In the novel “Fall On Your Knees,” Ann-Marie MacDonald portrays Frances Piper as a dynamic and realistic character. As one of the four Piper girls, Frances stands out from her siblings due to her adventurous nature and propensity for mischief. Even from a young age, Frances constantly finds herself in trouble, much to the dismay of her father, James Piper.
James Piper possesses a demon-like persona at different points in the novel, imbibing some of it from his father during his early years. Similarly to how Frances’s father’s history unfolds, readers can imagine Frances growing accustomed to her father’s personality and eventually transforming into a demon herself as a means of retaliating against him. One could argue that Frances becomes the Devil’s advocate. But how can a young and innocent girl wield such a detrimental effect on her family, particularly when she is the center of this narrative?
Despite being portrayed as the Devil’s advocate in her actions and interactions with various characters, Frances remains a youthful and rarely frightened girl. She strives to live a life that her grandmother, mother, and sisters never could – a life packed with daring ventures and risks, all the while maintaining her kind-hearted nature. Frances manages to achieve a level of the life that Materia could never attain.
Frances is constantly seeking excitement and danger. Additionally, her transformation can be observed on the day of her mother Materia’s funeral. While the funeral is taking place, she cannot contain her laughter. However, she is surprised when her sister Mercedes and James mistakenly believe that she is crying. During this moment, Frances discovers a crucial lesson that will guide her in surviving and functioning throughout her life – she realizes that one thing may appear to be something else.
According to the author, Frances’s transition in life comes from the moment when she “learned how to lie” (142). This transitional point is attributed to her realization that she must now navigate life without any support in order to survive. The rape by her father, James, has left Frances burdened with his inner demon, which likely contributes to this transformative stage. Having lost her innocence at a tender age, she is unable to seek solace in her father and is left to care for her youngest sister, Lily Piper, independently.
Despite being mischievous and not considering others’ feelings, the suggestion is not that Frances is possessed by the Devil. However, according to Dina Georgis, Frances exhibits similar behavior to her mother Materia, displaying both brilliance and self-destructive tendencies (Georgis 224). Frances seems to be recreating her mother’s life with excitement and behavior that may be seen as inappropriate by society. Additionally, Georgis notes that Frances often relives traumatic experiences with even more scandal and possibly more enjoyment (Georgis 224).
Considering all of these factors, it is evident that Frances is not fulfilling the Devil’s desires but rather living the life her mother was unable to due to imposed limitations. An instance of Frances imitating her mother’s life is when she secretly converses with Lily in bed during the late hours of the night: “Frances utilizes partially remembered expressions and recounts fragments of previous tales, combining them with sections of songs, filling in the numerous gaps with her own invented words that mimic the sounds of her mother’s native language” (243).
The examples given show that Frances, as a young girl, is not genuinely displaying her wicked traits. Instead, she is trying to imitate her mother’s lifestyle and, in a way, seeking retribution against her father for mistreating Materia over the years. As Frances matures, it becomes clear that she has become more mischievous and disobedient. She disregards social conventions and starts working as a prostitute to take revenge on her father who is perceived as the Devil by the local community.
At the age of sixteen, Frances begins engaging in smoking, drinking, and low-cost performances. She resorts to prostituting herself to older men, which is extremely distressing due to the manner in which she conducts her actions: “Frances will sit on your lap with your pants buttoned for however long it takes for two dollars… She charges two-fifty for a hand job – she uses a unique glove from her first communion.” (293) It is abominable to use a glove meant for religious purposes for such depraved acts.
In this instance, it is suggested that Frances may be symbolizing the Devil due to her actions. Laura Robinson claims that instead of engaging in quiet labor with minimal compensation, engaging in charitable work, and showing respect for authority figures, Frances behaves loudly, engages in prostitution, and disrespects her father (Robinson 37). However, Robinson also points out that Frances works to secure funds for Lily’s escape from her oppressive family environment (Robinson 37).
In the novel, MacDonald discusses that Frances has a desire to save her money for Lily. She hides her money in a secret location (293), recognizing that her actions serve a noble purpose: safeguarding her younger sister Lily and accumulating enough funds to support her future departure. Despite her unsettling behavior and the negative consequences it entails, she possesses a caring and affectionate nature. Frances consistently watches over her sister and takes whatever measures necessary to assist her, regardless of the disturbing outcomes and misguided implications.
Throughout the novel in the early 1900s, one act that is considered abhorrent is miscegenation, which refers to the marriage or relationship between individuals of different races. The book depicts numerous instances of miscegenation, with the most prominent example being the relationship between Frances Piper and Leo Taylor. Frances, driven by her inner Devil, intentionally tempts Leo, a black man, into sleeping with her in order to conceive a mixed-race child. Through her seduction and coercion, she eventually succeeds in fulfilling her desires.
Teresa, Leo Taylor’s sister, holds the belief that Frances is influenced by the Devil. In fact, Teresa perceives Frances herself as the embodiment of evil and decides to shoot her. As Teresa observes Frances with contempt, she can only see “The Devil’s face housed in a shape of pity.” Witnessing Frances raising her arms in a triumphant gesture, accompanied by a mocking smile and whispering Teresa’s name. Despite this violent act, it becomes apparent that Frances undergoes a transformation and begins to make amends with the people of New Waterford. Gabriella Parro also confirms that Frances has been altered since the shooting.
According to Parro (188), Frances has disposed of her Girl Guide uniform, reconciled with her father and repaired relationships in New Waterford. She aims to emulate her mother’s life but with more vibrancy, excitement, and adventure. Furthermore, by rejecting James Piper’s values and following her own aspirations, Frances has not only forgiven him but also aided him in rediscovering his love for his daughter.
Frances’s longing for a child signifies her preparedness to embark on the next chapter of her life: motherhood. Her life’s trajectory mirrors that of her own mother. Despite her actions and demeanor, which may cast her as an embodiment of evil, readers can recognize Frances as a young girl who grapples with fears and yearns for the presence of her older sister and mother. Deep down, Frances is inherently kind-hearted and consistently cares for her younger sibling. Furthermore, James plays a role in shaping Frances’ insecurity, leading her to frequently rebel against her father’s expectations.
Frances believes that following her own principles is necessary for finding security in her life. Despite being criticized for her mischievous nature, she aims to make up for it by seeking redemption towards the conclusion of the book. She is neither a role model nor a proponent of evil, but rather a genuine individual compelled by circumstances to better the situation. By yearning for her mother, Frances strives to improve things.
Works Cited
- Georgis, Dina. Falling for Jazz: Desire, Dissonance, and Racial Collaboration. ” Canadian Review of American Studies, 35. 2 (2005): 215-229. Academic Search Complete. Web. 4 Nov. 2009.
- Robinson, Laura. “Remodeling An Old-Fashioned Girl – Troubling Girlhood in Ann-Marie MacDonald’s Fall on Your Knees. ” Canadian Literature, 186 (2005): 30-45. Academic Search Complete. Web. 4 Nov. 2009.
- Parro, Gabriella. “’Who’s Your Father, Dear? ’ Bloodlines and Miscegenation in Ann-Marie MacDonald’s Fall on Your Knees. ” Canadian Review of American Studies, 35. 2 (2005): 177-193. Academic Search Complete. Web. 4 Nov. 2009.
