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Tliroughout her work, Janet Frame is consistently concerned with the relationship between self and place. New Zealand appears in most of Frame’s writings - even in those narratives where the action is located elsewhere - and it also appears, of course, in her autobiography. Jan Cronin suggests that Frame’s engagement with New Zealand as a ‘place’ is an engagement with more than a concrete spatial representation: Frame’s literary representation of New Zealand is ultimately put at the service of an interpretative quest for meaning. According to Cronin Frame’s concept of ‘place’ is not conceived exclusively in ‘the sociopolitical ways the social-realist, cultural nationalist and postcolonial traditions would variously construe it. Instead, Frame can be seen to subordinate the concrete to the abstract

by using place to enact philosophical pursuits’. Thus, it can be said that

Frame’s approach to ‘place’ constitutes a privileged instrument of metaphysical exploration, and the theme of ‘New Zealandness’ in relation to personal and national identity is part of the broader search for existential significance, purpose, and underlying truth which persists tlirough all her fictional and non-fictional work.

Born in 1924, Frame grew up in the era of the ‘Cultural Cringe’, when artists from New Zealand and Australia, still under the influence of former settlers’ mentality, felt a sort of provincial melancholy for, and cultural dependence on Great Britain."*^^ At the same time, they were beginning to look for

Jan Cronin, ‘“Encircling Tubes o f Being”: New Zealand as Hypothetical Site in Janet Frame’s

A State o f Siege (1966)’, Journal o f New Zealand Literature, 23.2(2005), 79-91(p.79).

The term Cultural Cringe was coined after the Second World War by the Melbourne critic and social commentator A.A. Phillips, and defined in an influential and highly controversial

1950 essay o f the same name. It explored ingrained feelings o f inferiority that local intellectuals and artists struggled against. The implications of these insights potentially applied to all former colonial nations, and the essay is now recognized as a cornerstone in the development o f postcolonial theoiy. A. A. Phillips, rt.T. Phillips on the Cultural Cringe (Carlton, Vic.: Melbourne University Press, 2006).

au identity more consistent with the actual circumstances of their home countries and trying to develop a weightier cultural nationalism. Frame experienced the negative power of this cultural subservience during her adolescence and young womanhood. Her parents called Britain ‘home’, kept numerous British traditions, and proudly spoke of their Scottish spiritual inheritance.

Dad, sometimes striding up and down in the snow (he insisted that you had to stride up and down while you played the bagpipes), played his bagpipes tunes - ‘The Cock o’ the North’ or ‘The Flowers o f the Forest’ or others from his book o f bagpipe music {Is-Land

17).

In the various towns where the family lived, the streets, the schools, the public buildings, were designed on British models - present or past. In Oamaru, for example, the main town of the Otago Peninsula, where the Frame family finally established their home, the principal streets were named after English and Scottish rivers - Thames, Severn, Humber, Ouse, Tyne, Dee, Clyde, Tay. Its public buildings were built in classical and renaissance styles - the most imposing, the Bank of Otago building, inspired by Edinburgh’s Commereial Banlc of Scotland.At school, Janet felt the pervasive English paradigm in the form and content of her education. She absorbed, and later resented, the exclusively British texts of her literature courses.

Much o f the school journal dealt with celebrations o f the British Empire, with articles and photographs o f the royal family, chiefly the two little princesses, Elizabeth and Margaret Rose. There was a description, too, o f their life-size dolls’ house, with photographs. In contrast to the factual prose of the school journal and the praise o f the Empire, the king, the governor general, the Anzacs at Gallipoli, Robert Falcon Scott at the South Pole, the poems were full o f mystery and wonder, with Walter de la Mare and John Drinkwater, Christina Rossetti, as the editor’s first choices followed by Alfred Noyes and John Masefield, to give the rollicking touch. One poem that I liked at once was ‘Meg Merrilees’ {Is-Land 34).

But it was not long before Frame became aware of the strangeness of this material and began to miss literary models capable of expressing her first-hand experiences at home, in her country. She longed for works that represented her world, with the

flowers, fruits and animals she had seen and touched, with landscape and light she could recognize, and, more importantly, with her people’s own, unaffected, and - for her - more meaningful words: ‘None of our English studies even supposed that a New Zealand writer or New Zealand existed’ {Is-Land 128). In her autobiography, Frame shares her experience of being raised as a ‘colonial’, of being educated on the assumption that what happens locally is second hand and

second rate, an imitation. She expresses her sense of vacuum, her need to

belong to a place with its own well-defined, accepted, and valued characteristics, not only an invisible marginal territory developed under the shadow of another country, which was the model of everything good.

Youth was for Frame an extremely difficult period; she constantly felt at a disadvantage, because she was a woman in a man’s world, because of her socioeconomic status, and also because of her own extreme personality traits. Her severe shyness and her feelings of unworthiness led her to acquiesce in others’ expectations:

W e’re all so proud you’re going to be a teacher.

[...]

I stood smiling my shy smile which was more close-lipped than usual because my front teeth were now in the last stages o f decay, as the Social Security Health System did not allow for dentistry beyond primary school, and my family had no spare money to pay for dentists {Angel 152).

On top of this several misfortunes added to her feelings of insecurity and inadequacy, and left indelible marks - the most painful were, undoubtedly, the first signs of her brother Bruddie’s epilepsy and the death by drowning of her two sisters. Myrtle and Isabel.'^^'’

Frame’s autobiography, then, reflects on her position as a white woman, developing in the colonial culture of New Zealand and it examines the

See Mark Williams, Leaving the Highway: Six Contemporaty New Zealand Novelists (Auckland: Auckland University Press, 1990),p.45.

relationships between gender, race, and the position of the postcolonial subject. For example, when Frame discusses her relationship while she is in London with Nigel, a law student from Nigeria, she reflects on their common entrapment in colonial status: ‘We were both “colonials” with similar education - heavy doses of British Empire, English history, products, rivers, cities, kings - and literature’

{Envoy 312). She feels, however, that their positions are slightly different, since

the different racial origins confer diverse characteristics on their present self- images. She identifies herself with the dominant race, bringing herself to an equivocal assimilation with ‘the English’; he supposedly identifies himself with the dominated groups: ‘I was favoured, however, in having my ancestors placed among the good, the strong, the brave, the friendly, in the position of the patronising disposers, the blessed givers’ {Envoy 312). When on its way to England her boat stopped at a Caribbean port, her instinctive reaction towards the inhabitants of the town also illustrates the degree to which she had internalized the prejudices of the colonial mentality: “‘Maoris are very mechanically minded”, a lecturer at Training College had told us, a class of Pakehas. Now, faced with Afro-Americans and Indians I dismissed from my mind the comparison with teams of slaves’ {Envoy 296). Frame deals with the identification of New Zealand people with Britain as ‘the mother country’, narrating how the white New Zealanders - Pakeha - were accustomed to consider themselves British and to look with disdain on anything indigenous to New Zealand as inferior.

Frame’s autobiography records also the post-war-era as New Zealand’s period of crisis, when its traditional forms of self-representation and self- understanding began to collapse, and the nation took the initial steps in constructing a ‘new sense of national identity in terms not governed by the old

security of colonial relationships’. She problematizes the notion of a postcolonial ‘authentic’ identity for the descendants of the New Zealand settlers. It is problematic because they face a situation of double displacement: they cannot completely identify with the British because they have grown apart, developing

great differences, nor can they claim ‘originaiy’ Maori identity. The New

Zealanders’ sense of origin at that time was, Alan Lawson suggests, of being

caught between two First Worlds, two origins o f authority and authenticity: the originating world o f Europe, the imperium, as source o f the second World’s principal cultural authority; and that other First World, that o f the First Nations, whose authority the settlers not only effaced and replaced but also desired.'*®®

In Frame’s narrative, being a colonial means having grown up with a permanent sense of being in the wrong place because, as a pakeha New Zealander, she feels ‘at home’ neither in New Zealand nor in Britain. Janet’s father, before her overseas trip to England, eomments with pride: ‘So, you’re going home’ {Angel 285). Significantly, Frame describes her father’s conversations with ‘Auntie Polly and Uncle Vere and the other relations: ‘I heard him repeat several times, “Janet’s going home, you know.” I found myself acquiring a prestige [...] I was now the “niece who is going overseas, home"” {Angel 285). Wlien she is compelled to return to New Zealand after her father’s death, she says ‘I was about to go home to New Zealand’ {Envoy 415). This consciousness of always standing in relation to somewhere else is what Williams calls ‘the old problem of New Zealand

anxiety about “elsewhere”’ This attitude is illustrated in Frame’s Living in the

Maniototo, where the inhabitants of the New Zealand suburb, Blenheim, feel

^*®’ Williams, Leaving the Highway, p.39.

'*®® The term ‘authentic’ here is used in a broad sense - recognizing that according to postmodern theory, ‘authenticity’ is always illusoiy- meaning identity positions based in

elements/identifiers present before colonization and assumed in some cases by postcolonial subjects as useful political strategies.

“*®® Alan Lawson, ‘Postcolonial Theory and “Settler” Subject’, o n Canadian Writing, 56 (1995), 20-36 (p. 29).

‘obliged to refer their own experience to that of the richer, more original, and

more authentic experience elsewhere’ The streets in Blenheim - the ‘new

young suburb named after a British “famous victory’” - ‘are named after British lords and their country seats, and battles of wars recent and long ago’, although there is one street dedicated ‘to a ballet dancer who “made good” in another country’; in Blenheim the ‘children are restless, with a sense of loss, as if they had truly been children of the native forest’, but ‘if you, a stranger, stay in Blenheim, you stay in a motel’ because you are there only on your way to ‘your “real” destination’; its ‘largest, most impressive building is not a cathedral, a community hall, concert hall or theatre, but a shopping mall planned by those who believe that the commercial architecture of North America is suitable for Blenheim: built for a climate of blizzards, intense heat, meager daylight filtered tlii'ough smog’/^^ The inhabitants of Blenheim epitomize the former colonials’ conviction of living, unfortunately, in a marginal position, where they are deprived of any truly valuable experience. Even when Frame goes to the Maudsley Hospital in London in order to confirm or discard her New Zealand doctors’ diagnosis of schizophrenia, her attitude is that of a colonial; she recognizes that she expects too much from the doctors in England, but at the same time, she is able to criticize

Î

that attitude:

I supposed that this famous Institute o f Psychiatry would have few o f the shortcomings of New Zealand hospitals, that it would have many doctors trained to make thorough diagnoses after learning all the facts o f each case; also that, unlike in New Zealand, the ‘case’ would have a chance to speak, to be known at first hand. I expected much {Envoy 373).

She assumes that the doctors in England are better than in New Zealand; she expects to be interviewed, tested, and examined, and she is prepared to consider

Williams, Leaving the Highway, p.45.

Janet Frame, Living in the Maniototo (Auckland: The Women’s Press in association with Hutchinson Group (NZ), 1981), pp.21-23.

their diagnosis as conclusive because she has been raised in the belief that wisdom and knowledge in the heart of the former English Empire surpasses that of its marginal territories. Frame’s faith in the superiority of English psychiatrists had been subtly, but consistently formed by the historical relationship between New Zealand and Britain. Although the tone of ‘I expected much’ suggests that her faith is finally not vindicated, Frame is lucky to find in the doctor she is assigned to - a young American - someone who appears to be ‘in contrast to the serious sober Englishmen who stai'ed, frowned, half-smiled, and uttered only “M-m, I see’” {Envoy 374). In other words, those intimidating English doctors appear as the embodiment of the patriarchal authority of the colonizer over the colonized subject/other. Probably partially due to the young doctor’s personal characteristics, Frame is able to establish an appropriate therapist-patient relationship, with the final result that the panel of psychiatrists give the opinion that she is not, and never has been schizophrenic.Tonya Blowers’s contention that, ‘throughout the tliree volumes of Frame’s autobiographies, home/place is a crucial signifier of belonging, closely associated with a sense of self and identity’ is easy to justify Equally, it is possible to say that the decisive turning point in Frame’s journey to selfhood and identity is her experience of factual England, which allows her to confront difference, to become conscious of her belonging to New Zealand and of her roots as a New Zealander. She had anticipated much pleasure in visiting in London those places whose haunting names she had learnt during her childhood and adolescence - Crystal Palace, Ponders End, Piccadilly Circus, High Wycombe - but instead she encounters ‘a cluster of dreary-looking buildings set

Michael King, Wrestling with the Angel: A Life o f Janet Frame (Viking: Auckland, 2000), p .186.

Tonya Blowers, T o the Is-Land\ Self and Place in k\iio\>iogvaf[\y\Australian-Canadian

in a waste of concrete and brick and full of people who appeared to be pale, worried and smaller in build than most New Zealanders’ {Envoy 374). When the postcolonial Frame actually ‘returns’ to the motherland, she understand the illusions in her image of Britain and of her relation to it, caused by the distorted colonial memory that dominated New Zealand at the time, Hugh Roberts explains the deep ambivalence in the postcolonials’ distorted mental representation of the centre, that image of Britain the young Janet had certainly internalized: ‘the “original” would never be quite what was imagined, leaving the colonial to choose between allegiance to an unreal ‘original’, a real but inauthentic and the real but error-ridden “copy”’.'^^^