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Becoming Animals and Landscape in Margaret Atwood’s Surfacing
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Margaret Atwood’s nameless protagonist in her novel Surfacing is often presumed to go insane toward the end of the novel in spite of her obvious encounter with a profound revelation of reality after surfacing from water. She certainly acts like a bear and a frog, and in her transformed consciousness her beloved father and mother are perceived as a wolf and a bird respectively. She even becomes a tree, a place, and she also even makes love with landscape itself represented by moss, water, and stone. Unlike the general criticism of the novel which sees her becoming animals and landscape as madness, however, this paper aims at a new reading of the protagonist’s becoming, so-called less human, by interpreting it not as any romantic regression to nature nor as evolution in any sense, but as Deleuzian “involution” which is meant to be distinguished from evolution, rather encompassing all evolutionary progression from matters to animals to humanity without erasing each former stage in enclosure. It argues that when animality—mostly brutal savageness—within humanity is to be completely eliminated in the process of becoming civilized, its rather positive aspect such as animal-like intuition and sharp senses happens to disappear as well so that it needs to be restored and reinstated as an alternative to the modern logocentric slant.
Abstract
Margaret Atwood’s nameless protagonist in her novel Surfacing is often presumed to go insane toward the end of the novel in spite of her obvious encounter with a profound revelation of reality after surfacing from water. She certainly acts like a bear and a frog, and in her transformed consciousness her beloved father and mother are perceived as a wolf and a bird respectively. She even becomes a tree, a place, and she also even makes love with landscape itself represented by moss, water, and stone. Unlike the general criticism of the novel which sees her becoming animals and landscape as madness, however, this paper aims at a new reading of the protagonist’s becoming, so-called less human, by interpreting it not as any romantic regression to nature nor as evolution in any sense, but as Deleuzian “involution” which is meant to be distinguished from evolution, rather encompassing all evolutionary progression from matters to animals to humanity without erasing each former stage in enclosure. It argues that when animality—mostly brutal savageness—within humanity is to be completely eliminated in the process of becoming civilized, its rather positive aspect such as animal-like intuition and sharp senses happens to disappear as well so that it needs to be restored and reinstated as an alternative to the modern logocentric slant.
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