"가족도, 화나우도 아니다…우리를 표현할 말이 이렇게도 없단 말인가?" 케이 흄의 『태초의 사람들』이 그려내는 귀향 그리고 새로운 가족의 탄생
“Not family, not whanau. . . maybe there aren’t words for us yet?”: Homing and Making a New Family in Keri Hulme’s The Bone People
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This paper explores Keri Hulme’s globally-recognized novel, The Bone People, which deftly combines the themes of family violence, exploitation of natural resources, and the regeneration of Maoritanga. Set in the harsh environment of island beaches, The Bone People is an emotionally powerful story of love and friendship among three alienated outcasts: a reclusive female artist of mixed heritage Kerewin Holmes, a widowed Maori factory worker Joseph Gillayley, and a mute white child Simon. Self-isolated in a spiral-shaped tower, Kerewin is intellectual, eccentric, fish-obsessed, and asexual. Joe seems to be a hardworking and caring father, but he is an alcoholic and abusive father to his foster son. Simon is known as a manipulative, wicked child with an unknown past washed ashore in a shipwreck and rescued by Joe. The three characters are family-less and homeless. They treat each other with a perturbing mixture of tenderness and brutality. Concerning this point, the paper focuses on their homing process and complicated relationship which brings the characters together in the name of a new family. The unorthodox trinity of mother, father, and son represents the utopian landscape of family where Maori and Pakeha meet, clash, and merge.
Abstract
This paper explores Keri Hulme’s globally-recognized novel, The Bone People, which deftly combines the themes of family violence, exploitation of natural resources, and the regeneration of Maoritanga. Set in the harsh environment of island beaches, The Bone People is an emotionally powerful story of love and friendship among three alienated outcasts: a reclusive female artist of mixed heritage Kerewin Holmes, a widowed Maori factory worker Joseph Gillayley, and a mute white child Simon. Self-isolated in a spiral-shaped tower, Kerewin is intellectual, eccentric, fish-obsessed, and asexual. Joe seems to be a hardworking and caring father, but he is an alcoholic and abusive father to his foster son. Simon is known as a manipulative, wicked child with an unknown past washed ashore in a shipwreck and rescued by Joe. The three characters are family-less and homeless. They treat each other with a perturbing mixture of tenderness and brutality. Concerning this point, the paper focuses on their homing process and complicated relationship which brings the characters together in the name of a new family. The unorthodox trinity of mother, father, and son represents the utopian landscape of family where Maori and Pakeha meet, clash, and merge.
참고문헌 (15)
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