Katherine Blake (or Dorothy Heydt) and The Interior Life
I’ve mentioned a few times before that I have a fascination with 80s fantasy, and suspect a number of now-overlooked genre books from those years are worth closer examination. I want to put forward another example of what I mean: The Interior Life, written by Dorothy Heydt under the name Katherine Blake. Published in 1990, it’s a novel that does interesting things in mixing a fantasy world with the experiences of a modern-day housewife.
The book starts with Sue, whose three kids have just started the school year. Sue’s doing some daily chores and remembers how she told herself fairy tales when she was a child, creating and inhabiting fictional characters: “all the people I used to be.” After which, she starts seeing the lives of people in the quasi-medieval world of Demoura. More precisely, she sees things from the perspective of Lady Amalia, a noblewoman with magical gifts, Marianella, her maid, and occasionally others such as Kieran, an innkeeper’s son who joins Amalia’s service. Demoura’s menaced by a Darkness creeping westward across the land, blighting all in its path; the characters of the Demouran story live a fairly conventional high fantasy tale of an evil wounding the land, of the struggle to overthrow the dark and bring healing. But those characters also, as the story goes on, provide inspiration for Sue.
You could in theory read the book as moving back and forth between two separate worlds. Heydt, in the comments to this perceptive review of the book by Jo Walton, has said that she thinks of the fantasy aspects as entirely Sue’s creation; in fact, without being explicit, a number of things about the set-up imply this. It’s subtly done. Notably, the life-and-death drama of the fantasy becomes the venue for Sue’s development as a person. She wants nothing more than to tend her family — raise her kids and cook and keep house and help her husband advance in his career. However old-fashioned this sounds, the novel makes it clear she’s happy with this life, and the point of the book is not that she finds new goals, but that she becomes better at what she does and happier in the course of doing so. Two or three interesting points come out of this. First, the blending of the ‘real’ and ‘fantasy’ worlds is worth considering, well-done and unusual. Second, the book points out a generic similarity in fantasy stories about a protagonist developing skills and learning to master their world. Three, and this is perhaps more marked from a twenty-first century perspective than a 1990 perspective, it raises some interesting questions about what is contemporary and what is archaic. Sue’s life and aspirations feel dated in ways that the fantasy of Demoura does not.
