Frayed and frauded woman (based on Oksana Zabuzko's feminist prose)

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Frayed and frauded woman

Agata Korycka

«Someone always lives your life for you - one of his possible, never realized versions. All feelings that really? bond us with others, from love to jealousy, they come out. si? from this mysterious longing for other lives - instinctively guessed, recognized variants of life that we will never, never be »and [11, p. 53].

Longing for another world, for a friendly constructed. a reality in which one would finally be able to somehow decorate, starting your own life has become? Oksana Zabuzko's feminist prose heroines, as well as many other postmodern authors of Ukrainian literature, such as Natalia Sniadanko, Irena Karpa or Eugenia Kononenko. «Instinctively recognized variants of other lives» began to be a motor that triggers the desire and personal search of heroines who have stopped thinking and living without emotion.

The process of freeing the woman "I" could take place thanks to cultural studies that have taken place in literature and which have dared to to undermine the inviolable sacredness of the patriarchal view of literary creativity «New ethics» [7, ??p. 37] of the approach to creativity, as Inga Iwasiow described it as in the gender approach of contemporary world literature, it has become also by the fact of contemporary Ukrainian literature. Woman - the writer spoke out strongly and emphatically. Research, which after appearing? the groundbreaking book Oksana Zabuzko in this respect became fieldwork on Ukrainian sex, they discovered not so much the sexuality of the heroines, though they also dared about it? say what they revealed themselves ^. natures? of a female world, without social and ideological distortions. The new heroines of the post-totalitarian world selected in this way bravely shook off the established conventions of homo sovieticus behavior [14, p. 9]. Protagonists of the damned world, by getting used to their fears, got rid of the term sovieticus ennobling the word homo. Getting rid of cocoon of homosos (this is an abbreviation of the term "homo sovieticus" by Alexander Zinoviev) not only expressed their humanity, but boldly and firmly also showed their own. femininity. Postmodern literature gave its heroines the right to be authenticated once and for all by removing the plastic masks of goddesses - activists fighting for allegedly higher, "national" values. Searching for their own ways, they showed that their humanity was founded on not on political, social or personal impeccability, but on the art of making decisions, sometimes even in the wrong life, and even more on the art of love: the ability to love yourself and reality, without hypocrisy, pressure and non-integrated shadows.

The cover of Oksana Zabuzko's Polish translation of the series of short stories titled Sister, sister (Сестро, сестро; 2003) presents a black negative of a woman with her arms raised on a colorful background, as if in a gesture of victory or joy, a hand. Short cut, in a skirt, in slippers - liberated, you can say. In the place of the abdomen - a cut out hole. The same lack of filling in the area of ??the face. Only looking at closer you can see in the distance the same, only the reduced figure of a woman, but already with the head down, curled up, as if scared. Can you obviously skip the cover? treating her. as simply artistic. vision? W. A. ??B. publishers «Series with a broom ^». But you can also see in this picture a kind of ^. Iconography? the heroine about whom Oksana Zabuzko talks - an integrated, but at the same time multifaceted woman with a wide range of her own, unfettered expression.

And the heroines of her songs are ^. unusual - that's first. Far ambiguous - secondly. Third, fighting for the fallen "for us all": for love, for themselves, for him, for meaning in the absurd reality [13, p. 120]. This is the Council of D., a protagonist of Kosmitki. Non-fantastic novel (Інопланетянка. Нефантастична повість, 1989). Already the title of the song suggests an extraordinary personality, someone not from this world, but also what could be a writing term - someone else, a stranger - "alien?"

Council D. throughout her life has been looking for answers to the question she was asking herself in her childhood: «what is all this for? <...> why is man alive? »[12, p. 224]. As far as As the years passed, the question became more specific and became more specific: «What is there to say / And what to write / And where to go / And whom to kiss» [12, pp. 243-244].

An impenetrable mystery of being, so desired by the Council? full of life, which: «roared, boiled, rang, flickered, vibrated with laughter and tears, sweat and makeup, drunk vomit and blood from undercut veins <...> illuminated with pure unbearable beauty of its own sense ! »[12, p. 247] attracted her. with all your tempting tentacles. But as soon as the Council tried to approach, enter into Ц. fully that, like others experience its sense, encounters a thick, impenetrable wall? resistance. Despite the murderous efforts to live "like others", be able to do what the colleagues from the yard, "reality did not let her in" [12, p. 229]. Dazzling, the beating of the world closed to her led her. to, as she states, dehumanization. Brutal diagnosis, because there is no chance to find life or find oneself? including being. Even more, as noted by Ludmila Taran, Council D. was caused by a "feeling of undervaluation", and "rough [girl, author's] identity" suffered without typing. in the existing community »[9, p. 27]. Maybe because "in the soul of a young heroine, further evaluates Taran, they invariably conflicted? with each other. «Two» worlds: the everyday, or profane - and the world of the spirit, the world of ideas, the sacred and creative »[9, p. 29]. Perhaps it was also about the fact that Rada D., like Hanna-Panna, the heroine of Basnia about the viburnum pipe (Казка про калинову сопілку, 1999) [10, pp. 71-142], could not? find, as Wira Agiejew observes, in the "throttling limitations" of the space in which you feel comfortable? only average people »[1, p. 165]?

The escapism she was in? the heroine, that is the spread between two worlds: the masculine world of established norms and unquestionable rights, and the world of her feminine subjectivity capable of expressing artistically, she threw her out. outside the normality, in the abyss of introversion of one's own experiences and desires. The "drama of maladjustment" to use the term Iwasiow is characteristic, as the Polish researcher argues, also for postmodern culture, where "otherness" in the perspective of gender discourse asserts binary opposition? male / female, where «other» is the semantic designation of a woman [8, p. 25, p. 88]. This specific "role contribution", according to the words of Iwasiow, results from stereotypical thinking and disturbance, or even makes it impossible to fully. implementation? creative possibilities of the female "I" [8, pp. 94-95].

«Signs of social maladjustment» in the case of the protagonist «Kosmitki», as Irena Betko notes, p. a clear symptom of the heroine's lack of skills with his own "shadow", which, according to Jung, is further led by the researcher, consisting of. They are: "those repressed," squeezed out "- by their inadequacy with the" ideal "image of the ego - the motives they contain. not only the "dark" aspects of the pulsating, deeply psychological life of the individual, but also the infantile, naively imperfect, spontaneous-instinctive manifestations of his nature "[4, p. 12]. So, in fact, the real drama of the heroine, as Taran argues, depended not on "maladjustment" to the world, but in the "growing discovery of her" dual "nature: and" there "- in society and" here " - in his own autonomy created [9, p. 32] and the inability to combine these two realities.

What was a young, talented writer standing on the threshold of her career afraid of? most? What shadows closed her. in a glass castle of maladjustment? And where in the case of the life of the Council you can ask about betrayal ?? There are several areas of betrayal. An unsuccessful marriage with Arsenic is, for the average external eye, the most prominent betrayal field of Council D., although it is a bit masked. To love Arsen, the Council could not, though it seemed to her that "thanks to his demiurgical forgiveness" [12, p. 238] he would create a masterpiece from this marriage. But the incompatibility of their worlds was known to her from the very beginning. And yet she decided? to enter it, to later gradually move him away, leaving him the equivalent of a wife in the form of a body that could be with us? tn ^. ^ passion. take care of all. night. A sense of own body was for the Council anyway. as problematic as the feeling of being around. The body separated her. from other human beings, but she did not express her. She could play it if she wanted to, but she could not play her role in life with her own body: «Nothing, nothing in space can grow in me and become? ^ mn. Even the body - neither is I »[12, p. 277].

So she finally cheated on her. Not physically, but existentially. She wasn't allowed love, feeling internally that it's not enough for her anyway. So sought after by her ^. «Adherence» to the world for which. was able to pay everyone. she ordered her to make the final choice for her relationship with Arsen: either she or he. She chose freedom, this is what she called at least with her camera: «how would you walk along an unknown corridor, and although you have no idea, where will he go? will lead, are you happy? light, joyful. ^ certainty. of the found road »[12, p. 242]. At the end of this road she was waiting. "Time gap" [12, p. 230], detained as if for her, in which she hid? art. This freedom guaranteed her distance to the world - "shifts, crevices, distances. Because words lived in these gaps »[12, p. 258]. "In the concept of Oksana Zabuzko, he admits Agiejew, that belonging to two worlds, standing on the border, trying to look into the space of being, into another dimension - is an inseparable condition of creativity" [2, p. 289]. However, in the context of the Council's marriage, "betrayal" must be written in quotation marks. Is apparent betrayal, or betrayal only from the point of view of not able to agree? for the arrival of my wife artist-wife. For her, it was a necessary choice, because this was the only way she could see inside.

The secret of reality through the Council? "Insufficient, inexhaustible, imperfect" [12, p. 221] was to finally satisfy the heroine and reveal her to her. s ^. truth ?. The ennobling intimate acquaintance with the acclaimed writer Walenty Stepanowycz so deliciously smelling of the prospect of truth, the end has ended. si? another area of ??betrayal in the life of the heroine. This time she was betrayed. Unexpectedly struck at the most sensitive point she had - at her creation. imaginations staggered her ^. gl? deeply. The newly published book Stepanowycz "The Art of Life" was in fact her book, it contained her thoughts and her point of view so hotly discussed together with the writer during numerous conversations.

Betrayal had a double dimension - he personally betrayed her. close friend. In a broader context, it can be said that Walenty Stepanowycz, as an outstanding representative of a group of Ukrainian writers, betrayed her. on behalf of literary art! In a conversation with the messenger of fate ("the tempter, as Agiev wonders, is he perhaps an ironic commentator on this archetypal knowledge of the devil he gives creative power in exchange for his soul?"? [2, p. 284]), which begins ? Besides ^. from the first pages of the novel and goes on to the end, the Council realizes that the writer: "for his myth, for his permanent place in human consciousness <....> paid for freedom without noticing it himself. Poor Walenty Stepanowycz, and what is left to him now if he does not take it away. to others? »[12, p. 278] - just as he sucked her out. from her, a talented novice writer? However, the heroine does not try to assert her rights.

From the consciousness of betrayal she is alone. It seems that about the search for meaning and belonging to the world in her life, which she entered. "Whistling emptiness" [12, p. 273] will be no more. And then comes the release, finding your own identity. As Taran has put it, "there is a natural unification <...> of sacredness and everyday life" [9, p. 29]. Her search microcosm has grown in it, it became immanent ^. man sci ^. not only her, but the wide space of the macrocosm of being. The council, full of creative potency, began to write. «Conscious detachment? from numerous persona masks, as Betko argues, as well as from widely respected social roles <...>, is the first step on the road to meeting your identity. On this path, they are spiritually reborn personality awaits serious experience - confrontation with the shadow, it is necessary to analyze and accept this painful truth about himself, to which the average "external" person identifying himself only with his own. person ^ (i.e. socially acceptable role or mask) is unable to admit not only before others, but also before themselves »[3, p. 11].

It seems that Council D. finally found the strength to confront with her shadow - a scared, scared people and her talent, a woman. Hated by her ^. the cowardice of others, in fact, was her own, eagerly cared for, fear of reality ^: «We cover the horizon with a screen of our imaginary matters, and to death itself we lack the courage to look around! ... »[12, p. 265]. After a severe blow from Stepanowycz, she confessed before the Messenger, i.e. before themselves, that they do not want to die, and most importantly - they do not want to die by forgetfulness, misunderstood! I want to erect a monument to my work, if only it would be the only one book I would write. So ultimately she wasn't sick. Has she allowed the voice of integrated strength to speak? tworczi. To put it a bit poetically, it can be said that the woman opened the shutters of herself widely to look around the possibilities her fate offered.

In the case of a story by a Girl (Дівчатка, 1998), a question about betrayal? no longer surprising. Also in this case, a question about betrayal? goes hand in hand with the question of the heroine's identity. This motif of "seeking one's own identity" is, as Betko notes, a leitmotif of almost all of Zabuzko's artistic creation [3, p. 85]. Presented by the author? a step-by-step story of surgical accuracy and revealing the motives of betrayal. And it came to her in the world, it would seem? could not yet mature enough to fully understand and apply this concept. However, this kind of betrayal, the spiritual and physical dimension, in the world of adolescent girls: Darki and Lenci, school friends, where they hatch? only desires and ideals, like defenseless chicks on a nest of high conventions and established norms, was completely unexpected, and, as a consequence, led to the destruction of the life of one of them - no longer a girl, but an adult woman.

At first glance, the prosaic world of adolescent girls, in which he introduces the reader Zabuzko, gradually turns out? be an ambiguous, deeply complicated system of toxic familiarity of girls. It was Darka, an activist, a top student at school, who chose Lenci ?. But she chose her for a reason. Already the appearance girls was a real event for schoolchildren. What drew attention? children, and especially Darki, were her kapron tights. Most of the girls in their class wore cotton, white and brown, frowning. or with stuffed bibles on their knees and for some reason (for the curse of planned production!) too big in the step »[11, p. 31]. And Lencia and "her long, defenseless, stilted legs of the newborn deer, covered, however, like a tan, evenly and smoothly - not a single faldka - a thin, transparent coating" [11, p. 31] from the first moments it was seen that like Council D - an alien, from a completely different, unrecognizable to children in this age of the world. This division into two worlds: "hidden, neat, thoroughly corrupt and captivating alluring" [11, p. 49], the world of Lenci, the world of "kapron" tights and the correct, always familiar with the answer to the question posed, the over-zealous "cotton" world of Darki - will behave? until the end of their relationship, to finally separate the girls who "like planets in parallel orbits" [11, p. 50] will be? passing by, never again, in one common denominator of friendship, not meet.

However, that Darek's otherness, fragility, and extraordinary character were charmed. Their friendship grew very quickly? in a rapacious and very strong fascination. The girls became ^ nierozl manual. At school and after school they spent long hours learning about the surrounding reality and each other. They sank in all their inner, only for them perceptible fragility of beasts, recited to "fallen poems" and bodies. Sexuality was unavoidable, how were you? it seems the consequence of their symbiotic union. With enthusiasm and passion, they followed the newly discovered mazes of their young bodies. Special strength? they had these experiences over Darki, who: "flowed, slumped? somewhere in unconsciousness, in some micica senses gorico, in some forbidden but actually attracting zones ?; compared to all her earlier authority, her first place in the class, the Olympics, the function of captain in the school team - it was all funny and meager, like a fluff, and she was free? from this, emerging? as new, dark and sweat, it knows, like Darek's storm, at once as great as the world »[11, p. 38]. The girl tasted in such sensations completely sank in absorbing her and more and more dangerous and more dangerous for her, intimate familiarity with Lenka. Therefore, any of her actions that were not directly and completely directed at Dark?, Violated possessive love girl. She was a betrayal. Because how can you answer: «comparing the length of legs with this idiot Marynka, giggling, dressing up skirts and hugging? udami »[11, p. 34]? It was betrayal in its purest form. However, its a childish version. feminist prose postmodern protagonist

Darek's possessive love, claiming the right to enumerate the object loved by Erich Fromm, was described as neurotic love. On the ground, as the philosopher notes, there is a bond to the person of the father or mother. Caused by love. neurotic. people as adults move. for love. people? their feelings, hopes and fears towards one of their parents. Such people, the philosopher continues, never release. si? from the domination of the pattern of child dependence and as adults in their emotional needs look for this pattern, in the emotional range of being five or twelve-year-olds, while intellectually and in terms of social position p. at the level of their real age [6, pp. 96-97]. Darek's only child raised in an exemplary family, where "mother could not be blamed" from a small one she listened to? in «impersonal <...> eternal are right? of the family »[11, pp. 53-54], so that ours are nex. for all your future life.

The real stem was already a fully grown up dimension - Lencia ("her Lencia", later always Skalkowska) betrayed Dark? physically in the most severe and degrading way. The scandal caused by the bite bit on a member of the tenth grade boy, about which Darek did not yet know then, she only got to know the details in her adult life, became a turning point in their friendship. Only in this way - for help. Lenka managed to defend her own body? toxic, toxic love. school friend. Only in this way could she mark the limits of her being - did her body become? her last bastion on the path of saving her self.

In Skalkowska's adult life physically with Dark a long time ago. she was not, but all the time she remained in her head, closing her for any closer relations with the men. In this way, Darek lived in an intricately constructed dummy of his own life unable to deal with youth, overpowering. love, which also incapacitated her. Nothing and nobody could bring her back to Lenci, who shouted in her unfulfilled desires, leading her to delusions.

Although so brutally unequivocally judged by other Skalkowska world (both by teachers: «Skalkowska, leave the class!» [11, p. 52], as well as by her peers: «You know [...] it's terrible, but she <...> has always been somehow strange, right? »[11, p. 60]," manic-depressive psychosis "," nymphomania "), but it was a world that defended its own, perhaps incomprehensible to the general public and socially unacceptable rights and values. More than coming from a wealthy family, having divorced parents, Lencia, lost and hurt, turned out to be in the life of Darek Maj.ca «how. Yes. reputation? in his field like. Yes. material independence. <...> and two monographs <...> and two divorces »[11, p. 65]. Fascination of friends. was self-centered boy you. absorb the girl, her beauty, her abilities, her smells, underwear, poems, "deer legs", Doors music - everything she was. You can say that Darka wanted Lenci. back, stuff, go to vomit, so that it lasts for now and then, forever. And she could not, although she lacerate so easily, nor transfer Lenta's body, let alone her soul, into herself. She remained a secret for her, undiscovered, unrecoverable ogarn.c mysterion. Their relationship had to be a chance. for Darki to break free from loneliness, prob. leaving the world where only she, Darcia, mattered? the most, where he would finally, using Fromm's psychoanalytical term, "be" - Saturday, Dark., give up "having" (position, reason, Friday with two pluses), [5] .

It wasn't until much later that she understood something that would seem like is a generally available life truism: "you have to live your whole life to understand that once, a long time ago, adults fooled you? on

a hoax that really? nothing alive - neither a flower, nor a rabbit, nor a man, nor a country - you can't have anything. Live beings can only be destroyed, only by confirming the fact of possession »[11, p. 37].

In the end, however, the heroine succeeds? deal with a complex of pathological love for a friend. A kind of catharsis, the long-awaited purification becomes? for Darek, symbolic in his speech, a scene of vomiting into a toilet bowl. This is how Zabuzko describes it: «you have just vomited your whole life and you stand in the toilet like a Jew in a gas chamber, leaning against the wall? Lined. tiles, all in tears and their own excrement, with bruised fingertips, empty, empty, empty as if after an abortion, and those you loved, drifted away with a hum down, down the pipes. sewage system »[11, p. 67]. Overflowing with bitterness. Darek's disappointed life. Axle climax, to finally throw everything out of yourself making space for new, which was supposed to be appear. In this way, the girl freed herself, as Betko described it, "from the shadow of absolute leadership for all. price? »[3, p. 13]. So she made herself empty. space in the place of the abdomen and face, and finally, with raised hands, like a woman on the cover Sister, sister, find out who he really is.

The liberated women's world of the heroines Oksana Zabuzko revealed his paths of self-creation and self-fulfillment, without being ashamed "Great feelings" that were previously considered to be synonymous with female imbalance or illness. Love, desire, passion, but also hatred, jealousy, betrayal and a sense of tragedy - they did not so much exist, because they were already present before, which were decoded and transcribed into a female language without false sentimentality. However, freed and free, having the world and people at their fingertips, women loving and beloved, women cheating and cheating - gradually convincing. it is impossible to to suck in all the beauty of life, however beautiful it may be. And either you have to make yourself, like the D. Council, a slit?, A fault to have a place to distance yourself and the world, or, like Darek, you have to treat yourself to a sharp cut - fence yourself? from everything undigested in life. Ultimately, it is not about the "other lives" state. si? participation of the heroines or not, but that being aware of their individuality, preserving the internal freedom of judgments and choices, they dared to look around so that these other variants without fear of how much to know: «And someone defends us, someone else. shields - reliving them [other variants of life, ed. aut.] for us. And we sleep without nightmares »[11, p. 53].

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Abstract

The author of the article tries to explore the phenomena of woman's world in Oksana Zabuzhko's feminist prose, focusing on her two nowels: «Girls» and «The Alien Woman». Feminism has become an important element of the Ukrainian literary discourse. New attitude towards the woman has revealed not only her needs, inner strength, her body with its own language, but also her feares and violent passion with complicated relationships where love is connected with betrayal. The approach to women presented in Zabuzhko's prose helps to break some strong cultural taboos concerning female sexuality and identity.

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