Bunny Christine Arlotti, Dixie State University
Humanities
The Rape and Incest National Network (RAINN) reports that over two-thirds of rapes in the United States are “completed” by someone the victim knows: “The rapist isn’t a masked stranger.” RAINN’s rape statistics contrast with Frank Norris’s depiction of rape in The Octopus: A Story of California (1901). Based on an historical event, The Mussel Slough Tragedy (ca. 1880), the novel’s main plot focuses on a group of San Joaquin Valley ranchers who band together to battle the Southern Pacific Railroad’s tyrannical land grab. But out of this epic clash between man and steel emerges a subplot centered on the rape and victimization of a young woman named Angèle Varian. This paper explores the Vanamee-Angèle subplot, examining how Norris stereotypes Angèle and blames her for her own victimization. By treating Angèle as an example of what Paula Hopkins and Kristina Brooks label the “fallen woman,” Norris attempts to arouse the reader’s sympathy, not for Angèle but for her boyfriend, Vanamee, who is also one of the rape suspects. I will support my findings by examining the following works: Stuart Burns in “The Rapists in Frank Norris’s The Octopus,” Maria Brandt in “For His Own Satisfaction: Eliminating the New Woman Figure in Mcteague,” Paula Hopkins and Kristina Brooks in “New Woman, Fallen Woman: The Crisis of Reputation in the Turn of the Century,” and Joseph McElrath in Frank Norris: A Life. Ultimately, from a feminist’s perspective, Norris’s underlying message about his rape victim says volumes about his endorsement of the Victorian perspective toward the “fallen woman”-they were not worth saving, helping, or hearing from ever again.