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Where Duffy uses revisionism to re-evaluate alternative representations of femininity in history throughout ‘The World’s Wife’, Bennett encourages the reader to re-evaluate the nature of history through Irwin’s revisionist versions of it, so introducing the idea of historiography, whereby historical accounts are dependent upon personal experiences or cultural context. Duffy deliberately distances her characters from sentimentalised idealism regarding the role of the female protagonist, creating ‘real’ voices of suppressed female voices through her use of the dramatic monologue form. However Bennett presents subjunctive historiography through the characterisation of Dakin, leaving the reader to question how minor changes in historical events may significantly impact the route of history. Dakin seems to follow Hector’s focus on the constant questioning of the alternate outcomes of history, musing on both alternate and subjunctive history (“It’s subjunctive history. You know, the subjunctive? The mood used when something may or may not have happened. When it is imagined”). Dakin finds enjoyment through merging both Irwin and Hector’s arguably conflicting perspectives to history. Duffy also uses subjunctive history to convey a provocatively sympathetic portrayal of the English serial killer, Myra Hindley, within the poem ‘The Devil’s Wife’. Here, Duffy utilises revisionism and subjunctive history to provide possibilities of what may have occurred in the ambiguous events of ‘The Moors Murders’ (1963-1965). Duffy is subversive through her depiction of Myra Hindley as a victim, rather than a violent criminal, through her objectification and public judgement of her appearance and voice (a subject of great focus amongst media and the public eye of the 1960s): “Nobody liked my hair. Nobody liked how I spoke”. Duffy’s use of repetition of “Nobody”, combined with emphatic nature of the sentences, instil sense of victimisation. The objectification of Myra Hindley encourages the reader to question and revise what it is to be a woman in an intensely judgemental modern society. Duffy subtly uses revisionism to criticise society and the media for their frivolous judgement of Myra Hindley, re-writing history by illustrating Hindley as a victim.
Contrastingly Dakin presents a striking example of subjunctive historiography within ‘The History Boys’. This is reflected through his re-interpretation of the day of Winston Churchill’s election to be Britain’s Prime Minister, as a result of Halifax not being present (the more likely candidate to be elected: “Halifax more generally acceptable”- Dakin) as he was at the dentist. This is a prime instance where events in history would have unfolded in to creating alternative results, showing how Bennett is emphasising the concept of the incidental nature of history. Dakin’s obsession with subjunctive history and the possibilities of different events is illustrated through his enjoyment in considering the minor details of the past: “If Halifax had had better teeth we might have lost the war”. Bennett’s use of the conditional “if” highlights the interchangeability and probability associated with subjunctive history. Bennett’s comedic writing highlights deeper concepts regarding alternate history and the consequences, chance and scenarios that determine history.
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