60 pages 2 hours read

Great Circle

Fiction | Novel | Adult | Published in 2021

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Themes

The Imitation of Life

A central theme in Great Circle is the imitation of life. The two narratives—the lives of Marian and Hadley—are linked through this theme. The first narrative portrays the complexities of Marian’s life, while the second shows Hadley’s attempts to turn Marian’s complicated life into a film. The various errors and misunderstandings of Hadley’s film illustrate how reality and art are often far apart. Hadley’s film fails to deal with Marian’s bisexuality, mistakes many events from her life, and completely misrepresents her death. The gulf between reality and its artistic representation shows how the imitation of life is impossible: People are simply too complicated, nuanced, and contradictory to satisfyingly portray in condensed artistic forms; subtleties and intricacies are flattened and ignored. No film (and no book) could hope to represent Marian exactly as she was, and the novel uses the structure of two competing narratives to highlight this futility.

James Graves faces similar problems. He is an artist who becomes disillusioned with artistic principles. The more he paints, the more he understands that his art is a pale imitation of his subjects. His work becomes increasingly abstract as he moves beyond literal representations of subjects and toward a more emotive approach. He bends perspective to convey a sense of the uncanny, reminding an audience that they are viewing a picture of a subject, rather than the subject itself. This deliberate uncanniness shows a self-awareness of the theme. Jamie’s art seeks to imitate life not only through literal representations but through abstraction. His depictions of war are only truly accurate when he produces scrawls and scribbles in his notebook. To Jamie, life cannot accurately imitate art, but it can convey emotion. For both Jamie and Marian, however, reality can only be understood through experience; Marian must fly a plane to understand freedom, and Jamie must kill a person to understand war. The films and art inspired by these events are quiet echoes of the characters’ emotional reality. In the end, all art imitates life, but trying to wholly capture life is futile.

Freedom and Flight

Flying an airplane is an exercise in freedom and escapism for Marian. The novel explores her relationship with flying as it helps her to escape from the tragedies and prejudices that she faces in society. As a poor abandoned child, Marian yearns to be somewhere other than Montana. Others frequently tell her what she can and cannot do, typically based on her gender. When she first sees an airplane, the romance of flight appeals to her. Flying a plane is a way to untether herself from societal expectations and constraints. Rather than remaining stuck on the ground, the planes allow her to travel upward and above the world. In the air, she is not bound by walls, ceilings, or tethers; she is free to go in any direction she pleases. Marian can use her plane to travel outside of her town, her state, her country, and even on an attempt to circumnavigate the globe. At every step of the way, men and other people in the society try to limit her. With her plane, however, Marian cannot be limited. To her, freedom and flight are the same.

Marian is so invested in the idea of flying because she feels the need for control. Once she learns to fly, the plane obeys her commands. She only needs to move the control stick to set the course of her life. When Marian takes Macqueen in the plane, she demonstrates her control over him by performing aerobatics that make him sick. When she wants to be independent, she takes the plane and flees from him. When she wants to hide, she becomes a pilot in Alaska. Flight is the central symbol for her freedom. She masters flying in a way she never masters other aspects of existence.

Because flying is so important to Marian, her decision to stop is a vital moment in her life. She chooses not to fly when she escapes to New Zealand because she does not want to draw attention to herself. In this moment, after a lifetime spent with an urge to fly, Marian discovers a new way of exerting control: By refusing herself the delights of flying, she is atoning for her past mistakes. This decision is the ultimate expression of agency, as she abandons a key theme in her life so that she can be happy.

Identity and Gender

Great Circle examines the idea of how gender expresses self-identity. Marian Graves does not believe herself to be conventional, and she rejects the gender roles that society prescribes. While most women in her hometown adhere to societal expectations by dressing, acting, and performing in a particular way, Marian does none of these things. She dresses as a boy, cuts her hair short, takes on jobs that seem only available to her male counterparts, and challenges social norms at every opportunity. She grows up being told that women cannot be pilots, but she never abandons her dream to learn to fly. With her steely determination, Marian lives in opposition to society’s expectations of her gender, and she bases her identity on this defiance.

However, sometimes Marian is forced to adhere. Her loyalty to Jamie and Wallace means that she sometimes adheres to social expectations to benefit her family. She marries Macqueen because doing so will help her family; reluctantly, she plays the role of a typical housewife, even if her marriage is performative. Internally, Marian rejects Macqueen’s sexist idea of how a woman should behave. She craves her independence and seizes every chance she can to demonstrate this rejection, either by flying her plane or by refusing motherhood. Macqueen punishes her for this. He rapes her and abuses her, trying to force her compliance. Marian never abandons her identity as a rebel, even if she mutes it for a while. She rejects Macqueen and, in doing so, more firmly demonstrates her rejection of conventional gender roles.

In her continual self-assertion and rebellion, Marian grows in strength and independence. Sometimes she dresses as a man, sometimes as a woman. Sometimes she is attracted to women, sometimes to men. Marian approaches gender as a monolithic code of stereotypes that should be invariably rejected. She forms her identity through her refusal to conform, and her independence is not just from individuals or places; Marian identifies as a person free of hollow social principles.

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