualifications for her early tales of T hai working-class experience. Sidaoru'ang's career as a w rite r has developed both despite, and as a re s u lt of, h e r early background. It has evolved from tak in g an in itially conventional approach, which captured the social and political Z eitg eist; it has broadly focussed on an exam ination of th e th em es of wom en's experience in T h aila n d ; a n d it h as m a tu re d in to a highly innovative and experim ental trea tm e n t of both form and content.
1 L i o n e l T r i l l i n g , 'Freud and Li terat ure', in T h e L i b e r a l I m a g i n a t i o n , Ox f o r d : Ox f o r d U n i v e r s i t y Pre s s , 1981, pp. 4 6 - 4 7 .
2 It is i mpo r t a n t to n o t e that r e a d i n g f i c t i o n has n e v e r e n j o y e d t he s a m e p o p u l a r a p p e a l in T h a i l a n d that it h as in t h e W e s t and t hat n o v e l s and s h or t s t o r y c o l l e c t i o n s a re not n o r m a l l y p u b l i s h e d in print ru n s e x c e e d i n g t w o t h o u s a n d .
9
This is the th ird th esis in Thai literatu re, w ritte n a t th e School of O rien tal and A frican S tudies, to deal w ith th e topic of a single author. Kwandee Rakpongse’s study of D o'km aisot w as completed in 1975, and D avid S m y th 's th e sis on S ib u ra p h a provided a th o rough and tim ely survey of th is w riter's w ork an d career in 198 8 .3 W hile little lite ra ry criticism of D o'km aisot's w ork w as available for Kwandee to comment upon, S m yth w as able to draw more heavily upon ex tan t m aterial on S ib u rap h a, w ritte n by T hai critics.
W ith re g a rd to S id a o ru 'a n g , tw o T h a i c ritic s h av e specialized in following h er career, nam ely, th e academ ic, Phinyo K o'ngtho'ng, and the jo u rn alist, P h ailin R u n g ra t,4 In addition to this, a S in ak h arin w iro te U niversity M.A. d isse rtatio n , produced in 1991 by S u p h ap S itth u m m a , specifies som e fe a tu re s of Sidaoru'ang's work up u n til 1986.5
The aim of th is thesis is two-fold. It provides a n analysis of the d ev elo p m en t of S id a o ru 'a n g 's o e u v r e , s e t w ith in th e social, p o litical and psychological context in w hich i t was created . Contiguous to th is are th e broader sta te m e n ts th is th esis h a s to
4 S e e K w a n d e e R a k p o n g s e , A S t u d y o f t he N o v e l s o f M o ' m L u a n g B u p p h a N i m m a n - h e m i n d a ( p s e u d . D o ' k m a i s o t ) , S O A S : U n i v e r s i t y o f L o n d o n P h D i h e s i s , 1975; and D a v i d A. S m y t h , A S t u d y o f t h e M a j o r F i c t i o n o f K u l a p S a i p r a d i t ( p s e u d . ) , S O A S : U n i v e r s i t y o f L o n d o n P h D t h e s i s , 19 8 8 .
4 P h a i l i n R u n g r a t is t he p s e u d o n y m o f C h a m a i p h o ' n S a e n g k r a c a n g , w h o a l s o w r i t e s as N a t s i n i W i t t h u t t hi r a s a n .
$ S e e S u p h a p S i t t h u m m a , W i k h r o ' r u ' a n g k h o ' n g S i d a o r u ' a n g c h u a n g p o ' s o ' 2 5 1 S t h u ' n g p o ' s o ' 2 5 2 9 , ( A n A n a l y s i s o f t h e W o r k o f S i d a o r u ' a n g b e t w e e n 1 9 7 5 a n d 1 9 8 6 ) , M a h a s a r a k h a m : S i n a k h a r i n w i r o t e U n i v e r s i t y , 1 9 9 1 .
m ake about th e complex in te rrelatio n sh ip betw een w ritin g an d id en tity , and, m ore specifically, on th e n a tu r e of w ritin g as a w om an in T hailand.
In th e fields of E nglish an d C om parative L ite ra tu re , th e p a st tw e n ty y ears have w itnessed sig n ifican t advances in th e th eo retical approach to te x tu a l analysis. W h ilst th ese changes have h a d a d o m inant influence in Europe an d N o rth A m erica, th e ir application to T hai literary studies h a s been m inim al.6 One of th e p rin cip al objectives in w ritin g th is th e s is h a s been to acknowledge new ways of exam ining T hai lite ra tu re an d to take account of the applicability of p o st-stru ctu ralist, fem inist, psycho
analytical and reception theory to Thai cultural analysis.
As a resu lt, th e th esis addresses several audiences. It is w ritte n , p rim a rily , for those involved in th e stu d y of T h ai lite ra tu re , privileging th e non-Thai stu d e n t over the T hai native.
N e v erth ele ss, T h ai academ ics w ill, hopefully, also find th e th eo retical approach to a fam iliar su b je ct-m a tte r enlightening.
Finally, the aim h as been to locate Thai lite ra tu re in general, and th e work of S id ao ru 'an g in p a rticu la r, in a n in ter-reg io n al an d in te rn atio n al context of com parative lite ra ry stu d ies.7 This varied
6 T h e r e are, o f c o u r s e , s o m e e x c e p t i o n s to this. S e e , for e x a m p l e , C.J.
R e y n o l d s , T h e A u t h o r F u n c t i o n and T h a i H i s t o r y ' in A s i a n S t u d i e s A s s o c i a t i o n o f A u s t r a l i a R e v i e w , 10 ( 1 ) , 1 9 8 6 , pp. 2 2 - 2 8 ; and S u w a n n a K r i e n g k r a i p e t c h . ' W o m e n - - Wa r r i o r s : D u a l I m a g e s in M o d e r n T h a i L i t e r a t u r e ’, in W i l l i a m B u r g w i n k l e , G l e n n M a n an d V a l e r i e W a y n e ( e d s . ) , S i g n i f i c a n t O t h e r s : G e n d e r a n d C u l t u r e in F i l m a n d L i t e r a t u r e E a s t a n d W e s t . L i t e r a r y S t u d i e s East, and W e s t , S e l e c t e d C o n f e r e n c e P a p e r s , V o l u m e 6, H o n o l u l u : C o l l e g e o f L a n g u a g e s , l i n g u i s t i c s and Li t e r a t ur e . U n i v e r i s t y o f H a w a i i and the E a s t W e s t C e n t e r , 1 9 9 3 , pp.
3 1 - 4 5 .
7 S o m e s t e p s h a v e b e e n m a d e t o w a r d s t hi s g o a l i n t h e E n g l i s h t r a n s l a t i o n o f and i n t r o d u c t i o n to a s e l e c t i o n o f S i d a o r u ' a n g ' s s h o r t
1 1
audience addressed in th is th esis has n ecessitated compromises, and certain assum ptions have been m ade w ith reg a rd to read ers' previous knowledge.
An in trin sic fea tu re of th is stu d y of th e c a re e r an d w ork of S idaoru'ang, is th a t it is being produced outside th e cu ltu re of focus, by an outsider in relatio n sh ip to th a t cu ltu re. W hile th is im plies c ertain shortcom ings and insufficiencies, it conversely b roadens th e scope of analysis and p e rm its new and different in terp retatio n s to be m ade.8
T his creates some problem s for th e stu d y of T h ailan d , w here a stro n g av ersio n to c o n fro n tin g th e e m b a rra ss in g , co n trary or u n p lea sa n t, h as long u n d e rp in n e d social stab ility ; and w here the denial of in te n se em otional expression, in stilled th r o u g h B u d d h is tic n o tio n s of n o n -c o n fro n ta tio n , n o n in te rfe re n c e , an d d e ta c h m e n t from w o rld ly co n cern s, h a s contributed to a trad itio n of rev eren tial ra th e r th a n controversial in tellectu al discourse, in which:
The im portance of keeping up a p p earan ces, an d of th e p resen tatio n of respectfulness, uno b tru siv en ess,
s t o r i e s in S i d a o r u ’a n g , A D r o p o f G l a s s , t r a n s l a t e d a n d i n t r o d u c e d b y R a c h e l Ha r r i s o n) . B a n g k o k : D u a n g K a m o l , 1 9 9 4 .
8 T h e v i e w o f E d w a r d S a i d is p e r t i n e n t h e r e , t hat it is w r o n g to a s s u m e , f o r i n s t a n c e , that, ' o n l y w o m e n c a n u n d e r s t a n d f e m i n i n e e x p e r i e n c e , o n l y .Tews c a n u n d e r s t a n d J e w i s h s u f f e r i n g , o n l y f o r m e r l y c o l o n i a l s u b j e c t s c a n u n d e r s t a n d c o l o n i a l e x p e r i e n c e . ' ( S e e E d w a r d W . S a i d , T h e P o s t C o l o n i a l I n t e l l e c t ua l ' , S a l m a g u n d i , 7 0 - 1 , S p r i n g - S u m m e r . 1 9 8 6 , p. 4 9 . ) R a t h e r , S a i d a d v o c a t e s ' i n t e r f e r e n c e , a c r o s s i n g o f bor d e r s and o b s t a c l e s , a d e t e r m i n e d a t t e m p t to g e n e r a l i z e e x a c t l y at t h o s e p o i n t s w h e r e g e n e r a l i z a t i o n s s e e m i m p o s s i b l e to m a k e . ’ ( S e e E d w a r d W. S a i d , ' O p p o n e n t s , A u d i e n c e s , C o n s t i t u e n c i e s and C o m m u n i t y ' in W J T M i t c h e l l , T h e P o l i t i c s o f I n t e r p r e t a t i o n , C h i c a g o and L o n d o n , 1 9 8 3 , pp. 7 - 3 2 . )
calm ness, of avoiding saying things in opposition to w h at is expected n o t only organizes social in teractio n b u t p en etrates even into the psychological a ttitu d e s of the T hai tow ards them selves.9
What is Thai Literature?
The T hai words w a n n a k h a d i I w a n n a k a m do n o t correlate precisely w ith the W estern term 'lite ra tu re ', an d th ey occupy a d ifferen t p osition w ith in th e ir own c u ltu ra l context. In h is ethnographic in te rp re ta tio n of m odern T hai lite ra tu re , H e rb e rt P hillips observes t h a t th e re is no 'in stitu tio n a liz e d consensus am ong w riters and read ers as to the purposes an d p rio rities of contem porary w ritin g .'10 Suffice it to say, that:
T hai do not subscribe to an in h ere n t goodness of the innovative or creative.11 R ather, w h a t is im p o rta n t from a T hai point of view is th a t lite ra tu re clarify or reveal th a t which is obviously real b u t unrecognized;
th a t if it m akes people th in k about w h a t previously was im proper (or dangerous or irrelev a n t) to th in k about; th a t it gives shape, m eaning, an d id en tities to th in g s.12
9 A l p h o n s o L i n g i s , 'Lust', in A b u s e s , B e r k e l e y , L o s A n g e l e s , L o n d o n : U n i v e r s i t y o f C a l i f o r n i a Pr e s s , 1994, p. 125.
H e r b e r t P. P h i l l i p s , M o d e r n T h a i L i t e r a t u r e . W i t h a n E t h n o g r a p h i c I n t e r p r e t a t i o n , H o n o l u l u : U n i v e r s i t y o f H a w a i i P r e s s , 1 9 87 , p. 5 7 . In r e f e r e n c e to t he r e a de r P h i l l i p s n o t e s t hat h e / s h e is u s u a l l y o f u rban m i d d l e - c l a s s or u p p e r c l a s s b a c k g r o u n d ( i b i d . , p.
5 3 . ) . W r i t e r s g e n e r a l l y a s s u m e t h e i r r e a d e r s t o b e c o n v e r s a n t i n c l a s s i c a l T h a i l i t e r a t u r e , to w h i c h f r e q u e n t r e f e r e n c e s are m a d e ( i b i d . , p. 14. ) , but m a y u n d e r e s t i m a t e t he i r p o t e n t i a l to c o m p r e h e n d s u b t l e m e s s a g e s (ibi d. , p. 3 2 . ) .
In s u p p o r t o f t hi s a r g u m e n t P h i l l i p s n o t e s t hat p a t e n t s w e r e n o t i n t r o d u c e d i nt o T h a i l a n d u n t i l as l at e as 1 9 8 1 , a l t h o u g h t hi s m a y b e 'as m u c h a r e s u l t o f e c o n o m i c and l e g a l p r e s s u r e s as f o r an i n s t i t u t i o n a l i z e d r e c o g n i t i o n o f t he v a l u e o f c r e a t i v i t y . ’ ( I bi d. , p. 9 . )
12 Ibid., p. 15-16.
1 3
The B uddhist trad itio n of recitation of religious parables by m onks h as also bestow ed stro n g ly didactic fe a tu re s on T h ai lite ra tu re , w hereby stories serve an educational purpose, often te a c h in g p rescrib ed m o ral v a lu e s an d co rre ct m eth o d s of behaviour.
It is also necessary, however, to acknowledge th e influence of W estern ideas on th e developm ent of tw e n tie th century T hai in tellectu al thought, to which the developm ent of T hai novel an d sh o rt story w ritin g can be ascribed, (though scholars, such as W ibha Senanan and Phillips, refute th is).13
More recently, it h a s become in c re a s in g ly difficu lt to consider the developm ent of Thai lite ra tu re , an d prose fiction in p a rtic u la r, in an 'iso la te d ' T h ai context, devoid of o u tsid e influence. C ontem porary T hai w riters are concerned w ith th e ir appeal to the inter-regional as well as th e in te rn a tio n a l lite ra ry field and, while the am iual SEAW rite aw ard h as played its p a rt in stim u latin g this, so too, have the g reater opp o rtu n ities for T hai fiction to be tra n s la te d into foreign lan g u a g es (m ost notab ly E nglish, G erm an, F ren ch an d Jap an ese). M oreover, w orks by a u th o rs of in te rn a tio n a l acclaim are also a v aila b le in T h ai tra n s la tio n , w h ilst lite ra ry m agazines such as Loke n a n g su ' (Book World) have regularly published interview s a n d articles on
S e e i bi d. . p. 69 and W i b h a S e n a n a n , The G e n e s i s o f t h e N o v e l in T h a i l a n d , B a n g k o k : Th a i Wa t a n a Pa n i c h , 1 9 7 5 . , p. 8 and p. 2 1 . W h i l s t p r e f e r r i n g to s e e t he T h a i short, s t o r y as 'a p r o d u c t o f a l i t e r a r y e v o l u t i o n in t he cul t ur al traditi on', and t he n o v e l as a m u t a t i o n f r o m this e v o l u t i o n , W i b h a c l a i m s o n l y t he s p o k e n d r a m a as a ' t ot al l y n e w f o r m s u d d e n l y i n t r o d u c e d i n t o t h e l i t e r a r y s c e n e b y T h a i s c h o l a r s r e t u r n i n g f rom E n g l a n d . ' ( I bi d. , p. 4 5 . )
o th er A sian novelists an d poets, as well as those from Europe, N orth and South America.
The W riter and the R eader
This thesis adopts the view th a t w riting is p a rt of a process of self- discovery, one in which ' ... th e w riter m eets everyw here only h is knowledge, his will, his plans, in short, him self. He touches only his own subjectivity.'14 Affiliated to th is is th e psycho-analytical theory th a t all w riting is an attem p t to come to term s w ith the loss of a love object, to retrieve it and to m aintain control over it. Basing his observations on th e child's a tte m p ts to accom m odate th e d istressin g experience of sep aratio n from its m other, F reu d h as argued th a t the actions of a w riter share sim ilarities w ith those of a child a t play, i.e. dedicated to a world of fan tasy .15
14 S e e .Tean-Paul Sartre, W h a t is L i t e r a t u r e ? , ( t r a n s l a t e d b y B e r n a r d F r e c h t m a n ) , L o n d o n : M e t h u e n , 1 9 7 8 , p. 2 9 . ( F i r s t p u b l i s h e d i n F r e n c h in 1 9 4 8 . )
1 A s F r e ud w r i t e s : 'A s t r o n g e x p e r i e n c e in t he present, a w a k e n s in t h e c r e a t i v e w r i t e r a m e m o r y o f an e a r l i e r e x p e r i e n c e ( u s u a l l y b e l o n g i n g to h i s c h i l d h o o d ) f r o m w h i c h t h e r e n o w p r o c e e d s a w i s h w h i c h f i n d s its f u l f i l m e n t in t h e c r e a t i v e w o r k . T h e w o r k i t s e l f e x h i b i t s e l e m e n t s o f t he r e c e n t p r o v o k i n g o c c a s i o n as w e l l as o f t he o l d m e m o r y ... Y o u w i l l not forget, that t he s t r e s s it l a y s o n c h i l d h o o d m e m o r i e s in t he w r i t e r ' s l i f e ... is u l t i m a t e l y d e r i v e d f r o m t h e a s s u m p t i o n that a p i e c e o f c r e a t i v e w r i t i n g , l i k e a d a y - d r e a m , is a c o n t i n u a t i o n o f . and a s u b s t i t u t e for, w h a t w a s o n c e t h e p l a y o f c h i l d h o o d . ' ( S i g m u n d F r e u d , ’C r e a t i v e W r i t e r s and D a y - D r e a m i n g ’ in D a v i d L o d g e , T w e n t i e t h C e n t u r y L i t e r a r y C r t i c i s m . A R e a d e r , L o n d o n and N e w York: L o n g m a n , p. 4 1 . M y e d i t i n g . )
T h e act o f w r i t i n g f i c t i o n is e q u a t e d w i t h t he f o r t - d a g a m e , w h i c h F r e u d i n t e r p r e t e d as a r i t u a l m e t h o d o f e x p e l l i n g a n d r e c a l l i n g t h e m o t h e r , w h o s e a b s e n c e w a s , in r e a l i t y , a s o u r c e o f gr e at d i s t r e s s to t he c h i l d . F o r f ur t h e r d e t a i l s s e e S i g m u n d F r e u d , B e y o n d t h e P l e a s u r e P r i n c i p l e , L o n d o n a n d V i e n n a : T h e I n t e r n a t i o n a l P s y c h o a n a l y t i c a l Pr e s s , 1 9 22 , pp. 1 1 - 1 4 . S e e a l s o R a c h e l H a r r i s o n , 'Bi rt h, D e a t h and I d e n t i t y in t he W r i t i n g o f S i d a o r u ' a n g ,
15
Although psycho-analytical theory is based upon essentially E urocentric perceptions of social organisation, N iels M ulder, in his observations of everyday T hai life, does testify to the strong bonds betw een th e child and its m other, or su rro g a te m other.
M u ld e r d e sc rib e s th e m o th e r-c h ild u n io n a s ’a p iv o ta l relationship and an ideological p a tte rn th a t gives stab ility to the T hai experience an d w ay of life .'16 In d raw in g a tte n tio n to m o th e r's m ilk an d m o th e r's in d u lg en ce, la te w ean in g a n d u ndem anding toilet tra in in g in p a tte rn s of T hai ch ild rearin g he notes th a t, 'There are no good reaso n s w hy th e experience of in d u lg e n t n u rtu re an d to le ran c e sh o u ld n o t e n g en d e r h ig h dependence, p ersonal in se cu rity , doubt, v u ln e ra b ility ...'17 He defines the m other as th e symbol of m oral goodness (k h u n n g a m k h w a m d i), ever-giving, caring and self-sacrificing tow ards 'her dependents who rely on h e r for stability and continuity in life. She is a refuge, a haven of safety ... At m other's side one is safe.'18
P sycho-analytical th eo ry argues th a t, in cases w here a m o th er's active in te re s t in h e r child is rep laced by a passive d is in te re s t, ch ild ren resp o n d by in te r n a liz in g a s u b s titu te m atern a l image. A lthough the desired aim of th is in tern alizatio n is to provide psychological u n ity and id en tity w ith th e m other, the
1 9 7 5 - 1 9 9 0 ' , in M a n a s C h i t a k a s e m , T h a i L i t e r a r y T r a d i t i o n s , B a n g k o k : C h u l a i o n g k o r n U n i v e r s i t y P r e s s , 1 9 9 5 , pp. 1 0 3 - 4 .
16 N i e l s Mu l d e r , I n s i d e T h a i S o c i e t y : A n I n t e r p r e t a t i o n o f E v e r y d a y Life, B a n g k o k : Ed i t i o n s D u a n g K a m o l , 1990, p. 64.
17 Ibid., p. 61.
^ I bi d. , p. 25. M u l d e r s u p p o r t s t hi s a r g u m e n t w i t h r e f e r e n c e to t he f a c t that t he s u s t a i n i n g eart h, r i c e and w a t e r a re all r e p r e s e n t e d in t he f e m i n i n e in Th a i , as in t n a e t h o r a n i , t n a e p h o s o p and m a e n a m . T o t hi s list I w o u l d a l s o add the f i g u r e o f m a e p h r a k h o n g k h a , to w h o m S i d a o r u ' a n g re f ers in t w o or t hr ee o f he r s t o r i e s .
actu al re s u lt is one of em ptiness and depression, w hich m ay be ex h ib ited in a v a rie ty of ways, in cluding in te n se in te lle c tu a l activity and artistic creation.19
S a rtre's u n d erstan d in g of th e purposes of w riting, as a m eans for th e a u th o r to ren d er him or h e rself recognizable to o th ers an d essen tial in relatio n sh ip to th e w orld,20 is also germ ane to th e T hai c u ltu ral context, in w hich anthropologists have noted th e im portance of belonging to ones surroundings and environm ent.21 The d istin g u ish ed lite ra ry critic, S u ch at S aw atsi, stre sse s th e re la tio n s h ip w hich T h a i w rite rs , a r t i s t s a n d p o e ts h av e trad itio n ally had w ith th e ir court p atrons and which, he argues, is rep laced in co n tem p o rary c u ltu re by cap italism . T hus he defines th e a u th o r as an individual w ith no p a rtic u la r social sta tu s beyond th a t of a person pitched in b a ttle 'ag ain st th e powers w ith which he involves him self.'22
A n d r e G r e e n r e f e r s to t hi s as t he ' d e ad m o t h e r c o m p l e x ’. S e e A n d r e G r e e n , On P r i v a t e M a d n e s s , M a d d i s o n , C o n n . : I n t e r n a t i o n a l U n i v e r s i t i e s P r e s s , 1 9 8 6 , p. 160. G r e e n ' s o b s e r v a t i o n s e c h o t h o s e o f M e l a n i e K l e i n o n r e p a r a t i o n that., s y m b o l f o r m a t i o n i s t h e o u t c o m e o f a l o s s , it is a c r e a t i v e w o r k i n v o l v i n g t he p a i n and t he w h o l e w o r k o f mo u r n i n g . ' S e e M e l a n i e K l e i n , q u o t e d in J a n i c e D o a n e an d D e v o n H o d g e s , From. K l e i n to K r i s t e v a , A n n A r b o u r : T h e U n i v e r s i t y o f M i c h i g a n Pre s s , 1 992, p. 73.
I n f l u e n c e d b y t h e s e v i e w s , J u l i a K r i s t e v a r e c o g n i z e s t he v a l u e o f ' m a t r i c i d e ' f or p s y c h i c h e a l t h , s t r e s s i n g , h o w e v e r , t h e g r e a t e r d i f f i c u l t y that w o m e n h a v e in a c c o m p l i s h i n g t hi s. S e e J u l i a K r i s t e v a , Black. Sun, N e w York: C o l u m b i a U n i v e r s i t y Pr e s s , 19 8 9 .
29 Sartre, op. c i t ., p. 2 9 and pp. 2 6 - 2 7 .
2 * S e e P h i l l i p s , op. c i t . , pp. 3 9 - 6 0 , and M u l d e r , op . cit. , p a s s i m . A s M u l d e r w r i t e s . 'To s u f f er r e j e c t i o n m e a n s that o n e h as to o p e r a t e in a d r e a d e d , u n r e l i a b l e , a m o r a l w o r l d and c o n s e q u e n t l y to l i v e in t he e q u a l l y d r e a d e d area o f p e r s o n a l l o n e l i n e s s . T h e d e s i r e f o r p o s i t i v e a c c e p t a n c e a n d i d e n t i t y w i t h i n a t ru s t e d s m a l l w o r l d i s t h e r e f o r e e n h a n c e d by the s p e c t r e o f l o n e l i n e s s ... ' ( Ibi d, p. 6 9 . )
22 S uc hat S a w a t s i . 'What, is a T h e B a n g k o k Pos t , M a y 2, 1 9 8 2 .
17
R ather th a n view th e Thai w riter as th e m ediator of a text, however, Suchat identifies the au th o r as its principal o w n e r:
No m a tte r w h at his point of view in looking a t the world or his artistic ability m ay be, we cannot deny his sta tu s as a producer of w ritte n work. No m a tte r w hat his objective in w riting, w hether it be financial, a rtistic or otherw ise, the g reatn ess achieved by the resu ltin g work depends on th e w riter him self an d the am ount of ta le n t and creative ability he possesses ...
No m atter w h at his goals in w riting are, each w riter h as th e rig h t to u n d e rsta n d h is creatio n before the read er. He knows t h a t an a rtistic piece of w ritin g d ep en d s on h is com plete u n d e rs ta n d in g of th e c h arac ters he creates. The refu sal to u n d e rs ta n d one's creation leads to irresponsibility ...23
S uchat's clear expression, in th is excerpt, of th e w rite r s a u th o rity over the tex t is one th a t sits uncom fortably w ith his in te re st in S artre's opinions on lite ra tu re, am ong th em the notion th a t it was the reader, and not the w riter, who gave the words of a tex t th e ir significance:
On th e one h an d , th e lite ra ry object h a s no o th er s u b s ta n c e t h a n th e r e a d e r 's s u b je c tiv ity ; Raskolnikov's w aitin g is m y w aitin g w hich I lend him ... His h a tre d of th e police m a g is tra te who questions him is my h a tre d which h as been solicited and wheedled out of me by signs ... Since th e creation can find its fu lfilm en t only in read in g , since the a rtis t m u st e n tru st to an o th er the job of carrying out w h a t he h a s begun, since it is only th ro u g h th e consciousness of th e re a d e r t h a t he can re g a rd him self as essential to his work, all lite ra ry work is an appeal. To write is to m ake an appeal to th e reader th a t he lead into objective existence th e rev elatio n w hich I have u n d e rta k e n by m ean s of lan g u ag e.
2 3 Ibi d. ( M y e d i t i n g . ) In a c c o r d a n c e w i t h S u c h a t ' s v i e w , P h i l l i p s ' s t u d y o f t he r o l e a n d f u n c t i o n o f l i t e r a r y f i g u r e s f r o m an a n t h r o p o l o g i c a l p e r s p e c t i v e , a l s o d e s i g n a t e s t h e i r t e x t s a s ' t he p r o d u c t o f t he m o t i v a t i o n and i m a g i n a t i o n o f an i n d i v i d u a l author. ' ( S e e P h i l l i p s , op. cit., p. 3 9 . )
Thus, the w riter appeals to the rea d er's freedom to collaborate in the production of his work.24
Terry Eagleton supports S artre's expression of the au th o rity of th e rea d er when he w rites th a t we alw ays in te rp re t lite ra ry works to some ex ten t in th e light of our own concerns.'25 T his challenges th e W estern, lib e ra l-h u m a n ist tra d itio n in lite ra ry criticism , in which the role of the read er is to liste n respectfully to the voice of the author, m anifested through th e text, as a re su lt of w hich process th e re a d e r le a rn s , a n d is ab le to im prove h im /h erself.26
Psycho-analytical literary theory has argued th a t the rea d er tre a ts the tex t and its characters as figures of th e past, onto which one tran sfe rs ones own dom inant fears and wishes:
24 Sartre, op. cit., pp. 3 1 - 3 2 . ( M y ed i t i n g. )
2 ^ T e rr y E a g l e t o n . L i t e r a r y T h e o r y . A n I n t r o d u c t i o n , O x f o r d : B a s i l B l a c k w e l l . 1989. p. 12. E a g l e t o n ' s a r g u m e n t s are b a s e d , to s o m e e x t e n t , o n an u n d e r s t a n d i n g o f t he f u n c t i o n i n g o f i d e o l o g y p r o p o s e d b y t he F r e n c h M a r x i s t p h i l o s o p h e r , L o u i s A l t h u s s e r , w h o s e v i e w w a s t hat s o c i e t i e s r e p r o d u c e t h e m s e l v e s i d e o l o g i c a l l y , p a r t i c i p a t e in, and are c o n s e q u e n t l y c o n t r o l l e d and r e p r e s s e d by t h e d o m i n a n t i d e o l o g y - a l b e i t o f t e n at an u n c o n s c i o u s l e v e l . ( S e e L o u i s A l t h u s s e r , ' I d e o l o g y and I d e o l o g i c a l S t a t e A p p a r a t u s e s ' in L e n i n a n d P h i l o s o p h y a n d O t h e r E s s a y s , trails. B e n B r ew s t er , L o n d o n : V e r s o , 1 9 7 1 . )
2 5 T h e m o v e f r o m a u t h o r - c e n t r e d s t u d i e s o f t he n i n e t e e n t h c e n t u r y to t e x t - c e n t r e d s t u d i e s w a s m a d e b y t he R u s s i a n F o r m a l i s t s in t he
1 9 2 0 s . M o r e p r o f o u n d c h a n g e s in t he e m p h a s i s in l i t e r a r y t h e o r y f ro m the text to the reader w e r e m a d e by t he C o n s t a n c e S c h o o l in t he
1 9 6 0 s an d , in p a r t i c u l a r , b y W o l f g a n g I s e r , w h o a r g u e d t ha t in r e a d i n g t h e r e is an i n t e r a c t i o n b e t w e e n t he t e x t a n d t he r e a d e r an d t hat t he t ext a l w a y s c o n t a i n s 'gaps' that o n l y t he r e a d e r c a n f ill. T h i s t he r e a d e r d o e s b y d r a w i n g u p o n h i s / h e r k n o w l e d g e o f t he w o r l d a n d o f l i t e r a r y c o n v e n t i o n s . T h i s is s u p p o r t e d b y t h e p o s t s t r u c t u r a l i s t t h i n k i n g o n a u t h o r s h i p o f B a r t h e s , F o u c a u l t a n d De r r i d a . S e e . in part i cul ar, R o l a n d Bar t hes ' s e m i n a l e s s a y , ' The D e a t h o f the Author' in I m a g e , M u s i c , Text , L o n d o n : F o n t a n a , 1 9 7 7 , pp. 1 4 2 -
M S .
1 9
The analytic concept of transference is tra n sfe rre d to the reading situation: transference responses are the unconscious a ttitu d e s we bring tow ards o th er people because we cannot help b u t re p e a t our loves and h a te s of those first significant o th ers who helped m ake us w hat we are. In the analytic space, to which th e reading space is seen as analogous, th is in ten se re la tio n s h ip is re -c re a te d ... In re a d e r-c e n tre d th eo ries ... it is th e re a d e r's tra n sfe re n c e to th e author's transference th a t is a t stake, w h a t is known as the counter-transference, because i t is a reaction to another's transference: in other words, it is not the au th o r's fan tasies th a t are a t issue, b u t th e read er's ... the rea d er uses a tex t as he or she would a life situation, as m aterial for th e continuing form ation of his or h er identity.27
A psycho-analytical in te rp re ta tio n of read in g incorporates Ja cq u e s L acan's sp ecu latio n t h a t a dyadic, m o th e r-d a u g h te r relatio n sh ip m ay exist betw een th e tex t an d th e reader; or th a t th is m ay even extend to a tria n g u la r, O edipal re la tio n sh ip b e tw e e n re a d e r, w r ite r a n d te x t, e ac h w ith th e ir ow n unconscious. W orking w ith in th is L ac an ian fram ew ork, b o th J u lia K risteva and H elene Cixous see w ritin g an d read in g as m u tu ally interchangeable and in ter-relatio n al activities, w ith the tex t as both production and product. As Cixous notes:28
W riting is actually a kind of alliance betw een w riter and reader. The rea d er w ithin m yself an d th e read er outside. Readers don’t realise enough how m uch they
2 7 E l i z a b e t h W r i g h t . ' T h e R e a d e r in A n a l y s i s ' , i n J a m e s D o n a l d ( a d , ) , P s y c h o a n a l y s i s and. C u l t u r a l T h e o r y . T h r e s h o l d s , L o n d o n : M a c m i l l a n , 1 991, pp. 163 - 6 . ( M y e d i t i n g . )
Jul i a Kr i s t e v a , 'Word, d i a l o g u e and n o v e l ' in D e s i r e in L a n g u a g e , Ox f o r d : B a s i l B l a c k w e l l , 1 9 8 9 , pp. 6 4 - 9 1 and in T o r i l M o i ( e d . ) , T h e K r i s t e v a R e a d e r , O x f o r d : B a s i l B l a c k w e l l , 1 9 9 0 . K r i s t e v a a l s o p o s t u l a t e s a p s y c h i c a s p e c t o f w r i t i n g as t r a c e o f a d i a l o g u e w i t h o n e s e l f (in t he f o r m o f a n o t h e r ) , in w h i c h t he w r i t e r t a k e s o n t he d ual i d e n t i t y o f s u b j ec t o f e n u n c i a t i o n and subject, o f u t t er a n c e . ( S e e Kr i s t e v a , 'Word, D i a l o g u e , N o v e l ' , in M o i , ibid., p. 4 5 . )
are im plied in th e w riting, how m uch th e y are a t work, how much they write, They give re b irth .29
For Cixous, read in g , as m uch as w ritin g , im plies 's e lf discovery, and m uch of her focus is consequently upon women and identity:
P erhaps the best way to describe a 'fem inine' reading is to say th a t it im plies 'opening' the self to w h at the tex t is saying, even if th is is puzzling or painful or problem atic. It en tails read in g to see how a te x t is m ade, by exploring all th e v ario u s reso u rce s for m eaning a w riter has a t th e ir disposal: th e w riter's in ten d ed m eaning, as well as the 'o th er' m eanings th a t contradict, complement, u n settle or dislodge th is m eaning. It involves standing back from th e te x t and looking a t its overall construction; it e n ta ils reading a t the level of the words them selves, a t th e level of the syntax, th e syllables an d th e le tte r-p a tte rn s , the rh y th m and punctuation. It m eans a sk in g who and w h a t m ad e t h is te x t a n d w hy. I t m e a n s acknowledging th a t I as a read er p a rtic ip a te in the on-going process of th e te x t's creatio n ; it m ean s recognizing th a t my read in g is its e lf a p ro d u ct of certain questions, blind spots, needs, desires an d th a t these m otivations are constantly changing.30
It is th is approach to read in g th a t I have a tte m p te d to m ake m yself conscious of and to use in th e an aly sis of Sidaoru'ang's oeuvre which follows.
2 ° H e l e n e C i x o u s . ' D i f f i c u l t Joys' in H e l e n W i l c o x , K e i t h M c W a t t e r s , A n n T h o m p s o n and L i n d a R. W i l l i a m s ( e d s . ) , T h e B o d y a n d t he Text.
H e l e n e C i x o u s , R e a d i n g a n d T e a c h i n g , L o n d o n : H a r v e s t e r W h e a t s h e a f . 1 990, p. 26.
3 ° S us a n S e l l e r s . ’Le a r n i n g to R e a d t he F e m i n i n e ' in i bi d. , p. 192.
2 1
Sidaoru’ang as a glass factory w orker, c. 1960
CHAPTER ONE
THE WRITER, SIDAORU’ANG
There is so m eth in g o f a foreignness, a feelin g o f not being accepted or o f being unacceptable, which is p a rticu la rly insistent when as a woman you suddenly get into th a t strange country o f w ritin g where most in h a b ita n ts are m en a n d where the fate o f women is still not settled ... So som etim es you are even a double exile, but I'm not going to be tragic about it because I th in k it is a source o f creation.
H e l e n e C i x o u s 31
S id a o r u 'a n g , th e p e n -n a m e of W a n n a S a w a ts i (n ee T happananon), was born on December 14, 1941 in B ang K rathum , P h itsa n u lo k e province. She w as th e th ir d child of Sam ro ng T happananon and Thalom U nlapatho'n and one of te n children.32 S a m ro 'n g w as th e son of L u a n g S u r a n a r o n g (R a n g T h ap p an an o n ), a m ilita ry officer in th e Royal G u a rd .33 F or reasons unknow n he left Bangkok while still a young m an and, although an outsider by class, origin and education, he settled in the m ark et town of Bang K rathum and m arried th e only d au g h ter
-11 C i x o u s , ' Diffi cult J o y s ’, op. cit., pp. 12- 13.
T h e n i c k n a m e s h e c u r r e n t l y u s e s is N i t , a l t h o u g h at he r f a m i l y h o m e s h e w a s r e f e r r e d to b y t he n i c k n a m e Y o n g , m e a n i n g ‘ to b e a f r a i d ’ or ‘t i m i d ’ . In m a g a z i n e i n t e r v i e w s a n d in b i o g r a p h i c a l d at a p u b l i s h e d w i t h c o l l e c t i o n s o f h e r w o r k S i d a o r u ’a n g g i v e s her y e a r o f birth as 1 9 4 3 , s o m e t i m e s ad d i n g that s h e w a s not e n t i r e l y s u r e i f this w a s correct.. In a p e r s o n a l i n t e r v i e w in S e p t e m b e r 1 9 9 2 s h e a d m i t t e d t hat h e r c o r r e c t b i r t h d a t e w a s 1 9 4 1 a n d t h a t h e r h u s b a n d ' s e m b a r r a s s m e n t at t he f act that s h e w a s a f u l l l o u r y e a r s o l d e r t han h e h a d o b l i g e d h e r t o r e d u c e t h e a g e d i f f e r e n c e f o r p u b l i c
consumption.
^ H e w a s d i s c h a r g e d f o l l o w i n g t h e o v e r t h r o w o f t h e A b s o l u t e M o n a r c h y in 19 3 2 .
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of a local family. He subsequently spent m ost of his w orking life as a low-level official a t th e local railw ay sta tio n , w hile his wife supplem ented the family income as a sw eetm eat vendor.
Sidaoru'ang's relationship w ith h er m o th er w as an u neasy one a n d in in te r v ie w s , sh e d e s c rib e s h e r as b o th uncom m unicative and punitive:
We always had to do exactly w hat m o th er told us and if th e re w as a n y th in g we d id n 't u n d e rs ta n d , like where she was going, th e n we couldn't ask since th a t was ad u lts' business and children w ere not supposed to ask about it. If m other had visitors, we h a d to go and play u n d er the house and not b o th er th e adults.
So I loved my fa th e r m ore th a n m y m other. Even though I w asn 't all th a t close to him an d we did n ’t see much of each other, my fath er never h it us or told us o f f .
... W hen my m o th er used to te ll me off, she used to b eat me. She was alw ays b e atin g me and it w as a terrible th ra sh in g she gave every single time.
Sometimes she used to use a great big, long stick th a t sh e’d take hold of in both hands. We would all get a beating ... b u t I knew th a t she loved us all the sam e.34
The w arm er relationship which S id ao ru 'an g enjoyed w ith h er fath e r is reflected in several of her sh o rt stories, in which he is portrayed w ith considerable tenderness an d affection. The m ain n u rtu rin g role in the family, however, was tak e n by h er m atern al g randm other, who also ap p ears as a c h a ra c te r in S idaoru'ang's fiction.
S e e ' Bai w a n s a o k ap S i d a o r u ' a n g ' ( S a t u r d a y A f t e r n o o n w i t h S i d a o r u ’a n g ) in D i c h a n , ( I), y e a r 12, i s s u e n u m b e r 2 7 6 , A u g u s t , p.
2 4 2 . O t h e r r e f e r e n c e s to S i d a o r u ' a n g ' s r e l a t i o n s h i p w i t h h e r m o t h e r are g i v e n in i n t e r v i e w s w i t h t he m a g a z i n e s T h a n o n n a n g s u ' , ( B o o k R o a d ) , y e a r 2, n u m b e r 9 , 1 9 8 5 , p a s s i m . , a n d N o ' n n a n g s u ( B o o k w o r m ) , year I, n umbe r 3, 1988, pp. 3 - 1 1 .
S id ao ru ’an g ’s in te re s t in read in g began w hen she was in h er th ird y ear a t p rim ary school, alth o u g h economic h a rd sh ip obliged h er to leave in the following year, a t the age of eleven, and to find work to help su p p o rt h e r fam ily.35 D espite th is, she continued to rea d th e books and m ag azin es w hich h e r fa th e r bought for h er on his infrequent visits to Bangkok, These included comedy stories, ad v en tu re stories and fairy tales, although th e only nam e of any note which she rem em bers from th is period of her reading was th a t of the comic novelist, P. In th a p a lit.36
In 1954, w hen S id ao ru 'an g w as tw elve y e a rs old, h e r m o th er decided to send h e r to B angkok to look for a job to contribute to the family income. H er early days in th e capital were unhappy ones, m arred by feelings of isolation and of having been abandoned in a h a rsh world to fend for herself. Moreover, she m issed h er family, although h er two older b ro th ers were already working in the city by the time th a t she moved there. Sidaoru’ang sp en t th e two years which followed w orking as a live-in nanny.
She never actually received her 100 b a h t per m onth salary for it was sen t directly by her employer to h er m other.37 The little free tim e th a t she had was spent reading serialized love stories and tragedies published in jo u rn als such as D aruni, S i sapada a n d
3 ^ S i d a o r u ' a n g is u n u s u a l a m o n g T h a i w r i t e r s in h a v i n g had o n l y m i n i m a l e a r l y s c h o o l i n g .
^ 6 In an i n t e r v i e w in 1 9 7 9 w i t h t he lit erary m a g a z i n e , L o k n a n g s u ' t B o o k W o r l d ) , S i d a o r u ’a n g a d d e d t hat c o u n t r y p e o p l e ‘d o n ’t r e a d i n t r o d u c t i o n s , t h e y j u s t read the s t or y and t he n t hr o w it a w a y or u s e it to beat t hei r c h i l d r e n , s o that it is o f t e n r i p p e d and torn b e f o r e t h e y h a v e e v e n f i n i s h e d r e a d i n g i t . ’
^7 D i c h a n , op. cil., p. 2 4 2 .
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