There have been few attempts at a political reading of Joyce's "Clay." Instead, critics have examined the Virgin/Witch imagery in the characterization of Maria and the narrative strategy of the story, with special attention to "gaps" and "lack" of information. One possible way of shedding light on the politics of the story is to place it in the context of Irish colonial history. Adopting such a perspective, this paper seeks to undertake a political rereading of "Clay" by considering the aftermath of the Great Irish Famine, which forms the backdrop of the story. First of all, the paper argues that the characterization of Maria as a witch-like spinster reflects the rise of female celibacy and late marriage after the Famine. As one who was born and has aged into an old maid in the post-Famine era, Maria is a product of the Famine, which was traditionally seen by Irish nationalists as a man-made disaster created by the British Empire. The aftermath of the Famine is also represented allegorically in the Halloween fortune-telling game in which Maria can never select the ring, which would indicate the prospect of marriage. Ironically, however, Maria is financially dependent on the Anglo-Irish Protestants. She now works for the Dublin by Lamplight laundry, which is run and supported by wealthy members of the Anglo-Irish Ascendancy. In addition, Maria formerly nursed Joe Donnelly, who helped her find employment in the laundry. In short, Maria as a Famine-made spinster has to be hired by the ruling class: the descendants, in a sense, of those who had created the Famine. It is highly ironic, then, that Maria cherishes the purse with the inscription "A Present form Belfast." This is because Maria's present situation is attributable to Belfast, the colonizers' stronghold, and by extension, the British Empire.
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