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Example text
In his next published work, Fowles encodes visual practices with endless complication and manipulation. The practice of spectatorship 55 Denzin, The Cinematic Society, 48. Voyeurism and Other Visual Pleasures 41 is, of course, fraught with complexity. As Denzin summarizes the variability of the gaze: A gaze may be a gaze of power and domination …. It may be investigative, medical, or psychiatric. It may be erotic or non-erotic, or both …. A gaze may be suspected, and a person takes measures to secure privacy ….
45 See Fowles, “Notes on an Unfinished Novel”, 13, and A Maggot, Boston: Little, Brown and Company, 1985, Prologue. Voyeurism and Other Visual Pleasures 35 image in each reader. This necessary cooperation between writer and reader – the one to suggest, the other to make concrete – is a privilege of verbal form; and the cinema can never usurp it. 46 This privileging of novelistic freedom obviously reflects Fowles’ preference for the written text. However, it also foregrounds his ambivalent attitude toward the visual, which he perceives as both oppressive and undeniable.
While authorial control seems to be a primary concern in the early work, questioning the legitimacy of such control becomes more central in the later novels. Over time, Fowles becomes more genuinely committed to exploring multiple perspectives, and less inclined to force readers into particular identifications or into the search for a singular vision. In other words, as he and his work mature, Fowles seems to develop a more complex standpoint, less dominated solely by men’s concerns. A curious, feminist, resistant reading of Fowles’ fiction, then, must interrogate instances of coercion and authorial manipulation, especially as those practices circumscribe women readers and characters, but must also explore those occasions of authorial selfreflexivity and genuine multiplicity that enable women characters and readers to examine their own perspectives and assert their own standpoints.
