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REAL INCEST Father Daughter Pron



Thomas, whose BBS is the online-porn market leader, discovered that he could boost sales by trimming soft- and hard-core images from his data base while front-loading his files with pictures of sex acts with animals (852) and nude prepubescent children (more than 5,000), his two most popular categories of porn. He also used copywriting tricks to better serve his customers' fantasies. For example, he described more than 1,200 of his pictures as depicting sex scenes between family members (father and daughter, mother and son), even though there was no evidence that any of the participants were actually related. These "incest" images were among his biggest sellers, accounting for 10% of downloads.


Boylan's novel's depiction of social history is shown bythe similarity between her characters' circumstances and those fin desiecle historians describe. For example, Elinore's exploitation of herdaughters is not unusual for her era. In a study of British women'slabor and domestic patterns from 1850-1914, Jane Lewis (1986: 18) notes thatservants were often related to their employers--for example, servants mightbe the widows of their employers' cousins. In accord with this trend,Elinore appropriates a different daughter as the family servant whenever sheneeds one. Daisy becomes a nun to avoid becoming the household slave when hermother determines it is her turn. Daisy does not believe that housework is asimportant as it was conventionally regarded. In her study of housework inIreland between 1890 and 1914, Joanna Bourke reports that "the basis ofdomestic bliss was good housekeeping, and bad housekeeping was criminal"(1993: 267). In line with this view, Elinore has her daughters keep up herdrawing-room to such a standard that the nuns in the orphanage across thestreet regard it as a glimpse of heaven. Ironically, the nuns give Elinoreall the credit for producing this domestic achievement, and none to herdaughters.




REAL INCEST Father Daughter Pron




"Mothers, and the women within them, have been trapped in therole of she who satisfies need but has no access to desire" (Irigaray1993: 51). Maybe it is in reaction to her lack of access to desire thatElinore habitually hides in her drawing-room playing with her dolls, whileignoring her children. The dolls enable Elinore to enjoy playing atmothering, but her real children require work. Elinore's regression intogirlish play is an escape from her children's demands and her ownfrustrated desires. When young Elinore had acted on her desire to follow theplot of Wuthering Heights through eloping with handsome, working-class DannyDevlin, it resulted in what she considers a disaster; Elinore curses EmilyBronte as she faces her tenth pregnancy. The other desire Elinore now pursuesis more socially acceptable than was her passion for young Danny. Elinorewants to bear sons, since even her disapproving mother might then considerher a success: "A woman was nothing unless she had a son" (HR 34).Elinore here mirrors the sexism of her era. Raising her sons as Protestantsand her daughters as Catholics like their father, Elinore puts herdaughters' meagre earnings into educating their brother, Will. Withpatience and determination, Elinore makes Will into a British officer wholeads a genteel, happy life until he is killed, at 37, during World War I.After his death, Elinore gradually declines into the madness in which sheends her life. Boylan shows the sad outcome for Elinore of caring only abouther sons, not her daughters. Ironically, Elinore's neglected Catholicdaughters survive, while her cherished Protestant son is sacrificed to theBritish empire that she bred him to love.


Their destructive marriage results in loneliness for the coupleand their children. Jean-Louis Giovannangeli's observation aboutBoylan's fantasy novel, Black Baby (1988), also applies to Home Rule andHoly Pictures: "the isolation and loneliness of Boylan's charactersmirror that of Joyce's Dubliners" (1996: 173). As a child, Daisydreads her boisterous elder sister Janey, who reenacts violent crimesreported in the newspapers, ordering Daisy to play the victim. As a smallgirl, Daisy waits each afternoon for her father to come home and talk to her,because her elder siblings and her mother frighten her. As Nancy Chodorowwrites, "a daughter looks to her father for a sense of separateness andfor the same confirmation of her specialness that her brother receives fromher mother" (1978: 195). Like Daisy, Danny Devlin looks to thefather-daughter relationship for the emotional nurture that Elinorewithholds. Boylan exposes the tragic consequences of a father taking too muchfrom his daughter. [6]


Danny's neighbors think of him as a hero for having saved awhole street from typhus and a would-be-suicide from hanging herself;nevertheless, this hero repeatedly molests Daisy after Elinore bans him fromtheir bedroom. Boylan shows how the lack of contraceptives causes alate-Victorian wife to adopt the only method she can think of--abstinence,without imagining the consequences for her daughter. During Danny'sattacks on Daisy, "He was like someone looking for something he hadlost" (HR 13). Turned into an object of her father's perversedesire, Daisy is betrayed again and again by the one person she loves most.It is no surprise that, once grown, Daisy duplicates her mother'sexploitation of women and children, since Daisy herself experienced theultimate in exploitation.


After her father's fatal accident, Daisy blames herself,because she had wished him dead. As another result of being molested, Daisybecomes unusually modest; this is seen when she goes swimming wearing adress. As a teenager, she refuses to wear attractive clothes, insteaddressing like a child. Elinore cannot understand why Daisy refuses to grow upand make the most of her unusual beauty: "To see the prettiest of herdaughters in this gauche state of denial was almost as diasappointing asseeing another flaunting her body in vulgar entertainments" (HR 115).Elinore does not know that Daisy has good reasons to fear being attractive.The consequences of Daisy's dread of adulthood haunt her own children;like Elinore's daughters, Nan and Mary must tend their mother as thoughthey were the parents and she was the child. Little Nan thinks of Daisy:"Already, she seemed to know that she was there for her mother, ratherthan her mother being there for her" (Holy Pictures 216). Nan copes withher disappointment in Daisy by becoming the mother to Daisy that Nan wishesshe had for herself. Boylan portrays Daisy's unconscious reproduction ofthe family structure that victimized her, and now hurts Nan.


However, Daisy and Cecil's power positions reverse aftermarriage. Because Daisy is frigid as a result of being molested by herfather, Cecil falls in love with her all over again. Thinking of Janey'sdisconcerting advice to wives to hold themselves back if they want to sustaintheir husbands' interest, Daisy realizes that "without herpermission a part of her was shut off from him [Cecil] forever. She rejoicedat this accident" (197). The idealistic soldier who had fallen in lovewith a nun is enamored with his reluctant wife. The once unavailable Ceciland the formerly imploring Daisy exchange roles; Cecil now takes the role ofabjection, and Daisy, of distant unavailability. In this they replicateElinore and Danny's marital roles. Nancy Chodorow observes that whensimilar problems recur in marriages across the generations, they are often"part of the routine process of family reproduction" (1989: 66).


Yet Cecil is a victim, too, for his suicide is the darkest outcomeof his painfully distant marriage. Ironically, after his suicide, Mags tellsthe neighbors of the couple's passionate, undying love, denying her partin his death. Like Elinore, Mags had beaten her husband figuratively throughyears of indifference, which helped cause Cecil's suicide. Since Dannyonce figuratively beat little Daisy/Mags through his perverse attacks, Magsis in a sense reproducing her father's abuse in a new, self- protectiveform--neglect of her husband and daughters.


During Mags's widowhood, she imitates Elinore andDanny's exploitation of their daughters. Mags rents rooms to malelodgers, ordering Nan to do the household chores. When Nan asserts her needto go to school, not daring to mention her dreams of a university education,Mags dismisses her daughter's right to an independent future, as Elinoreonce did Mags's. Mags takes exploitation farther when, several monthslater, an affluent, middle-aged lodger moves in. Because he continuallybrings gifts to Mags, Nan and Mary believe he is courting their mother.However, attesting to her loyalty to Cecil, Mags tries to marry Nan to thelodger, though she is only fourteen. Mags does not warn Nan about the sexualadvances the man will make on the date that she forces Nan to go on.Afterwards, Mags is angry at Nan for fighting the man off, offending him andthus ruining the family's chance at renewed prosperity. Mags duplicatesthe perversity of her father Danny when she encourages an older man to courther daughter; this is Mags's cruelest betrayal of Nan. But Nan refusesto become a child-wife, and thus avoids reproducing her mother andgrandfather's incest in a new form.


Why does Mags betray Nan, as Danny once betrayed Mags? Incest isonly part of the answer, causing what Christine St. Peter describes as"a sense of indeterminant intergenerational damage that leaches downwardfrom parent to children, tainting affective and familial relationships"(2000b: 129). However, more than incest interferes with Mags's abilityto mother Nan. Chodorow points out that "the foundation for themother's participation in such a relationship is laid in her earlyrelationship to her own mother" (1978: 90). Since Mags's motherremained distant from her daughters, longing for sons, Mags does the samething, but the son whom Mags bears dies at birth. Both Elinore and Magsrespond to the financial demands of widowhood by turning their daughters intoservants. Since Elinore and Mags never truly loved their daughters, it iseasy to exploit them while playing the role of the brave, ladylike widow.Irigaray posits that the separation of mother and daughter required bypatriarchy is damaging to both; mutual nurturing is needed instead, amatriarchal ethic (Kuykendall 1984: 267). Boylan's two novels aboutElinore, Mags, Nan, and Mary make that case. 2ff7e9595c


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