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Every plant and tree in this garden are designed to please the king and queen, and the monarch’s rewards and praise for the gardener become “glory” in everyone’s eyes, an honour that fixes the gardener’s position even further to the point, and the garden becomes a more bounded territory. The gardeners are always busy planting in this space, but they only enclose themselves into this royal garden, even when they are out sailing, to bring more plants into the garden and further strengthen the territory. The royal garden is a part of this hierarchical tree and consolidates this tree’s structure. This space also anchors one to the point that could be described as the position of a hereditary gardener. The hereditary gardener keeps people at one point and recruits more gardeners to occupy other points to maintain this hierarchical space. This royal garden seems to be walled in by two generations of hereditary gardeners: one called John Tradescent, the other his father, also called John Tradescent, father and son. The same name suggests that their egos are unimportant, that the man has been reduced to a code name, and that what is essential is to maintain the position of the royal gardener, to maintain the point, to fortify the royal garden. 

Chapter Three Never-ending Becoming in the Social Space ................... 61

3.1 Exile to the home at edge .......................... 61

3.2 The lighthouse as an ideal symbol of stability ..................... 63

3.3 Storytelling as a way of Becoming .......................... 65

Conclusion ........................... 69

Chapter Three    Never-ending Becoming in the Social Space

3.1 Exile to the home at edge

The home in Oranges Are Not the Only Fruit is surrounded by a religious fence, the home in Sexing the Cherry is an ideal orphan home, and the home in Lighthousekeeping is a marginalised space. 

The illegitimacy of the orphan predisposes the space of the home to instability, which deepens the orphans’ insecurity about themselves. In Lighthousekeeping, Silver’s birth is the result of a one-night stand between her mother and a passing sailor, leaving her an unwed single mother the consequence that she was “sent up the hill, away from the town, with the curious result that she looked down on it” (Winterson, Lighthousekeeping, ch.1). This is how Silver describes the home she was born into: 

I lived in a house cut steeply into the bank. The chairs had to be nailed to the floor, and we were never allowed to eat spaghetti. . . .

Some people are raised on a hill, others in the valley. Most of us are brought up on the flat. I came at life from an angle, and that’s how I’ve lived ever since. (Winterson, Lighthousekeeping, ch.1) 

Conclusion

Winterson’s three novels about orphans describe the generation of orphans between different spaces. The first orphan, Jeanette, breaks out of the religious territory constructed by her adoptive mother and the church, and her own self is then opened up to a myriad of possibilities, no longer subject to the authority of religion but following the threads of unravelling deterritorialization and ge本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。