{"id":1397,"date":"2023-02-26T15:35:28","date_gmt":"2023-02-26T15:35:28","guid":{"rendered":"http:\/\/chrislezotte.net\/wordpress\/?p=1397"},"modified":"2023-02-26T15:35:35","modified_gmt":"2023-02-26T15:35:35","slug":"the-automobile-in-fiction","status":"publish","type":"post","link":"http:\/\/chrislezotte.net\/wordpress\/carculture\/the-automobile-in-fiction\/","title":{"rendered":"The Automobile in Fiction"},"content":{"rendered":"\n

While in graduate school during the early 2000s, I devised an independent study focused on my growing interest in the relationship between women and cars. What follows is one of the response papers in which I examine how gender influences the meanings ascribed to the automobile in popular fiction.<\/em><\/p>\n\n\n\n

If the automobile existed merely as a mode of transportation, it would be found primarily in showrooms, on freeways and in public parking lots and personal garages. If it were regarded as simply an object of technology, the car would be praised for its utility and practicality, and cursed when it didn\u2019t perform to expectations. If the automobile was only valued for its usefulness, it would be regarded in the same manner as other technological necessities of the home and workplace, such as the washing machine, dishwasher and office copier.<\/p>\n\n\n\n

However, the automobile has taken accumulated a variety of alternative meanings since the Model T first rolled off Henry Ford\u2019s assembly line. As David Laird suggests, automobiles promise \u201cpower, mobility, freedom, even a \u2018poetic\u2019 space that beckons from beyond the too familiar course of things\u201d (244). Rather than simply a means to get from here to there, the car serves as a symbol of status, daring and sexual prowess. It is considered a home away from home or a room of one\u2019s own. In the US, the automobile is not only found in the driveway, but in films, art, music, popular culture and literature as well. In such locations, the car is not just a prop or background; rather, it often serves as a reflection of a particular society and is imbued with cultural and personal meaning. In literature, the automobile is often a metaphor for our hopes and dreams, for how we live and what we want to be. While there are certainly a number of attributes that influence the car\u2019s role in literature, one of the most significant is gender.<\/p>\n\n\n

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There can be little argument that the car is considered a masculine technology. And in literature, whether in a real or symbolic capacity, the automobile is most often a male space, located within a masculine environment. Loren Estleman portrays such a gendered location in\u00a0Motown<\/em>, a crime novel loosely based on events that occurred in Detroit during the summer of 1966. The auto industry, faced with mandatory automobile safety upgrades during the era of the \u201cmuscle car,\u201d provides the backdrop for three parallel storylines and a lot of dirty business. The major players in Estleman\u2019s novel are male, and the \u201cmuscle cars\u201d they drive are fueled by testosterone.\u00a0Motown\u2019s<\/em>\u00a0women are stereotypical at best; they not only reveal Estleman\u2019s notion of women\u2019s place, but also represent the pre-feminist ideology of the auto industry. As a crime novel of the noir genre,\u00a0Motown<\/em>\u00a0is concerned about what cars, and the car industry do, rather than the meanings ascribed to automobiles. Estelman\u2019s storyline reflects, in the words of David Laird, \u201ca society enormously dependent upon the automobile both as a means of transportation and as a source of economic activity\u201d (244).\u00a0Motown<\/em>\u00a0is built on plot rather than ideology; the cars in Estleman\u2019s novel move the narrative literally rather than figuratively.\u00a0<\/p>\n\n\n

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In other literary genres, however, the automobile is often a metaphor for male experience and masculine character. Unlike fictions such as\u00a0Motown<\/em>, the focus of narrative is not the car or car industry. Rather, the presence of the automobile in the novel fulfills a symbolic purpose. Marie Farr, in \u201cFreedom and Control,\u201d asserts that in such contexts, male writers \u201caccept the popular myth that identifies the automobile with male sexuality, power and control: in their works, driving often becomes a rite of initiation or a test of masculinity.\u201d In these fictions, men are the drivers, and as such, carry the narrative forward. The dreams that the car represents\u00a0\u00a0– success, adventure, conquest and youth \u2013 are the property of men. If women are present in such narratives, they are only going along for the ride.<\/p>\n\n\n\n

The first appearance of the automobile in women\u2019s literature occurred in the \u201croad trip\u201d genre. Women\u2019s travel stories offered women writers the opportunity to explore the possibilities of female automobility. As Deborah Clarke remarks in \u201cDomesticating the Car,\u201d \u201cwomen wrote increasingly about journeys, about mobility, and about the power inherent in this increased freedom\u201d (101). Unlike male writers and drivers, women do not take the independence automobiles offer for granted. Access to the car does not equal independence, as it has often been instrumental in restricting women\u2019s movements while keeping them close to home.\u00a0\u00a0For decades, cars have been sold to women as a form of domestic technology. Farr suggests that to the 1950s American housewife, the automobile had become \u201cthe vehicle through which she did much of her most significant work, and the work locale where she could most often be found.\u201d<\/p>\n\n\n

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The second wave of feminism inspired many female writers to call upon the automobile to reflect women\u2019s growing agency and autonomy. Like their male literary contemporaries, women writers employ the car as metaphor to equate driving with living. The automobile in women\u2019s literature often provides women temporary freedom from the constraints on how they are allowed to live. Thus while male writers use the automobile and the act of driving as symbols of power and control, female authors appropriate and reconfigure male images so that power as control transforms itself into \u201cthe power of being one\u2019s own person\u201d (Farr).<\/p>\n\n\n\n

The car as \u201chome away from home\u201d or a \u201croom of one\u2019s own\u201d has special meaning to women. Often unable to leave their children behind, automobiles in women\u2019s fiction often serve as a moving family. In women\u2019s fiction, cars may also function as a personal space away from domestic and familial responsibilities. While both male and female writers ascribe meaning to the automobile in fiction, the reality of women\u2019s lives suggests that the metaphor has alternative meanings, determined by the gender of the writer and the driver.<\/p>\n\n\n

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Since its invention, the automobile has been firmly linked with masculinity. Women\u2019s access to the automobile, and the meanings associated with it, has been qualified at best. Women\u2019s fiction provides admission to a culture that has been historically closed to female readers and drivers. It infringes on the masculine car culture and reclaims and reconfigures the automobile into women\u2019s own image. As Deborah Clarke writes, \u201cAmerican fiction reflects and shapes the dynamics between women and cars\u201d (195). The automobile in contemporary American women\u2019s fiction provides evidence that women are, in fact, viable and significant participants in American car culture.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Estleman, Loren. Motown<\/em>. New York: Bantam, 1991.<\/p>\n\n\n\n

Farr, Marie T. “Freedom and Control: Automobiles in American Women’s Fiction of the 70s and 80s.” The Journal of Popular Culture<\/em> 29 (1995) 157-69.<\/p>\n\n\n\n

Laird, David. “Versions of Eden: The Automobile and the American Novel.” The Automobile and American Culture<\/em>.\u00a0D.L. Lewis & L. Goldstein, eds. Ann Arbor: The University of Michigan Press, 1983. 639-651.<\/p>\n","protected":false},"excerpt":{"rendered":"

While in graduate school during the early 2000s, I devised an independent study focused on my growing interest in the relationship between women and cars. What follows is one of the response papers in which I examine how gender influences the meanings ascribed to the automobile in popular fiction. 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