Fatal Attraction

     In Part III of Burdekin's Proud Man, we are able to see Verona/Alethea's second major interaction with a character; her encounter with Leonora offers an alternative worldview than that of Andrew. Even though Verona still maintains the "cold" but "gentle" personality, the reader is able to draw more insights from her way of thinking, her own "island", and her apparent inability to feel any emotion at all. I will try to advance the class dialogue using some of the observations I have made, and hopefully they will be useful ones.


     We learn that Leonora has had a difficult past, having lost a daughter, Cordy. She has also struggled with having a book published, which has eroded her self-confidence as a writer (181). This pains her tremendously upon reflection, but at other times, Leonora is very cheerful and content when she is with Alethea. Interestingly, Leonora is described as two people in one (173), and this arrangement of two is seen elsewhere in the chapter, particularly of both men and women. Leonora makes clear to Verona that maleness and femaleness are themselves opposites, but they are NOT synonymous with masculinity and femininity. The latter two seem to be more outward projections, like one 'Leonora', while the former two seem to be more inward, like the other 'Leonora'.


     At a social scene, Verona is also the center of attention, particularly toward the male figures. Her two encounters with Fernie and Mitchell are uncomfortable for both men, but Verona has a curious tendency to act as a sort of mirror. This is especially seen in the case of Philip Mitchell, who, acting initially as the dominant figure, leaves the party bewildered and frightened (206-7). Ironically, the Proud Man has lost his pride from one encounter with Verona. All of his fame, power and prestige cannot save him from realizing that he is very fragile; he seems to have been too confident in his prowess as an artist, and discovers that perhaps all his pursuits have been in vain.


     Using some of the above information, I will try to put forth a few thought-provoking questions...


1] Verona seems to bring out the weakest or most vulnerable aspects of everyone she meets. Apparently, her cold, almost Spock-like personality is impervious to the entire spectrum of human emotion, leaving others feeling afraid, both of Verona and of their own shortcomings. Is it "human" (or in this case, subhuman) for us, as human beings, to feel natural emotions like love, anger, sorrow, fear, and countless others? Or, does being human imply only a logical, or somehow more rational approach to life, as Verona shows?


2] What, in your own words, does it mean to be "male" or "female"? What does it mean to be "masculine" or "feminine"? This question is raised frequently throughout the book, but perhaps only Verona knows the answer for sure. Are we, as either males or females, capable of understanding the opposite sex's viewpoints entirely? In other words, do you agree more with Leonora, who claims that one sex may understand how other members of that sex think, but not how the opposite sex thinks? (174) Or, do you side more with Verona/Alethea, who maintains that both male and female are at fault when it comes to understanding one another? (212)


3] In the same page number just mentioned above (212), Alethea also makes mention of "getting over the importance idea". What does this mean? Being a man is, for the male, both the source of his greatest pride and his greatest unhappiness, according to Alethea. Do you agree?


-Brandon Gerlinger