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  • Jameson’s Lacan

    Steven Helmling

    University of Delaware
    helmling@brahms.udel.edu

     

    Fredric Jameson’s career-long engagement with Jacques Lacan begins in the pages on Lacan in The Prison-House of Language, with the declaration that Lacan’s work offers an “initiatory” experience rather than an expository account. It is in the spirit of that experiential or “dialectical” emphasis that Jameson proposes an off-standard response to what (he says) most people receive as Lacan’s “programmatic slogan,” that “L’inconscient, c’est le discours de l’autre“:

     

    This seems to me a sentence rather than an idea, by which I mean that it marks out the place of a meditation and offers itself as an object of exegesis, instead of serving as the expression of a single concept. (PHL 170-1)

     

    In this essay I want to indicate what seem to me to be the parameters of Lacan’s importance for Jameson. I begin with this passage, in which Jameson discriminates Lacan’s “idea” from his “sentence,” in order to emphasize that Lacan and Jameson share a central problematic: the indissociability of what Lacan calls the “spirit” that motivates an enunciation and the “letter,” at once spirit’s vehicle and its betrayer, of the énouncé that “it speaks” (ça parle). I aim not to bracket “meaning” here, but to highlight what seems to me Lacan’s most immediate interest for Jameson, namely his sense, both as a problem for exposition and as the condition or “motivation” of his gnomic, enigma-mongering prose style, of what Jameson calls “the mystery of the incarnation of meaning in language” (PHL169).

     

    Jameson subsequently elaborates this “mystery” into the antagonism between the inevitability of “meaning,” its social, collective, constructed, conditioned, and thus (for Jameson) ideological character, and a Cartesian ideology of the self or “subject” that is rooted in and implies a speaker’s desire (futile perhaps, but only the more poignant for that) to “mean” things that haven’t been meant before, to make new and “original” meanings, to escape the entrapment (what Jameson calls the “ideological closure”) imposed by the “order of the signifier.” At issue are the ways in which how “it” is said may change or affect what is said–an issue, or “motivation,” fundamental to the deliberate, self-conscious, and exorbitant “difficulty” of both Jameson’s and Lacan’s notoriously idiosyncratic prose styles. For Jameson, Lacan’s writing is exemplary in not merely enacting, but inflicting upon the reader, all the dilemmas (inside/outside, same/different, surface/depth, written/spoken, temporal/spatial) to which highbrow postmodernity finds itself returning like a dog to a bone. Reading Lacan, your bafflement can’t decide whether you are trying to gain entry to something, or effect an escape from it–even if (indeed, no matter how many times) you’ve already surmised that the best model this prose offers of itself is the Lacanian “Real,” whose definitive measure is the success or failure with which it “resists symbolization absolutely.” This is a prose in which the law of non-contradiction does not prevail, a medium solvent enough to diffuse, but also stiff enough to suspend, every precipitate released into or catalyzed within it.1

     

    Jameson accesses the multifold issues entangled here by way of a term he borrows from the opening pages of Barthes’s S/Z, “the scriptible“–not the “culinary” pleasure of “the lisible,” the “readerly” text so consumably written that (so to speak) it does your reading for you, but rather a “writerly” kind of writing that is (Jameson’s word, not Barthes’s) “dialectical”: “sentences,” as Jameson puts it in “The Ideology of the Text” (1975/6), “whose gestus arouses the desire to emulate it, sentences that make you want to write sentences of your own (IT1 21; “sentence” here, as elsewhere in Jameson, is a code-word for “the scriptible“–as in the quotation above, “a sentence rather than an idea”). The notion of “gestus” here suggests something physical, somatic: textuality as not a condition or premise of writing or language as such, but, more contingently, an energy, a contagion of excitement that prompts an “emulation” evidently free of the “anxieties of influence” so potently featured in Harold Bloom’s conception of literary transference. What is in question is not a point-for-point verbal “imitation” of distinctive stylistic effects, tics or mannerisms, but a sympathy at once libidinal and intellectual.

     

    Barthes’s “scriptible” opposes itself to “the lisible” as one style to another style; only by implication does “the lisible” encode a wariness of too lazy or complacent a reception of the usual “other” of “style,” namely “content.” Hence, Jameson cautions, another “repression” encoded in the “scriptible/lisible” binary, that of “content” itself, which, in an older critical discourse, functioned as the term polar or binary to “style,” style’s “other.” Much of Jameson’s effort has been to probe the possibilities of finding base-and-superstructure linkages between what he calls the “logic of content” in a given work and the “ideological closure” it enforces. (Despite his wariness of “our old friends, base and superstructure,” Jameson’s work cannot help continued deployment of spectral versions of them.) Jameson’s insistence on “content,” on the “referent,” is one of the larger themes of his critique of “the ideology of structuralism,” or any “ideology of text” that would “reduce” everything to textuality, écriture, “textual production” or representation; and in this Jameson is happy to find support in the nominally “structuralist” psychoanalysis of Lacan. Structuralist linguistics projects the binary of “signifier” and “signified” as recto and verso of (a third term) “the sign”; but between them the three terms delimit a domain strictly coextensive with the field or problematic of “representation,” with no access to (or, in some structuralisms, interest in) any reality beyond it. By contrast, Lacan’s linguistics-influenced, Saussurean, and to that extent structuralist account of mental processes nevertheless situates their range from “Imaginary” to “Symbolic” within a larger extra-representational (and, indeed, extra-psychological) field, that of “the Real,” which (for Jameson) guarantees the “materialism” of Marxism and psychoanalysis both. Jameson argues for a Marxism-friendly Lacan when he grandly pronouces of “the Real” that “it is simply [!] History [capital H] itself” (IT1 104; recall here as well Jameson’s enthusiasm for Slavoj Zizek, whose project might be summarized as the attempt to elaborate a specifically Lacanian Ideologiekritik.)

     

    Thus does Jameson enlist Lacan in his “materialist” critique of structuralism, and the danger that he regards as inherent in its linguistic or textual focus, of entrapment in its own central metaphor, so that “language” becomes a “prison-house.”2 This negative, or critical, deployment of Lacan remains constant in Jameson from The Prison-House of Language (1972) through the major essay, “Imaginary and Symbolic in Lacan” (1977), and beyond. A more positive use of Lacan appears in Fables of Aggression (1979) and The Political Unconscious (1981), especially the latter book’s third chapter, “Balzac and the Problem of the Subject,” which Jameson would later (1986) call an effort at “Lacanian criticism.”3 By this Jameson meant a criticism capable of achieving mediations between the social and the individual that could draw on psychoanalysis without reducing the social to the categories of individual psychology. For Jameson’s purposes, that is, Lacan’s structuralist psychoanalysis holds out the prospect of an analytically potent psychology not grounded in categories of Cartesian subjectivity, and thus (although Jameson nowhere puts it quite this way) able to fulfil Althusser’s stipulation in being a psychology “without a subject.” Jameson seeks a psychology that would render the representation of “character” in works of fiction amenable to issues of literary history as “genre” and “form,” and would thus invite the sort of politically and socially informed attention called for in Jameson’s famous imperative, “Always historicize!” (PU 9).

     

    The success of Jameson’s “Lacanian criticism” may be assessed in Fables of Aggression and The Political Unconscious; but I want to pass to another, more complex issue at stake for Jameson, especially in the latter book, and best introduced by citing that book’s subtitle, “Narrative as a Socially Symbolic Act,” which encodes the premise that fictional (and other) narratives are “symbolic” of forces, tensions, contradictions in what Jameson calls “the vast text of the social itself,” and thus that there must be some access (again, on something like the base-and-superstructure model) between the novel and “History itself.” But the corrolary of this claim for “narrative as socially symbolic act” is that narrative cannot escape determination by what Jameson calls an “ideological closure.” The more potently “symbolic” it is, the feebler becomes its potential as a liberatory “act.” Which raises, implicitly, a question very close to Jameson’s quick indeed, that of whether critique can escape “ideological closure” any better than narrative can. To ask the question another way, must “socially symbolic” mean “ideological”? Can it ever escape reduction to “ideology”? Can it ever mean or achieve anything else? (Note that the possible comforts of such a notion as “relative autonomy” count for nothing in Jameson’s all-or-nothing dramatization of the issue.)

     

    The question takes various forms, and tilts in the direction of various answers, in The Political Unconscious–suspended, and agitated, in Jameson’s inimitable fashion. But the general drift of the book is melancholy: his very premise presupposes a negative answer–though never, to be sure, unequivocally negative; the prose always evinces that “Dialectic of Utopia and Ideology” named in the title of the book’s concluding chapter. But among the largest hopes the book entertains for critique or for “narrative” is one cast in specifically Lacanian terms: that, somehow (unspecified), it might become a “socially symbolic act” in a fashion that would merit capitalizing the S in “Symbolic”: that would merit, in short, taking narrative’s or critique’s power as “Symbolic” in a specifically Lacanian sense. Most of the book functions, that is, as if “narrative as a socially symbolic act” encodes narrative’s “closure” within ideology; but at certain moments, especially at the close of the Balzac chapter, Jameson seems willing to talk as if the term “Symbolic” might indicate the condition of a possible critical escape from the prison-house of ideology, a break-out from the “ideological closure” the book protests. As if, in other words, “narrative [or critique] as a socially Symbolic act” [capital S] would mean surmounting a more normatively (and inescapably) ideological condition or closure in which cultural production could function only, inescapably, by definition, as “socially Imaginary act”–and from which any critical or utopian “escape” would therefore be sheer ideological (or “Imaginary”) delusion (see especially PU 183, where the locution “Symbolic texts” [capital S] is played off against “Imaginary” [capital I] in a fashion to make the Lacanian freight unmistakable).

     

    We will shortly consider why Jameson’s binary of “ideology” and “utopia” cannot be simply “transcoded” into Lacan’s “Imaginary” and “Symbolic.” But his fitful readiness to hope that it might encodes another of Lacan’s attractions for Jameson, namely his Hegelianism–a recurrent, if undeveloped, theme in “Imaginary and Symbolic in Lacan.” It is shrewd of Jameson to have noted that Lacan’s Freud is a Hegelian Freud, in contrast to the (normatively) Nietzschean Freuds “theory” has mostly generated; but I think Jameson overplays his hand here: Lacan’s “Imaginary” and “Symbolic” don’t quite bear the freight he wants them to carry; though Jameson’s own caution against deploying the passage from “Imaginary” to “Symbolic” as a version of the Levi-Straussian nature-to-culture motif perhaps says all that needs saying in anticipation of my reservations here (IT1 97). But the (Hegelian) point is that for Lacan and Jameson, the “Imaginary/ Symbolic” binary encodes a narrative, modeled on the Hegelian course from “immediate” to “mediated,” of transit from a “lower” to a “higher” state, in which the “lower” is aufgehoben, transcended yet preserved, in the “higher.” Lacan, in my view, plays the Hegelian dialectic ironically; hence the continual Schadenfreude of his textual voice, the continual irony at the expense of “the Symbolic” itself in its very aspiration (“stoic” and/or “tragic,” to use Jameson’s terms of praise for Lacan [IT1 98, 112], but either way, doomed) to disintricate itself from “the Imaginary.”

     

    However all that may be, Jameson takes Lacan’s Hegelian (and other) flourishes more straightforwardly, and thus finds in Lacan’s “Imaginary/Symbolic,” notwithstanding the essay’s earlier denunciation of “ethics,” something like an “ethic”–“an implicit ethical imperative” (in Jane Gallop’s words), “to break the mirror . . . to disrupt the imaginary in order to reach the symbolic.’”4 Indeed, the quasi- or crypto-Hegelian narrativization of this ethic projects a scenario of change and progress, development and Aufhebung: it provides, in other words, for the continual coming-into-being of fresh perspectives, different from or “outside” of those preceding them, and thus allowing for “critical” reconsideration of them–in the context of this discussion, allowing one of the larger “desires” (or more Hegelian hopes) of The Political Unconscious, that the word “Symbolic” in its subtitle can mean genuinely “critical,” and not merely “ideological” in the sense of “an Imaginary solution to a Real contradiction.”

     

    But where Hegel was, there shall Heidegger be–“there,” above all, in the field of what solicits Jameson’s interest as a specifically Lacanian “scriptible.” And since, for Jameson, “interest” is proportional to problematicality, we must again acknowledge–indeed, insist on–the inextricability of Lacan’s “scriptible” from his “content.” This sketch so far, for example, has required brief exposition of “arguments” or “positions”; likewise Jameson’s own discussions of Lacan, except (of course) much much more so. It’s arguable, in fact, that of the many high “theory” figures and issues Jameson has written about, none has so forced him into the “expository” mode as Lacan. Lacan’s prose is calculated to confound every possible logic of “argument” or “position,” yet Jameson is not alone in the dilemma that discussion of Lacan is obliged to ascribe something argument- or position-like to him in order to conduct itself at all. Hence the ironic quotation marks with which Jameson refers to “Lacanianism” (IT1 95)–a term, indeed, that gets funnier and funnier the more you think about it. We return herewith to the problem announced at this paper’s opening: the desire of the “speaking subject” to speak (or write) a way out of the entrapment, the necessity, the “ideological closure” of “meaning,” or what the later Jameson calls, in a term borrowed from Paul de Man, “thematization”5–a term, in Jameson’s usage, for the form (or threat) of “reification” specific to intellectual work, and to properly “dialectical” projects like his own (if, indeed, the word “dialectical” isn’t simply an apotropaism, the sign of a project’s self-consciousness of the danger of, and its desire to escape, “thematization”).

     

    “Thematization,” indeed, could serve as the “other” of “the scriptible“–its “other” in the pointed sense of its antagonist, or its special pitfall or danger. Jameson’s sense of the energies of “the scriptible” in doomed agon with “thematization” may be read as another version of his “dialectic of utopia and ideology”; it can also be read as a version, indeed, a less “irreversible” (i.e., less narrative, and less Hegelian) version, of his account of “Imaginary and Symbolic in Lacan.” But my point here is that quite apart from any paraphraseable doctrine or portable “thematization” of Lacan–from any “Lacanianism,” in short–Jameson discerns in Lacan’s oracular and evasive, but also ingenious, witty, and energetic prose another instance of a scriptible well worth “emulation,” another exemplar of the effort to evade or disable in advance the “thematizations” any discourse, however “dialectically” written, must suffer in an age of “consumerist” reification.

     

    As noted above, Jameson in one of his aspects is an enforcer of “content” on those who would evade it; but his stress on “content” means to facilitate analysis and protest, perhaps even exorcism of, or breakout from, its pernicious “ideological closure.” The motif of “the scriptible” encodes this protest against “the logic of content,” this hope or desire to escape the constraints of “ideological closure,” at its most utopian and libidinal. And so it is as a prose stylist that I want to feature Lacan’s interest for Jameson in what remains–well aware as I do so that for many readers, precisely the impenetrable prose of these two figures is the primary stumbling block for any approach to their work. Such readers suppose, or hope, that the value of a Jameson or a Lacan is in a “content” that would be available after the difficulties of “style” have been obviated. But it is part of the appeal of “the scriptible” for Jameson to confound any such “thematizing” habit of reading that would aim at an instrumental extraction of content from a stylistic skin that, once evacuated, can be properly left behind. It is one of the marks of “the scriptible” in Jameson that he does not judge its exemplars on the propositional “content,” or “argument,” of their writing–as witness two of his favorite figures, Wyndham Lewis and Martin Heidegger, notoriously “right,” and at times explicitly fascist, in their politics. The presence of Heidegger in Lacan’s work, of course, is evident; Jameson links the two as exemplars of a twentieth-century critique of subject-object dichotomizing, “identity” thinking, correspondence or “adequation” theories of “truth,” the devolution of techne into technology, the instrumentalization of knowledge as “mastery,” etc. (IT1 103-5).

     

    In “Imaginary and Symbolic in Lacan,” Jameson gathers these Heideggerian concerns under the Lacanian rubric, “the overestimation of the Symbolic at the expense of the Imaginary” (IT1 95, 102; cf. PHL 140). Heidegger and Lacan (and Jameson himself) thus stand as petitioners for the claims of “the Imaginary” against those, already over-esteemed in our reifying culture, of “the Symbolic.” And here we abut Jameson’s twin enthusiasms for the sublime nutsiness of Lyotard’s Libidinal Economy and for the Deleuze-Guattari thematic and practice, in Anti-Oedipus, of the “schizo” and the “delirious.”6 Both of these enthusiasms align with, though they can appear at times to displace or eclipse, Jameson’s announced admiration for Lacan. And although neither Lyotard, on the one hand, still less Deleuze and Guattari on the other, are exactly fans of Lacan, Jameson’s mediations proceed at a level–that of “sentence” rather than of “idea”–where their substantive dissents from each other can remain in abeyance. In Fables of Aggression and The Political Unconscious the libidinal and the schizo are assigned the burden of the Heideggerian-Lacanian alternative to “the Symbolic”–in creative or imaginative writing, of course, but as the examples of Lyotard and Deleuze and Guattari (and Lewis, if not quite so unreservedly Heidegger and Lacan themselves) insist, in critical writing as well. In the program chapter to Postmodernism, Jameson will project these affective properties as “sublime,” and as such, both a program and a problem for his own work.

     

    Yet above, the very possibility of critique, the very possibility of its power to escape “ideological closure,” was figured as its potential to surmount “the [ideological] Imaginary” and ascend to “the [critical] Symbolic.” Here, Jameson valorizes a desire to head in the other direction. Here, “the Symbolic” itself is the “ideology” from which escape is hoped for, by way not of the stratospheric mediations of critique, but rather of the affective immediacies of “the Imaginary.” I alluded above to the difficulties of “transcoding” Lacan’s “Imaginary/Symbolic” binary into Jameson’s “ideology/utopia”; part of what obstructs that “transcoding” is that it requires, on one side of the bar, an equation of “utopia” with “critique” that feels counter-intuitive, insofar as “utopia” says pleasure and the libidinal, and embraces the collective; whereas “critique” implies a cerebral ascesis that will necessarily, even in utopia, be the concern of specialized elites. To put it more schematically: on one pass (call it the Hegelian), the Lacan’s “Imaginary/Symbolic” binary seems to align with Jameson’s “ideology/critique,” implying a liberatory narrative of progressive possibility; on the other (the Heideggerian), it aligns rather with that of “utopia/ideology,” a story in which what masqueraded (and seduced) as progress eventuates at last, ironically, in decline, loss, nostalgia, and abjection before the exactions of ananke. In short: if “ideology” is our starting point, is the passage to the “schizo” a flight or a fall, an ascent or a descent, a progress or a regress?

     

    This difficulty (not to call it a “contradiction”) indicates much of the conflictedness Jameson registers when he describes the Lacanian “ethic” as “stoic” and “tragic”; it indicates as well the ambitions of, the mediations proposed in, and the contradictions bedeviling the Jamesonian “scriptible,” a prose whose potency is at once analytical and libidinal. “Imaginary and Symbolic in Lacan,” indeed, ends by inferring from Lacan something like an ethic or ethos for “cultural intellectuals,” one which would eschew the “Symbolic” critical “mastery” of “subject” over “object” in favor of a more intersubjective “articulated receptivity,” for which Jameson enlists the Lacanian “discourse of the analyst”:

     

    The "discourse of the analyst," finally, is the subject position that our current political languages seem least qualified to articulate. Like the "discourse of the hysteric," this position also involves an absolute commitment to desire as such at the same time that it opens a certain listening distance from it and suspends the latter's existential urgencies--in a fashion more dialectical than ironic. The "discourse of the analyst," then, which seeks to distinguish the nature of the object of desire itself from the passions and immediacies of the experience of desire's subject, suggests a demanding and self-effacing political equivalent in which the structure of Utopian desire itself is attended to through the chaotic rhythms of collective discourse and fantasy of all kinds (including those that pass through our own heads). This is not, unlike the discourse of the master, a position of authority . . . ; rather it is a position of articulated receptivity, of deep listening (L'écoute), of some attention beyond the self or the ego, but one that may need to use those bracketed personal functions as instruments for hearing the Other's desire. The active and theoretical passivity, the rigorous and committed self-denial, of this final subject position, which acknowledges collective desire at the same moment that it tracks its spoors and traces, may well have lessons for cultural intellectuals as well as politicians and psychoanalysts. (IT1 115)

     

    This “active and theoretical passivity, the rigorous and committed self-denial of this final subject position,” forecasts Jameson’s later recommendation that critique now must conduct itself “homeopathically,” from the inside, suffering ideology’s own virulences the better to turn them against it.7

     

    The ambition operative here, however, is for a mediation of “Imaginary” and “Symbolic” in an ascesis at once active and passive, of “listening” attention that can achieve contact with “the Real,” which Jameson has equated, “simply,” with “History itself.” Here the demands Jameson makes of critique, and of his own critical practice, rely less on Lacan’s categories than on his example as a writer, on that peculiar Lacanian “scriptible,” so elusive and yet so evocative of a “Real” that, as Lacan says, “resists symbolization absolutely”–a formula in which the word “symbolization” bears not only the full Lacanian charge, but also obvious affinities to “thematization,” the condition Jameson hopes his own writing practice may disable if not altogether prevent or escape. (Lacan’s cagy prose, we may note by the way, resists “thematization” more effectively–or resists “symbolization” more “absolutely”–than Jameson’s own.) Granted that critique, that utterance of any kind, cannot “resist thematization absolutely”; such is Lacan’s stoic-tragic, but also comic and even sarcastic theme. Jameson’s later prose derives its effects from making much, the most possible, both of the (imperative) attempt, and of the (inevitable) failure. Much: but what exactly?–a “socially Symbolic act”? a “socially Real act”? In The Political Unconscious, Jameson will elaborate “History itself” (“what hurts”) as “absent cause,” and thus as “unrepresentable” and “unsymbolizable” in ways that, in Postmodernism, will require or justify, or “motivate,” a rhetoric of “the sublime”–a designation apt, I think, for at least some of the grander effects of the later Jameson’s tortured “scriptible.” Lacan’s terminology permits us to indicate the anxieties often powering these passages by way of the question, Can Jameson’s critical “sublime” escape “the Imaginary” and broach “the Real”? The difficulty, of course, is how to know the difference–or even how to know whether the difference itself is “Imaginary” or “Real.”

     

    Oddly, however, although Lacan’s prose is much more “difficult” than Jameson’s, these particular difficulties, signally, feel much more “difficult” in Jameson’s prose than in Lacan’s. For all Lacan’s sarcasms at the expense of “le sujet supposé savoir,” it is just such a “knowingness” that Lacan’s prose projects: a knowingness, notably, from which the reader is excluded. (“The reader” here, of course, means this reader, who is happy to project himself, in the context of reading Lacan, as un sujet supposé ne pas savoir.) The agitations of Jameson’s prose, by contrast, project its “difficulties” as difficulties reader and writer have in common, dilemmas incurred by the shared desire to know confronting the insecurity, or the anxiety, incurred by Jameson’s and our own critical scruples. To this extent Lacan suggests one way of getting a handle on the “motivations” of Jameson’s notoriously agitated prose. Jameson often alludes to a “dialectic of utopia and ideology,” but also operant in his writing, as we have seen, is that other dialectic, that other binary, which projects as the “other” of “ideology” not “utopia” but “critique.” Can critique ever ascend beyond the closure of the “socially Symbolic” to “act” upon the elusive, absent, unsymbolizable “socially Real”? That is the form in which Lacan enables Jameson to dramatize the ambitions, or agitate the desires, both critical and “writerly,” of his writing.

     

    Notes

     

    1. It may be helpful here to observe that Jameson and Lacan share an alignment programmatically rejected by many, most saliently Derrida, for whom any talk of “the mystery of the incarnation of meaning in language” would be almost too caricaturally deconstructible. Hence at least some of Jameson’s evident wariness of Derrida, from The Prison-House of Language (1971) through “Marx’s Purloined Letter” (1995). Of special relevance in the latter essay are the pages in which Jameson improvises a genealogy descending from Hegel for the problem of how philosophical/critical writing is written–a problem manifesting in Derrida as “a certain set of taboos” enforcing “an avoidance of the affirmative sentence as such,” and, hence, a prose “vigilantly policed and patrolled by the intent to avoid saying something” (“MPL” 81). Jameson goes on to insist that somehow or other, nevertheless, “content [is] generated” in Derrida; but despite his mildly ironic tone at Derrida’s expense, the problem is one that he elsewhere, in connection with other writers, stages as quite an anguishing one (see, e.g., the pages on “dialectical writing” in Marxism and Form [xii-xiii and the Adorno chapter, passim]; the passage on Barthes’s “writing with the body” in “Pleasure: A Political Issue” [IT2 69]; the lament against “thematization” in Late Marxism [LM 183]; the plangent reprise on the Barthesian scriptible in Signatures of the Visible [SV 2-4]. I have written about some of these problems at greater length in “Marxist ‘Pleasure’: Fredric Jameson and Terry Eagleton,” PMC 3.3 [May 1993]).

     

    Other Marxists (e.g., Eagleton) complain that Derrida is “apolitical”; Jameson’s take seems to be that Derrida’s proscription of “metaphysics” secures some of its gains a bit too facilely: for Jameson, the largest stakes, the success or failure, of theory or critique are at play only when ideology and metaphysics figure not as mere errors, or false consciousness (as if banishing false consciousness were as simple as calling it “false”), but as fated burdens: “sublime object(s),” or desired/hated “symptom(s),” in Zizek’s cheerful, cheeky Lacanian terms, whose “closure” critique can only fitfully protest–with the further irony that the very protest only confirms them. Jameson seems to me to miss the degree to which Derrida has recently begun to spin his longstanding motif of “affirmative deconstruction” in ways that suggest a greater hospitality to such patently “metaphysical” constructions as “the mystery of the incarnation of meaning in language”; I’m thinking especially of the motif of “the undeconstructible” in The Gift of Death (trans. David Wills [University of Chicago Press: Chicago, 1992]) and Specters of Marx (trans. Peggy Kamuf [Routledge: New York, 1994]). “The undeconstructible” encompasses such terms as “God,” “responsibility,” “spirit,” “justice,” and “a certain experience of the emancipatory [elsewhere, “messianic”] promise…”–motifs you could fairly call “specters of (late) Derrida.”

     

    2. For Marxism and psychoanalysis as “materialisms,” see IT1 104-5; for this critique of structuralism, see PHL passim, especially (for Lacan) 169-73.

     

    3. IT1 97, and 195 n45. Note that Jameson does not nominate Fables of Aggression as an example of “Lacanian criticism”–perhaps because though it deals with the problems he regards as belonging to “Lacanian criticism” (the insertion of the subject into ideology), he foregrounds Lyotard’s “libidinal apparatus” rather than any Lacanian vocabulary. (In like manner, as we will see below, Deleuze and Guattari displace–or sublate: simultaneously “cancel and preserve”–Lacan in the opening chapter, “On Interpretation,” of The Political Unconscious.) Lacan persists in Fables of Aggression mostly via the mediation of Althusser. Still, the elision of Lacan, only two years after the programmatic claims based on him in “Imaginary and Symbolic in Lacan,” is at the very least surprising.

     

    4. For Jameson’s denunciation of “ethics” in “Imaginary and Symbolic in Lacan” (1977), see IT1 58, 87, 95; cf “Criticism in History,” ibid., 123-6; FA 56; PU 59, 234. (Jameson more accommodatingly reconsiders “ethics” in “Morality versus Ethical Substance; or, Aristotelian Marxism in Alasdair MacIntyre” [1983/4], IT1 181-5). For the Jane Gallop passage, see Reading Lacan (Ithaca and London: Cornell UP, 1985), 59. Gallop and Jameson acknowledge each other’s work, and make some show of taking exception to each other, but on this their views are quite similar.

     

    5. For a suggestive Jamesonian deployment of the term “thematization,” see, e.g., Late Marxism: Adorno, or, the Persistence of the Dialectic (1991), 182-3: “Proving equal to Adorno . . . doing right by him, attempting to keep faith with the protean intelligence of his sentences, requires a tireless effort–always on the point of lapsing–to prevent the thematization [Jameson’s italics] of his concept[s]…”

     

    6. The most relevant Lacan texts in this connection are “The Subversion of the Subject and the Dialectic of Desire in the Freudian Unconscious” (1960) and, to a lesser extent, “On a Question Preliminary to Any Possible Treatment of Psychosis” (1958), in Écrits: A Selection, trans. Alan Sheridan (New York: W.W. Norton, 1977), 292-325, 179-225.

     

    7. “To undo postmodernism homeopathically by the methods of postmodernism: to work at dissolving the pastiche by using all the instruments of pastiche itself, to reconquer some genuine historical sense by using the instruments of what I have called substitutes for history.” Jameson in a 1986 interview with Anders Stephanson, “Regarding Postmodernism,” in Douglas Kellner, ed., Postmodernism/Jameson/Critique (Washington DC: Maisonneuve Press, 1989), 59.

     

    Works Cited

     

    • FA: Fables of Aggression: Wyndham Lewis, the Modernist as Fascist. U of California P: Berkeley, 1979.
    • IT1: The Ideologies of Theory: Essays 1971-1986, Volume 1: Situations of Theory. U of Minnesota P: Minneapolis, 1988.
    • IT2: The Ideologies of Theory: Essays 1971-1986, Volume 2: The Syntax of History. U of Minnesota P: Minneapolis, 1988.
    • M&F: Marxism and Form: Twentieth-Century Dialectical Theories of Literature. Princeton UP: Princeton, 1971.
    • “MPL”: “Marx’s Purloined Letter.” New Left Review 209 (January/February 1995), 75-109.
    • PHL: The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism. Princeton UP: Princeton, 1972.
    • PU: The Political Unconscious: Narrative as a Socially Symbolic Act. Cornell UP: Ithaca, 1981.
    • SV: Signatures of the Visible. Routledge: New York, 1992.

     

  • Selected Letters from Readers

     
     
     

    Author’s Reply to Letters Regarding “Outrageous Dieting: The Camp Performance of Richard Simmons” (PMC 6.1)

     

    In response to a number of letters regarding my article on Richard Simmons, I would like to say that it was never my intention to condemn Mr. Simmons. In my opinion, noting someone’s gayness is in no way an insult. My article was a piece of criticism that looked at Richard Simmons and his diet empire as a cultural phenomenon. Mr. Simmons’ personal life is, indeed, of absolutely no interest to me and I would not presume to discuss it. I was interested in his publicperformance, for he is very much a performer. While I think it it marvelous that Mr. Simmons has helped so many people, praising his dietary ideas was not, however, part of my article. Of course I take seriously the difficulty of losing weight but my article was not, I repeat was not, ever meant as a discussion of weight loss methods. As for the reader who suspects that I am a “skinney [sic] bitch”–I can tell you that you are mistaken on both counts.

     

    Rhonda Garelick
    Assistant Professor of French and Comparative Literature
    University of Colorado, Boulder

     

    PMC Reader’s Report on “The Slow Apocalypse”

     

    Thank you, Andrew McMurry.

     

    Your article is important and provocative. I will not forget it and will certainly reread it and share it with my friends. I am troubled by its veracity. I have two sons and am compelled toward hope. I remain hopeful but it is not a hope born of materialist sensibilities.

     

    Anyway…

     

    thanks

     

    Chris Franocvich

     

    These comments are from: Chris Francovich
    cfran@micron.net

     

    New Criticism Underground?

     

    [The writer refers to Joe Amato’s review of Jed Rasula’s American Poetry Wax Museum, PMC 6.3]

     

    I read the bit quoted from Rasula about the New Critics being now “underground” and came straight to the comments page. If I could e-mail Rasula directly, I would, so if there’s an address to be had I would welcome it.

     

    Fact is, the heirs of the New Criticism are NOT underground at all. I did an MFA in poetry at the University of Arkansas, from which one Miller Williams will soon be venturing to DC to deliver the inaugural poem.

     

    First let me say that I am glad for the 4-year, 60-hour MFA program I undertook. I learned more about “the tradition” in western-world poetry there then I could have anywhere else, if for no other reason than the time given me in the form of a 4-year TA.

     

    I recognize now that along with the in-depth and thorough study of poetry past and present what I got was a straight and narrow (and I mean narrow) course on new-critical analysis. Like I said, I am grateful to at least know what that is all about. I could scan the tag on your jeans from 80 yards.

     

    But lately I have come to realize (unless it is unique to my experience having done UA) that the majority of current MFA recipients/”certified” poets are/were taught by the direct descendents of the NC’s. In my case, my teacher-poets at UA, aside from circulating in a somewhat closed but expansive group of like-minds in the south and mid-west, are also the running mates of the likes of Wilbur, Justice, Taylor, et. al. and these people still wield influence ABOVE GROUND, if not directly, then through the hundreds of students they’ve had who are now teaching.

     

    Please correct me if I am wrong, but the sheer fact of the poets’ entrenchment in the academy has provided an entire generation with the tools and the leisure to perpetuate a poetic that would have been dead 20 years now were the poetry teaching and poetry reviewing left up to scholars instead of poets themselves.

     

    As a result, it seems to me anyway, the “experimental” writing out there is still in a state of reaction rather than one of clearly defining its concerns and goals. When- ever I read Language poets I have a hard time seeing any- thing but “I am trying very hard to NOT BE a poem any NC would like.”

     

    Look, I’m 28, fully versed in “the tradition,” and desperately trying to escape that beautiful and irrelevant mode for higher ground. There are a number of us out here, whose reputations extend about as far as our mailboxes, who are becoming rather fed up with the academic-fuck-post-anything attitude on the one hand and the self-righteous fuck-anybody-who-says-fuck-us attitude on the other.

     

    Group A is holding fast to a sinking ship, and group B is sailing off for never-never land. As far as we are concerned, both Dana Gioia and Rasula can go to hell. Lately I’ve noticed that at least a few among this self-proclaimed post-whatever rebellion have joined the ranks of the tenured even before the old Vanderbilt-grads have died or retired.

     

    To be honest, I just can’t figure out for the life of me what the hell is going on–it seems like one ORDER is being displaced by another ORDER which readied itself ahead of time for the big university buy-out.

     

    But I rant, all apologies. Suffice it to say that for the young writers out here now trying to forge their way, few things would be more agreeable than if all the academic trenches on every side of any aesthetic had truckloads of grenades dumped into them tomorrow afternoon at 1:20, and were just left that way.

     

    Thanks for your time, DT

     

    These comments are from: daniel tessitore
    daniel@tiu.ac.jp

     

    Reader’s Report on “Biding Spectacular Time”

     

    [The writer refers to A.H.S. Boy’s “Biding Spectacular Time,” a review of Guy Debord’s Society of the Spectacle, PMC 6.2]

     

    Making the “point” (shall we say the “accent”?) on Debord’s theses Boy reconstructs the background of a thought that accompanied a historical time of change and criticism of Modernity. That Debord is highly “postmodern” means that capitalism is still in its “representational” state where the “social spectacle” is not a stage of participation but one where the “Script” of Power introduces its “codes” through which the whole “reality” “as experience” is alienated and the human “thing” is not anymore a “spectator” but the object of social manipulation, i.e. a “channel” which “reflects” the “Order” of the Reality of the Codes of Power. This Code had reduced language to “behaviour” and “behaviour” into pure biological reflexivity identifying man with the object (the tool). The “scene” of the Spectacle as Society may be observed in the industrial and corporative model of Swedish “national” social democracy. The State and the Society are synonymous. You cannot criticise the State without becoming a social “pariah.” The notion of “persona” or individual” is replaced by “client” making Spectacle into a marketspace. Baudrillard is the hyperrealisation of the ideas of the most advanced Situationists. Postmodern Culture is one of the most valuable sites at the net.

     

    Cveta Cvetkova

     

    [Prof. Cvetkova is the author of Codes of Power: From Situationism to Seduction, Chartwell-Bratt Ltd (ISBN 0-86238-443-5)]

     

    These comments are from: Cveta Cvetkova
    socpoo@soc.lu.se

     

    PMC Generally

     

    I’m an (analytically trained) philosopher at Oxford. I’m sympathetic to what seems to be the political position articulated in a lot of the stuff here, but detest postmodernism as a theory of truth/reference/meaning. Where can I debate that issue (online)? Can somebody persuade me why I should give up the notion of truth, commonsensically conceived, as postmodernists appear to think I should? Please email me if you can help.

     

    These comments are from: Tom Runnacles
    thomas.runnacles@jesus.ox.ac.uk

     

    A Reader’s Response (the reader is still alive!)

     

    Don’t you think there has been just a little bit too much fuss already around the subject of p******ity/ism? But honestly, your magazine is the only site on the Web, which contains even a modicum of seriousness and so-called scientific or scholarly ambition. Please, more about the relationships between analytic aesthetics and deconstruction (if there is something worth writing on that subject)!

     

    These comments are from: Samuli Hägg
    shagg@cc.joensuu.fi

     

  • What Was (the White) Race? Memory, Categories, Change

     

    Mike Hill

    University of Michigan
    mikehill@umich.edu

     

    Noel Ignatiev and John Garvey, eds., Race Traitor (NY: Routledge, 1996), and Mab Segrest, Memoir of a Race Traitor (Boston: South End Press, 1994).
     

    ...it's impossible to me to separate black studies from white studies.

     

    --C.L.R. James

     

    Whiteness Redux

     

    When Timothy McVeigh’s photo appeared on the cover of Time, it was emblazoned with a caption that read “the face of terror.” Not a year later came the arrest of “Team Viper.” You may recall, the Vipers were that otherwise unremarkable group of suburbanites from West Shangri-La Lane, Arizona, who were caught with a half-ton of the same ammonium-nitrate compound that exploded in Oklahoma City, this time tucked away in the garage next to the gardening tools and other middle-class accouterments. Both events were reported to have “shocked” the nation, but why?

     

    These events, I would suggest, exhibit a fundamental Western, white, and modern anxiety, one that emerges somewhere between the putative normativity of the everyday and the eventual awareness of an other that is us. Not to slight the brutal tragedy of 168 dead, but glossy magazines and the evening news know that when blue-eyed, blond-haired, white men and outwardly peaceable suburbanites are cast as anti-government guerrilla warriors, it makes for a hot-button scoop–flashier, say, than repeating those hopelessly redundant statistics about government-sanctioned corporate greed and the new economic world order. Home-grown anti-federalism is a good story because distinctions and oppositions emerge where before were just stock commonalities. Here, you might say, Benjaminian “estrangement” meets the rank pastiche of Hard Copy or A Current Affair. A clean-cut, Caucasian “John Doe” in a moving van, or a middle-class home replete with ornamental cactuses and well-groomed lawns, are at some historical flash point transformed to disclose the barbarism just under the veneer of ordinary life.

     

    Indeed, to ferret out the ontological absenteeism implicit in the concept of the “ordinary” is at least one objective made available lately by the (also widely reported) “rise of White Studies,” a.k.a., critical ethnography’s next-big-thing.1 It was until recently assumed that white identity was all-but-featureless, a-categorical background, some unspeakable neutrality by which the default mechanism for otherness was automatically set. But, at least in theory, distinction has crossed the ontological tracks, and whiteness is no longer what James Baldwin calls the “jewel of naïveté.”2 No longer, that is, does whiteness in its omnipotence and absence afford white folk absolution on matters of race. Whiteness is instead a function of material inequity, even if it is also a fragile historical fiction.

     

    But “White Studies,” so far anyway, has hardly resulted in the political dispersion of whiteness on behalf of exclusively post-white agendas. Indeed, the simple declarative act of tagging whiteness with a temporal marker seems to have lead, with our barely noticing, to an inescapable performative irony, a sort of visibility blues wherein whiteness is (still), as Richard Dyer puts it, both there and not there.3 My question is: if whiteness is being variously examined in its normative capacity, is it (still) master of itself? The critical study of whiteness initiates a series of similarly awkward questions which bear as much relevance to the sly ontological struggles of (white) majoritarian culture over formerly colonized and enslaved peoples (of color) as they do the discovery of what Theodore Allen calls in another context that “truly peculiar institution.”4 Allen is referring here to the peculiarity of the category of whiteness itself to afford material privilege. But the critical rush to the study of whiteness is arguably no less peculiar. “White Studies” is peculiar at the very least insofar as this work, unlike Black, Hispanic, or Asian Studies, is eager to pursue the necessary disintegration of its object. The nettlesome epistemological questions inherent in this task, not to mention how (or whether) such a thing counts as politics, have yet to be seriously discussed.

     

    So I want to begin to do that here; but before plunging ahead, it is hard to resist mentioning one other recent media affair. Whether “jewel of naïveté” or not, Richard Jewell (one-time unofficial suspect of the Atlanta Olympics bombing) is the latest name in a growing cluster of nationally known, martially bent, more or less “ordinary” white guys. His, too, is a story of visibility, publicity, and distinction gone nastily awry, but with the added twist that in this allegory of white representation, the desire for unremarkability and ordinary life is apparently proportionate to exactly that impossibility. The levels of marking and re-marking still operative around Jewell (compounded now by my own) are too numerous to name, but they range from his longtime desire to be famous, to the apparently false report that he did the deed, to his lawsuit and the media’s odd tautological self-defense that he was, after all (that is, after all the publicity), a public figure. Willingly or not, Richard Jewell seemed to realize a certain lesson taught by discourse theory: that outside representation (self-, media-, legal-representation) “Richard Jewell” did not, in effect, exist. The irony of his finally becoming represented, and with nothing shy of a material force (lesson number two of discourse theory), is that Richard Jewell has in the final instance become a twisted rendition of his own purportedly benevolent dreams.

     

    My point in mentioning the Jewell saga is to note the cruel simultaneity of what the newspapers later called his “hero to villain to victim” status. “White Studies” itself initiates a similar conundrum. It, too, comes replete with the unintentional critical fallout of what must to some look like a white renaissance, with the ironies, reversals, and inversions that sober cultural workers might prefer to avoid for the sterner stuff of political self-mastery. “White Studies” seems to flirt with the same visibility problems that continue to dog Richard Jewell, where a protect-and-serve desire to secure for all better life (“heroism”), the indomitable urge to advertise it (in this case eventuating “villainy”), and a subsequent hero-villain reversal (“victimage”), re-combine in exceedingly troublesome ways. This process, it turns out, circumscribes the founding predicament of “White Studies,” now that its presence is official.

     

    In this review I want to explore “White Studies” as an engagement precisely of this sort, one that barely separates its ethnic heroes, villains, and victims. Such ambivalence is, I will suggest, an inevitable condition of work which is itself as much a political symptom of, as a political act upon, white skin privilege. “White Studies” seems to bring with it a politics of change that is also one of categorical misrecognition (of whiteness by newly race-conscious whites, and of “White Studies” by others). The irony attendant on the renewed institutional presence of whiteness indicates a certain awkwardness to be sure, but I think irony is nonetheless the right condition for a politics at the same time critical of whiteness. Indeed, the irony of whiteness in our midst initiates a process of identity re-negotiation wherein the white subject doing white critique is involved in a process of recollecting desires not necessarily, or at least not exclusively, its own. How else can “White Studies” interrogate whiteness as historical race “villain,” while imagining post-white “heroes,” all at once? The specific books under examination here are, first, Race Traitor edited by Noel Ignatiev and John Garvey and, second, Memoir of a Race Traitor by Mab Segrest.

     

    Cross-Over Dreams

     

    It's gotten to the point where white folks own hip-hop. Black folks are just renting it.

     

    --Danyel Smith, Vibe

     

    Race Traitor is an edited volume of essays, editorials, and letters from the first five issues of the journal by the same name inaugurated in 1992. The premises of Race Traitor, which more or less repeat the boilerplate story of “White Studies,” are as follows: first, “the white race is a historically constructed formation” (9); second, whiteness is “a product of some people’s responses to historical circumstances” (9); and third, whiteness allows “those assigned a place within it to place their racial interests above class, gender, or any other interest they hold” (10). Thus it is proposed that “the key to fundamental social change in the U.S. is the challenge to the system of race privilege that embraces all whites” (1). Neither “whiteness” nor “race” itself essentially exist; and if enough white folk choose to belong to categories that are not-white (for Race Traitor, resolutely black), the world might change for the better.

     

    That identity is mediated, categories permeable and impure, and that associations and the comparability of peoples are influenced by political interests but not necessarily fixed by them, seem unimpeachable premises this side of cultural nationalism. And the clarity and frankness with which Race Traitor holds its racial nominalism forth is probably unmatched in the widening congregation of critical work on whiteness. Contributors in the volume range from bike messengers, to cooks and prisoners, to intellectuals and managerial folk, to a powerful essay by Herbert Hill (former labor secretary of the NAACP). Most contributions are stories of “cross-over dreams” (148), others are polemics, others historical analysis or commentary on current events, and there is also a sort of primer on Israeli/Palestinian relations. Although an occasional anti-intellectual vibe sneaks through the book (as with the oddly reactionary deconstruction bashing that goes on now and again [e.g., 113]), there is something extraordinarily general-reader friendly and activist-inspired about Race Traitor. Whether or not the kinds of general reading the book longs for or the popular activism it seeks actually exist is something left by the by. But alongside David Roediger’s The Wages of Whiteness, Theodore Allen’s two-volume The Invention of the White Race, and more recently, Ruth Frankenberg’s White Women, Race Matters and Fred Pfeil’s White Guys, Race Traitor will be an essential volume for anyone interested in the critical study of whiteness.5

     

    There are pressing questions, however, and certain contradictions immanent to white “race trading” that make the word “dream” in “cross-over dreams” sound perhaps a little too innocuous. First, how to know an effective “race trade”; that is, how to distinguish the self-conscious choice of abandoning white skin privilege from a friendly little game of margin poaching, what Eric Lott calls “love and theft”6? This is something, after all, that the white popular media has been doing at least since minstrelsy and as recently, as my epigram above suggests, as rap.7 Second, to the extent that a race trade is at all thinkable–and I think ultimately it is, but something much less easily volunteered–how can it be separated from the privilege of whiteness to go on choosing where to draw the lines between its former self (as white “villain”), the other it has historically disenfranchised (the not-white “victims” of whiteness), and the eventual victory of post-white self-consciousness (that is, as “hero” qua “race traitor”)? Might this not arguably be a process of white fantasy rather than its dream, of psychic transferal, recuperation, and transcendence, white fright as well as fancy?

     

    One might fairly suggest that (the white privilege of) desiring to cast-off “white privilege,” our newfound eagerness to embrace brothers and sisters of color we now choose (whether or not they choose us), eventually runs up against a rather sneaky inverse narcissism. “Race trading” (recall the Jewell-effect) seems in part to enable whiteness to play the victim and the hero of its own imagined opposite, and such a thing warrants considerable explanation. While I may not want to dismiss out of hand some specific political value in the kind of auto-critique that might emerge on such a condition (more on this below), Race Traitor itself pays the inevitable complexity of crossing ontological margins no explicit or sustained attention. Its use of weak compensatory slogans lifted from the British Enlightenment like “loyalty to humanity” seem–it must be said–like liberal mish-mash in the face of the nettlesome identity troubles inherent to re-classifying oneself as an other. That white folk remain at the threshold of a political awakening that (still) lays claim to all and each alike is historically dubious. Without a great deal of qualification and careful explaining, “race trading” teeters on becoming patronizing, romantic, perhaps even downright insulting.

     

    For example, a white man looking back thirty years on Virginia’s unsavory race politics recalls “an attractive black woman.” He writes, “I could not elude my fascination with this woman…. Perhaps, in some primitive way, I sensed that we both shared the burden of cruelty in our lives” (71). Now at least two readings of these lines are possible. Do the words “attraction,” “fascination,” and “primitive” betray a wolf’s racism in the sheep’s guise of sharing human cruelty, where “human” is dictated Crusoe-like by the white attraction towards and projection upon the other as my fear and fantasy? Or does the story gesture towards some sort of political counter-memory, a performative admission that for white folk the best possible intentions emerge necessarily from the position of power? Without more explicit attention to the perhaps wearisome and certainly complex questions surrounding alterity, desire, and the classificatory struggles around identity formation and re-formation, the second option seems rather a generous stretch.

     

    Genre Trouble

     

    I urge each one of us here to reach down into that place of knowledge inside of herself and touch that terror and loathing of any difference that lives there. See whose face it wears.

     

    --Audre Lorde

     

    The story of white desire (probably) gone wrong that I cited in the section above invites further pause over the near-absent gender politics in Race Traitor. It is from the perspective of gender–as, put a little awkwardly, an alternative alterity to the simple white/not-white distinction–that I think “race trading’s” inverse narcissism can be grabbed two-handedly and steered towards the more nuanced and, one hopes, more politically solvent prospects held forth by post-formalist notions of (racial) categories.

     

    One of the more intricate stories within the volume concerns interracial marriage. After having married a black man, a white, middle-class woman recalls her family’s and neighbor’s adverse reactions. For example, her grandmother refuses to meet with the couple on the grounds that she must have become “white trash” (86). The narrative continues: “there was no refuge for me in the suburbs, so resolutely white, which had defined themselves by distance from pain and struggle and anger and vulnerability and loss, as well as from the injustice the very distancing created and creates…. To be white means to be insensitive to the possibilities for oppression within oneself” (87-88).

     

    This story, unique in Race Traitor, complicates by pluralizing the “distance(s)” between otherness, identity, and the desires by which (white) self-identification is either maintained or displaced. It calls attention to the radical nuances around the issues of memory, categories, and change. To begin with, alterity is posited here not simply as a white/not-white distinction of race, but as a portable and pluralistic function of additional alterities, here of gender and class. Here, a “race trade” means less adopting the status of an ideal marginality of inverted whiteness as “primitive,” “attractive,” or “fascinating”–what I called earlier inverse narcissism–than it does trading amongst and between alternate forms of otherness which also, but not directly or binaristically, function to shore up white race privilege.

     

    The grandmother’s reaction to the mixed marriage is revealing on this score. The term “white trash” hinges upon the author’s eventual dis-identification with her group (“suburbia”), but also in her being moved between groups: class as sex as race trading, where the middle distinction remediates the other two without becoming their mere opposite. Thus does gender designate what might ostensibly be described as a genre problem, where genre is construed as: first, a semiotic performance on the mixed nature of all phenomena; and second, not only the mediation of identities by the categories under which they are habitually placed, but the remediation of those categories by other categories they inadvertently imply. Anne Freedman and Amanda MacDonald call this latter process “templating.”8 In applying this concept to an effective “race trade,” the initial category of race, designated by a white/not-white distinction, is not simply reversed but is “templated” through the “meta-functional” presence of other distinctions, other categories, here based on gender and class. These alternatives within the distinction of race are “meta-functional” because they have an associative status that cannot be reduced to the non-identical opposite of whiteness. Through the cross mediation (“templating”) of (“meta-functional”) non-identical alternative categories, the good-woman/not, and middle-class/not distinctions which the author describes are shattered so that the associate distinction of white/not is dispersed into an array of onto-generic components that allow identity to be categorized with other than an either white/not white status.

     

    I am proposing then that categories of race carry within them a (gendered) “meta-functional” feature or alternative alterity from which the color line can be indirectly dotted. Put a different way, the significance of gender to the problem of racial categories does not so much posit the easy collapse of the white/not-white distinction as Race Traitor seems too easily to suggest, than it points towards “family” matters in a more general sense of kin, that is, in the sense not only of the intimate sphere gone communicatively awry, but of post-formalist notions of kind, ontology as comparability, identity as a performative semiotic process that is negotiated through the multi-relational and therefore mutable existence of superficial sets of like/not-like combinations.

     

    The author’s own refusal to “distance” herself from “the injustices distancing creates” is also important in that it speaks directly to the necessity of the intimacy of categorical in-betweenness (as opposed to simple white inversion) that is implicit in her “race trade.” Insofar as she recognizes that the primary challenge to whiteness is an intimate question (her marriage, the refusal of “distance,” and ultimately “oppression within”), she is not capable of moving herself totally beyond the recognition of white race privilege, which she realizes in the interpellative misfire of being (mis)recognized by suburbia as now not altogether a good white woman, and yet not exactly not that either. The author’s suggestion that white privilege is simultaneously an intimate problem places her at a point of what might be called categorical and communicative displacement, a point of onto-generic interstices between herself and the (white) community that addresses and repudiates, respectively, a white middle-class woman and the critical alternative she eventually becomes.

     

    Thus, again, the problem of “race trading” seems most effectively approached by conceiving of whiteness, not so that it affords the political good conscience of being traded away or not, but as a problem that finds political effects in duplicity and mistake, a problem of working progressively within incommensurably mixed ontological combinations (here, gender, race, and class) that provide unfinished critical supplements rather than easy correspondences. The story of mixed marriage is important to this volume, then, precisely because of the conclusions it offers regarding categorical mixing in general. The story manifests a notion of “race trading” that provides a way around (or perhaps through) white narcissism. Here, as is not typically the case elsewhere in Race Traitor, “race trading” intimates a liminal proximity of otherness to whiteness, but not as its mere opposite. The question of race across gender (and finally, towards class) necessitates a process of political remembrance (intimacy as opposed to “distancing”) that is neither transparently schematic (i.e., moving beyond the limit of white/black), nor overly volunteeristic (since the post-white recollection brings about the specific onto-generic misfire of being another within a category formerly one’s own). Perhaps it might be said that remembering (the white) race and its categorical disintegration is also the form of gendered integration in process “within” and on the other side of whiteness. This, I shall finally suggest, comprises a more viable critical front for “White Studies” as a form of “race trading,” and it is precisely the point of Mab Segrest’s Memoirs of a Race Traitor.

     

    Coming Out White

     

    In 1963, history came to dinner.
     

    --Mab Segrest

     

    Mab Segrest’s Memoir of a Race Traitor is a book involving unlikely combinations where “race trading” is a sometimes painfully intimate and considerably intricate affair. It is ostensibly the tale of (white) anti-racist activism during the 1980s and 1990s. Spurred into action by the dismissal of neo-facist murders in 1980, Segrest joins North Carolina Against Racist and Religious Violence (NCARRV) and, guided by black mentor Reverend Wilson Lee, eventually becomes its coordinator. Segrest is also motivated by the realization of her own genealogy as inextricably intertwined with white privilege and racism. She thus recalls the death of Sammy Younge in 1965 at the hand of her cousin Marvin Segrest, and the latter’s eventual dismissal by an all-white jury. This is the characteristic outcome of the Klan murders she would later confront in her anti-racist activist work. The history that “came to dinner” in 1963 is George Wallace’s “segregation forever” speech, which was a favorite of Segrest’s father. With almost unbearable frankness Segrest traces her lineage back to one Mabrose Cobbs, who landed in York Town in 1613. This connects her to the genocide of indigenous peoples, slavery, and finally to her immediate family’s far-right political views. Woven into the narrative describing her family and descriptions of her tenure at the NCARRV is the death from AIDS of a close friend and fellow (gay) activist. Segrest’s mother dies as well. Thus, she writes, “I was a person haunted by the dead” (1, 127).

     

    Indeed, a political haunting is probably the best way to describe this book; for while it is a “memoir,” it is as the title intimates a memoir of its author as an other, or more precisely, as an other other than, but not the opposite of, white. This is a book therefore in hot pursuit of, as I earlier described, the onto-generic irregularities that less nimble and less modest accounts of “race trading” tend to ignore:

     

    Our identities, structured as they are on what we hate, resist, and fear, are disturbingly unstable. This leads to further repression and gives us a curious interest in proliferating the things we oppose.... My "racist self" resists, for example, Sammy Younge, Christina and Reverend Lee; my "anti-racist self" resists my parents and Marvin Segrest. So they all shape me (a hybrid of the slayer and the slain). (176)

     

    The white “hybridity” being described here denotes not a transcendent cosmopolitanism or the inverse narcissism I described before, but a critical encounter with the proximity of power to white interest, manifest even in the white struggle against whiteness itself. Segrest thus “questions the law of physics that no two objects could occupy the same space at the same time” (21). The statement harkens back to the slippery hero/victim inversion which I called the “Jewell-effect,” the path of narcissism on the one hand and, on the other, what “haunts” the white imagination to be otherwise. “I began to feel pretty irregularly white…. I often found my self hating white people, including myself. As I took on racism, I also found its effects could be turned on me” (80). Thus, the activism recalled by Segrest alludes both to a resilient commitment to the rough-and-tumble world of actually existing struggles within white civil society, but it is also an activism at work on the author as she negotiates the often incommensurable, but completely interrelated, extra-intentional privileges of membership within the very identity she wants to resist.

     

    In the way I described above using the story of mixed-marriage from the Race Traitor anthology, the eventual disintegration of the white race for Segrest, or at least the process for “irregularizing” one’s whiteness and moving white self-occupation towards politics, becomes a resolutely gendered process of integration already at work. Within two or three sentences in the book’s introduction, she informs us of her immediate connection to white violence vis-à-vis Marvin Segrest and his unthinkable acquittal, and then matter of factly states, “a decade later I recognized I was a lesbian” (2).

     

    An alternative title of this book might have been “coming out white.” Segrest uses the metaphor of “bad blood” to get at the complex interrelation between categorical alterities–gay, women, poor, of color–which, while not ontologically correspondent, provide critical positions beyond white skin privilege that are not merely the simple inversion of whiteness. I tried to describe this before as “templating,” that is, as the remediation of categories (of race) with other categories (here, of gender) so as to undo the material (class) privileges of white skin, and all this without inadvertently stealing alternative agencies by simply declaring alterity to be simply whatever whiteness is not. “Like the Muskogees on whose land she grew up, my mother was pulled in opposite directions” (101), Segrest writes. And so pulls her lesbian feminist politics in relation to her anti-racist activism and emergent socialist consciousness. The chapter “Bad Blood” immediately follows the chapter “Coming Out.” Given this important sequence, Segrest searches for a way to articulate what she calls the “material reality of the intersection” between alterities immanent (but not reducible) to matters of race and sex. The metaphor “bad blood” is thus outwardly a recognition of a comrade’s death from AIDS, but it is also less obviously (and less volunteeristically) an image about forbidden mixing, about the possibility of associational rights that would otherwise go unobserved.

     

    “The key to writing a good crime story,” Segrest recalls, “is in the gaps” (103). So too her memoir. Her “race trade” comes not simply by becoming white identity’s ideal other, but comes instead by imagining herself looked at differently from within a white community she both recognizes as her own and not. “I have worked on this essay to both think myself and unthink myself white” (226). In doing so, Segrest avoids simply “mimicking” an inversion of whiteness (19). Hers is the remediation of the white/not categorical distinction with an alternative alterity which is gender. Thus does her recollection of differently raced and gendered “selves” place her in the “gaps” between one identity and another.

     

    If the alternative to whiteness is present partly by negative association (“by proliferating what we hate,” a “haunting,” or what I more abstractly termed identity’s “metafunction”), for Segrest this alternative is decidedly not manifest as identity’s mere inversion. In Memoir of a Race Traitor, “race trading” alludes ultimately to the discovery of a certain politics that are both profound and, in the end, committed to reflecting critically on the profoundly ordinary. Such a politics amounts in effect to the critical marking of the otherwise unremarkable, the outwardly stated but exceedingly fleeting objective of a new “White Studies.” The “queer socialism” which Segrest finally espouses not only invites but performs the critical mis/recognition of what heretofore seemed quintessentially normative categories (white, heterosexual, middle-class). In the sense that these otherwise invisible identities are turned towards alternatives for the sake of material equity (and sacrifice) which they cannot both know about and remain unaffected by that act of knowing, this exceptional book is above all an invitation for “ordinary” white-folk to re-read themselves.

     

    Notes

     

    1. The Chronicle of Higher Education and Lingua Franca have both carried articles declaring the emergence of the new “White Studies.” See Liz McMillen, “Lifting the Veil From Whiteness: Growing Body of Scholarship Challenges a Racial ‘Norm,’” The Chronicle of Higher Education (September 8, 1995): A23; and David W. Stowe, “Uncolored People,” Lingua Franca (September/October 1996): 68-77. Scholarly journals which have done or will be doing special issues on whiteness include: Socialist Review; Lusatania; the Minnesota Review; Transition; and American Quarterly. For an encyclopedic review of the growing body of scholarly white writing, see Shelley Fisher Fishkin “Interrogating ‘Whiteness,’ Complicating ‘Blackness’: Remapping American Culture,” American Quarterly 47.3 (September 1995): 428-66.

     

    2. James Baldwin, Notes of a Native Son (Boston: Beacon Press, 1983) 166.

     

    3. Richard Dyer, “White,” Screen 29.4 (1988): 45-64; see also, Jane Gaines, “White Privilege and the Right to Look,” Screen 29.4 (1988): 13-27.

     

    4. See Theodore Allen, The Invention of the White Race (London: Verso, 1994) 24.

     

    5. Theodore Allen, op. cit.; Ruth Frankenberg, The Social Construction of Whiteness: White Women, Race Matters (Minneapolis: University of Minnesota Press, 1993); David Roediger, Towards the Abolition of Whiteness (London: Verso, 1994); and Fred Pfeil, White Guys: Essays in Postmodern Domination (London: Verso, 1995).

     

    6. Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class (Oxford: Oxford UP, 1993).

     

    7. While this objection is raised by Salim Washington and Paul Garon in response to Phil Rubio’s essay on the “exceptional white” who uses black popular culture, but it goes unanswered in the book. The section following the “Cross-over Dreams” section is titled, probably with unintentional irony, “White Silence” (179).

     

    8. Anne Feedman and Amanda Macdonald, What is this Thing Called Genre? (Mount Nebo: Boombana, 1992) 20. Thanks to Ross Chambers for his bringing this book and its relevance to whiteness to my attention.

     

  • The Resuscitation of Dead Metaphors

    Sujata Iyengar

    Department of English
    Stanford University
    sujata@stanford.edu

     

    “Incorporating the Antibody: Women, History and Medical Discourse,” a conference held at the University of Western Ontario, October 5-6, 1996, and the accompanying exhibition, “Speculations: Selected Works from 1983-1996,” by Barbara McGill Balfour.

     

    When I told the Canadian Customs official that I was presenting a conference paper, she languidly enquired what the conference was called. “Incorporating the Antibody,” I replied unthinkingly. She perked up and scrutinized me more closely. “Are you bringing any samples?” she fired back. I looked back at her blankly. “Specimens?” she continued. She laughed at my bewildered gaze. “You’re just reading a paper, right? You’re not carrying any viruses?” I finally and belatedly awoke to my own metaphor and hastened to reassure her that I studied English, not epidemiology, and that the only infectious agents I might be harboring would be the cold viruses I’d contracted on the plane. I recount this anecdote because it illustrates some of the points that “Incorporating the Antibody: Women, History and Medical Discourse” succeeded gloriously in making: namely, that we have become so accustomed to hearing medical discourse employed in figurative contexts that we are no longer alert to its full implications, and that, conversely, practitioners of medicine just as frequently fail to examine the assumptions and consequences of the metaphorical language that they themselves borrow from imaginative writing and other disciplines. The conference title, “Incorporating the Antibody,” expressed, according to conference organizers Elizabeth Harvey and Barbara McLean (Western Ontario), a desire for interdisciplinary feminist scholarship to reclothe with flesh (to re-incorporate) the increasingly disembodied dry bones of medical discourse about women (who have been historically figured as “anti-bodies” in binary opposition to men) and to provide a kind of antidote or antibody to medical and rhetorical complacency. The conference attracted participants from three continents and several walks of life. Speakers included professors, graduate students, and independent scholars of English Literature, Anthropology, History, and American Studies; health-care workers from Australia, Canada, and the U.S. (some of whom expressed anxiety at the growing commercialization of their fields and its uneasy alliance with care-giving); professional and amateur artists; community activists; and concerned parents.

     

    Plenary speaker Emily Martin (Princeton) spoke of her wish to revive or recover clichés and dead medical metaphors and follow them through to their logical conclusions. Her beautifully illustrated presentation on “The Woman in the Flexible Body” began by contrasting early twentieth-century images of the body as machine or fortress, protected from a germ-laden, disease-ridden outside world by the skin, with the “flexible,” three-dimensional, transparent body more familiar to us from images over the past decade. Early depictions of the body’s immune system figure the body as a fortress or castle, surrounded by ramparts and battlements; in this model, the working body and its parts function like a stable mechanical apparatus. More recent images, in contrast, display the body’s struggle against infection as one that takes place both inside and outside the body; they use three-dimensional imaging techniques to treat the skin as an active, permeable boundary rather than a barricade, and the healthy human body as a system working according to the rules of chaos theory–quick, subtle, and responsive to infinitesimal changes in its environment.1 Martin found that these metaphors of flexibility and adaptability travel between popular and scholarly writing on the body’s immune system and advertising campaigns for, among other things, ink-jet printers and employment agencies, and suggested that chaos models might offer us a new way of regarding women’s health. Such a model might, for example, regard menopause as the body’s dextrous response to changing conditions rather than as the shutdown of “normal” functions. She also offered a caveat: while the flexible body might seem to offer us a new and exciting way of looking at the world, it appears in current advertising campaigns as the telos of a late capitalist neo-Darwinism. In today’s employment market, “flexibility” is the key to survival.

     

    The ways in which we figure our bodies reflect our historical notions of selfhood and identity. The postmodern subject’s constantly shifting, adaptive, and multiple subjectivities offer us the shimmering pleasures and freedoms of the play of surfaces but also the terrors and suffocations of entrapment in this purely external world (my postmodern, flexible self, for example, might hold down three or four different jobs, none of which would provide me with health insurance or a pension plan).2 I recently received a catalogue for a popular book club that claimed to cater to my many different “identities” by providing me with as many different types of pulp fiction. Magazines run features on “spin” as the key to political and corporate success in the late twentieth-century; the very metaphor conjures up a speedy whirl that emphasizes constant movement over content (electrons spinning in probability clouds have replaced the stable, orbital Rutherford-Bohr atomic model that we learned in high school). Companies euphemistically call our insecurity and underemployment our “flexibility,” nimbleness, and agility; while many women hailed the advent of “flexi-time” as a way of combining an active professional life with motherhood, we have learned that it’s also a way of reducing our benefits, status, and salaries.

     

    As the post-Enlightenment or essential subject dissipates into numerous identities–legal, medical, personal, and social–so the rights and privileges associated with the modern, legal subject disappear. Gayle Whittier’s (Binghampton) harrowing account of “The Politics of Metaphor in Neo-Natal Units” made it clear that the mechanistic imagery associated with drastically pre-term infants dehumanizes them and turns them into subjects for experimentation, in many cases despite the wishes of their parents. Babies in the neonatal units studied by Whittier were frequently denied anesthesia on the grounds that their nervous systems were not developed enough to allow them to feel pain, and doctors often compared the infants to animals or marvels of technological wizardry, hardly human at all. At the other extreme, more than one speaker commented on the parthenogenetic or androgenetic fantasy of the anti-abortion movement, which detaches the fetus from its mother and endows it with agency from the moment of conception (Emily Martin alluded to an extreme manifestation of this in the current immunological debate over why a pregnant woman’s immune system doesn’t expel the fetus as a “foreign body,” as if mother and child were not connected at all). Fetal or infantile subjectivity and its putative existence or absence are politically variable terms, as is “the good of the child”; Natasha Hurley (Western) commented on this paradox in her discussion of “cutting” hermaphrodites and the medical insistence that babies born with indeterminate sex organs be “corrected” to a single and definite gender, even if they will become infertile and, in some cases, experience greatly diminished sexual pleasure.

     

    Historically, women have been associated with the flexible body, with softness, impressionability, permeable surfaces, with an enclosed secrecy that perversely becomes an ability to be opened up to the male medical gaze. Several speakers traced the archeology of the flexible feminine body or antibody through Early Modern texts. Plenary speaker Ludmilla Jordanova (East Anglia) analyzed “Feminine Figures in Medicine, 1750-1830” to suggest that male midwives were perceived as both effeminate and sexually threatening and that it would be misleading to see in the history of midwifery simply a narrative of female authority undermined by male control; Lianne McTavish (New Brunswick) discussed the careful self-fashioning of male and female midwives through the portraits of themselves printed in their treatises; Caroline Bicks (Stanford) noted the “darkening” of the midwife in seventeenth-century midwifery manuals and the racialized discourse of early modern gynecology. Elizabeth Harvey began with the two meanings of “glass” in the Renaissance, as a mirror in which one sees oneself and as a transparent window through which a viewer sees through an opaque surface, to connect feminine (in)visibility, ocularity, and penetration. Artist Barbara McGill Balfour’s exhibition “Speculations” provided a visual analogue to these concerns through her thoughtful and sometimes disturbing self-portraits, which explored the power of the speculative gaze when turned on women and when women look at themselves. Her Self-Portrait Series 1983-4
     


    figure 1: graphite on paper, 8 x 8

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    presented us with the artist’s multiple selves drawn individually and unsmilingly in pencil in pointed contrast to one of the most famous icons of postmodernism, Andy Warhol’s mass-produced and highly colored images of Marilyn Monroe.


    figure 2

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    The video-installation Transference-Love (1996)


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    and still photographs taken from it suggested that lenses–of the eye, the camera, a pair of spectacles–functioned as emblems not simply of distortion or filtering but as devices that concentrated visible light and invisible thought.


    figure 4

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    The text of Transference-Love reads in part: “I don’t know where to begin because I’m not sure why I’m here and what I want out of this. It’s not that I’m trying to figure out everything in advance. I’m just not sure what my motivation is–it’s as if I need stage directions….Sometimes I just don’t listen to myself.” While Barbara Balfour’s images evoked sadness and a sense of mortality or fatefulness, they also represented some of the ways in which female observation or “speculation” can function as therapy or cure, or at least as a way of redressing the balance of gendered power. Beth Dolan Kautz (North Carolina) found a therapeutic theory of aesthetics in Mary Shelley’s Rambles in Germany and Italy and Susan Craddock (Arizona) treated us to some truly terrible poetry from tubercular women in early twentieth-century San Francisco sanatoriums. “Incorporating the antibody,” for Shelley and for the infected women of San Francisco, involved negotiating a balance between accepting the rules of the establishment that would cure them (the sanatorium, for the San Franciscans; the spa, for Shelley) and finding their own therapeutic discourse.

     

    The conference itself performed as academic “antibody”: the program made no reference to participants’ rank or discipline, and some of the conference presentations acted as formal antibodies to preconceived notions of academic discourse. Sometimes this transgression was a matter of content or tone, reminding us that the personal is still the political; sometimes a startling generic switch forced us to look afresh at disciplinary boundaries within the academy. As Erin Soros (British Columbia) noted, patients “present” symptoms to physicians much as speakers “present” papers: in her circular narrative, a schoolgirl presented a term paper on anorexia only to “present” with the disease shortly afterwards and, years later, to return and “present” her story in an academic setting once more. A costumed Theresa Smalec (Western) unexpectedly disrobed along with the protagonist of the performance-art piece she was simultaneously analyzing and performing. Judy Segal (British Columbia) wove the deeply-personal and moving history of her mother’s mortal illness into a sharp critique of the euphemistic North American way of death and the secret code-words that, had she known them, could have given her mother an earlier respite from her suffering. And, at a conference that was so concerned with generation, it was entirely appropriate that Dino Felluga (Stanford) should dedicate his analysis of Wordsworth’s and Coleridge’s feminized pathology of popular taste to his parents, who were for the first time hearing him give a paper (we have become so accustomed to hearing the language of parenthood applied to literary or academic mentors that it was refreshing to hear it used in its literal sense).

     

    Antibodies accept the body’s infection and then turn the virus’s own weapons back on itself. The first wave of feminists desired legal and political equality but did not question the institutions they sought to join. For the so-called “second-wave” of feminists, a woman’s absorption into the world of logos, the world of the Lacanian symbolic, entailed a sort of passing, a lifetime spent in drag. A third-wave feminist “antibody,” however, recognizes our necessary implication in the “powers-that-be” and then uses those powers to help her fight them from within. Antibodies aren’t necessarily anti-viral; that is to say, they don’t insist on the utter destruction of the virus but on its reconfiguration in a gentler form (a good example of this is the recent discovery that the genetic predisposition to contract a mild case of malaria in infancy can protect adults from succumbing to the illness in its raging extremity). The performance artist Laurie Anderson functions as a kind of antibody to the misogyny of William S. Burroughs when she quotes his well-known aphorism, “Language is a virus from outer space” as part of her own carnivalesque encounter with technology, language, her body, and the late twentieth century. Antibodies also leave behind traces of the virus for which they function as antidote. We test for the presence, not of a virus, but of its antibody. In this way the antibody elaborates the Foucauldian dynamic of power relations: the hidden workings of power become not merely visible but also negotiable through our resistance to it.

     

    Notes

     

    1. On the imaginative shift from battlefield to network in metaphors of the immune system, see also Donna Haraway, “The Promises of Monsters: A Regenerative Politics for Inappropriate/d Others,” in Lawrence Grossberg, Cary Nelson and Paula Treichler, ed., Cultural Studies (London and New York: Routledge, 1992) 295-337.

     

    2. I am obviously indebted in this analysis to Fredric Jameson’s Postmodernism, or the Cultural Logic of Late Capitalism (Durham, N.C.: Duke University Press, 1991).

     

    A volume that will include several essays from the conference is currently under preparation.

     

  • Failing to Succeed: Toward A Postmodern Ethic of Otherness

     

    Tammy Clewell

    Florida State University
    tclewell@mailer.fsu.edu

     

    Ewa Plonowska Ziarek. The Rhetoric of Failure: Deconstruction of Skepticism, Reinvention of Modernism. Albany: SUNY Press, 1996.

     

    In The Rhetoric of Failure: Deconstruction of Skepticism, Reinvention of Modernism, Ewa Plonowska Ziarek offers a welcome intervention in current debates on postmodern ethics. It has been widely recognized that the possibility of a contemporary ethics crystallizes around the dominating figure poststructuralism has addressed as “the other.” However, the frequent argument has also been made that contemporary thought merely sides with a romantic view of marginalized others to secure for itself a dubious position of innocence. The importance of Ziarek’s book, especially when juxtaposed with critical appraisals attempting to rescue poststructuralism from itself, resides in her elaboration of the special sense of responsibility and obligation emerging not in spite of but within deconstructive criticism.

     

    Ziarek also shows how understanding the ethical relevance of poststructuralism entails nothing less than a reconceptualization of both literary modernism and philosophical postmodernity: modernism no longer evaluated in terms of an aesthetic autonomy severed from political concerns; and postmodernity no longer restricted to the Habermasian view that Derrida’s deconstruction exhausts the paradigm of subject-centered reason but fails to move beyond it. For Ziarek the persistence of themes like exhaustion, impasse and skepticism suggests that evaluations of modernist aesthetics and poststructuralism have not taken into account their “rhetoric of failure.” By rhetoric she means the double significance of “failure” which not only negates traditional patterns of thinking, but also affirms an encounter with alterity, what Derrida has called poststructuralism’s “search for the other and the other of language” (10).

     

    Ziarek brings together the philosophical texts of Stanley Cavell, Emmanuel Levinas, Jacques Derrida, and Walter Benjamin, and the literary texts of Franz Kafka, Samuel Beckett, and the Polish modernist Witold Gombrowicz. She argues that the philosophical texts not only engage but also deconstruct skepticism, the negative thesis (roughly beginning with Descartes) claiming the impossibility of all truth and knowledge. For Ziarek the “deconstruction of skepticism” reveals what may at first look like a conflicting distinction between the epistemological negation of truth and the ethical signification of otherness. What allows for a “certain rapprochement” between otherness as both an epistemological and an ethical issue “is precisely [poststructuralism’s] turn to modern aesthetics where the intense confrontation between the claims of alterity and the claims of rationality is perhaps more readable than in philosophical discourse” (8). In her readings of Kafka, Beckett, and Gombrowicz, Ziarek suggests that modernism’s self-referential aesthetic undoes the concept of truth and the representational theory of language. Instead of purifying art, Ziarek’s modernist exemplars show how this loss of meaning produces a desire for discursive community based on a nostalgic notion of authentic speech. Because the texts disclose otherness not as an external threat but as an inherent feature already at work within self and community, modernist aesthetics has the potential to reopen a repressive socio-linguistic totality.

     

    The first chapter, “Stanley Cavell and the Economy of Skepticism,” pursues one of the most important questions in the book: can the signification of alterity be contained within the logic that assimilates divergent meanings into a coherent system? (9). By locating a contradiction in Cavell’s revision of skepticism, Ziarek answers no. In The Claim of Reason, Cavell takes issue with the typical reading of Wittgenstein’s philosophy of language as a refutation of skepticism. The problem is that both skepticism and its philosophical refutations equally assume that skepticism’s significance is limited to its negation of the possibility for knowledge. Instead of a refutation, Cavell revises skepticism to disclose its special “truth”: that our relationship to the world and others is not a question of knowledge, where knowing is an epistemological issue of certitude, but rather a matter of acknowledgment, a recognition of the other as different and separate from oneself. However, Ziarek also locates a competing emphasis in Cavell’s work which suggests that without any grounding for knowledge, the meaningfulness of language can only rest on a common linguistic practice, on what he calls attunement, the being together of speakers within a discursive community (27).

     

    Ziarek convincingly argues that while acknowledgment recognizes the other, attunement undermines that recognition by subsuming alterity to an inherently conservative and nostalgic notion of community. Ziarek never loses sight of the fragility of Cavell’s conception of community, a crucial point since the need to bring clarity to any instance of linguistic confusion converges for Cavell with the very need to discover whether a community of speakers exists in the first place. Nevertheless, because Cavell’s appeal to community is based on an aesthetic issue of “representative speech” (that is, on the procedures of ordinary language philosophy), Ziarek rightly claims that Cavell’s formulation cannot signify different voices unharmonized within community, reducing them to mute and silent subjects (44).

     

    Ziarek draws an important parallel between Cavell and Levinas: both reinterpret skepticism as an ethical rather than an epistemological issue. For Levinas the revision of skepticism entails “an indictment of the violence of rationality” (84). Specifically, he takes issue with the tradition of skepticism because this philosophy of the subject exercises power through the unmistakably violent inscription of the other in the subject’s own representational register. Conversely, it is precisely “an absence of a similar critical attention to the operations of power in Cavell’s writings” which, Ziarek seems to imply, contributes to the way Cavell’s revision of skepticism persists in silencing otherness (83).

     

    Given Ziarek’s claim, it is regrettable that she does not address Cavell’s account of the “violence of skepticism,” an explicit problem of sexual difference which falls outside the scope of Ziarek’s book. In the “Introduction” to Disowning Knowledge, Cavell reads Othello, like many of Shakespeare’s plays, as a dramatization of the problem of skepticism.1 Defining the “violence in masculine knowing,” Cavell writes:

     

    Othello's problem...is that Desdemona's acceptance... of his ambition strikes him as being possessed, as if he is the woman. This linking of the desire of knowledge for possession, for, let us say, intimacy, links the epistemological problematic as a whole with that of the problematic of property, of ownership as the owning or ratifying of one's identity. (10)

     

    Similarly, in “The Uncanniness of the Ordinary,” Cavell admits that his earlier account of King Lear (concluding The Claim of Reason, which is Ziarek’s main focus) neglected the way “the violence of skepticism deepens exactly in [philosophy’s] desperation to correct it”.2I cite these passages not so much to challenge Ziarek’s quarrel with Cavellian community, as, more simply, to suggest that Cavell has increasingly come to see skepticism as a politically charged issue of gender entailing the violent reduction of the female subject.

     

    In any case, Ziarek does not draw on Cavell merely to annihilate his formulations. While she clearly rejects Cavell’s notion of the “aesthetic unity of community,” she also admirably locates within his own discussions of metaphor and modernism the undeveloped possibility for a less violent, alternative understanding of aesthetics. Cavell’s description of metaphor suggests language games not dominated by collective agreement. Ziarek therefore suggests that figurative language points to what cannot be unified by the regulative functioning of community (58). Displacing Cavell’s alignment of metaphor with unnaturalness, Ziarek maintains that “metaphor reveals the signification of alterity always already inhabiting linguistic exchange” (59). Similarly, Cavell’s highly ambivalent account of modernism–as both “a slackened conviction in community” and a textuality “haunted” by the other of reason and the subject–enables Ziarek to recover Cavell’s “truth of skepticism.” Rather than subsuming difference, Ziarek offers an “aesthetics of acknowledgment” suggesting a particular responsibility to the other which the ethical subject of discourse bears (63).

     

    The second chapter, “The Rhetoric of Failure and Deconstruction,” extends the issue of skepticism and the signification of alterity to an evaluation of Derrida’s deconstructive theory. Ziarek’s clarification of Derridean iteration marks one of the chapter’s highlights: iteration also offers her a viable alternative to both Habermas’ new paradigm of communicative reason based on intersubjectivity and Cavell’s theory of community, both of which claim to move beyond the centrality of the subject but which still locate the source of meaning in subjectivity (95). For Derrida iteration signals the risk of linguistic failure because it describes the subject’s inability to control all possible meanings in his or her everyday speech acts. Ziarek insightfully shows how Derrida generalizes this risk of failure as a fundamental feature of communication. Like skepticism, deconstruction works through the problem of linguistic failure; it does not, however, perpetuate skepticism’s sense of disaster, loss, and catastrophe. Rather, the risk of linguistic failure enables Derrida to trace “how the subject does not constitute the other as the recipient of its message, but, in the Levinasian sense, is exposed to alterity prior to any intention to communicate” (101).

     

    Derrida rejects theories of community (like Cavell’s) which are motivated by a nostalgia for authentic speech. Instead, he offers a “community of the question” which Ziarek endorses because it celebrates absence, division, and difference as the conditions of being in common. Derridean community thereby submits the ideal of communion, Ziarek stresses, “to responsibility for the violence and exclusion it entails” (103). Concomitantly, Derrida’s investment in modernist literature, not the valorization of self-conscious discourse over pragmatic everyday usage which many have assumed, also discloses within the excess of language an affirmation of alterity. Derrida’s reading of Ulysses hinges upon the concluding word in Joyce’s text: “yes.” For Derrida, Joyce’s “yes” serves neither a semantic nor naming function, but rather marks the “I” in an address to the other. Ziarek follows Derrida to suggest that “yes” does not unify the text’s disparate elements as much as it signifies that aesthetic unity itself may always be interrupted by “the affirmation in laughter of the Other” (112).

     

    The unequivocal strength of The Rhetoric of Failure resides in these early chapters where Ziarek brings a welcome clarity to the way the structure of linguistic exchange and the more conscious intervention of figurative discourse enable a signification of otherness. For Ziarek, Cavell’s (undeveloped) metaphoricity, Derrida’s iterability, and, as she later takes up, Benjamin’s transmissibility all point to a future-oriented and unpredictable opening of possibilities, a politicization of aesthetics which has everything to do with actually embodied others. What is surprising, then, is that even when Ziarek turns her attention to modernist literature, where, as she states, the confrontation between alterity and reason is more apparent than in philosophy, she persists in pitching her discussion of otherness on a level of theoretical abstraction–as precisely that which resists representation. Ziarek thus neglects the opportunity to contend with specific racial, gender, class, and sexual issues which give to the question of the other the kinds of explicit political implications she nonetheless claims for her insights. Judith Butler’s Bodies That Matter, to cite perhaps the most well-known example, has explicitly related Derridean iteration–the possibility for change which inheres in every repetition–to the realization of sexual identities not necessarily determined by a heterosexual norm.3 And yet, Ziarek’s “failure” to engage the way others materialize within our predominantly institutionalized forms of community also converges, paradoxically, with the very strength of her book. Her selection of literary texts–Kafka’s parables, Beckett’s How It Is, and (the lesser known) Gombrowicz’s Cosmos–focuses on modernist texts which, because of their obvious aesthetic preoccupations, appear to be most resistant to the politics of subjectivity that she convincingly locates in them.

     

    The third chapter, “‘The Beauty of Failure’: Kafka and Benjamin on the Task of Transmission and Translation,” draws an important distinction between the “aestheticization of politics” and the “politicization of aesthetics.” Worth emphasizing here is Ziarek’s mention of Kafka and Benjamin as modernists who confront the problem of fascism. As one of the most extreme examples, fascism aestheticizes politics by appealing to a desire for community grounded on a mythologized sense of natural linguistic commonality. However, Ziarek locates in Benjamin’s theory of translation, as in his account of the mechanical reproduction of art, a powerful “antidote to the modernist nostalgia for the being in common,” and “a safeguard of sorts against the complicity of this nostalgia with fascism” (131). Because the task is not to reproduce the “truth” of the original, Benjamin’s notion of translation and reproduction both suggest “a certain kind of iterability that drastically changes the meaning of the original, its structure, and its relation to history” (129).

     

    Similarly, Kafka’s short pieces, including “Couriers,” “My Destination,” and “The Pit of Babel,” variously show the “movement of transmissibility”: that is, a detachment from the primacy of origins and an important sense of obligation which an understanding of textual transmission renders possible. The tendency has been to read Kafka’s parables as sustaining a transcendental signifier that cannot be put in words. However, Ziarek, drawing on Benjamin’s reading of Kafka, argues that what the parables thematize as failure is not the loss of truth existing outside signification, but “the fact that the very idea of truth is one of the effects produced by language” (127). Ziarek’s excellent reading of “The Great Wall of China” contains many of the concerns about community raised throughout the book. The parable begins with the recognition that the wall, a patchwork construction riddled with gaps, cannot secure empire. Suggesting the dissolution of any epistemological grounding, the wall itself perpetuates the threat of external invasion. In Ziarek’s words:

     

    [I]t is this imaginary threat of penetration from the outside that provides the most expedient means to neutralize alterity inside the community: to exclude everything that is foreign, contaminating, or unsettling to its linguistic unity. The porous wall consolidates the community of speech in more pervasive ways than the work of any closure would be able to accomplish: it binds the people together by making them define themselves against the threat of the other--the foreigners, who are in turn marked as locusts or wild beasts, that is, as those who are deprived of community, speech and humanity. (148)

     

    For Ziarek, “The Great Wall of China” undermines the very desire for “speaking with the same lip.” Although the text suggests a sense of failure, Kafka’s parable also politicizes aesthetics by showing the violent exclusionary politics inherent in discursive communities longing for linguistic immanence.

     

    In the fifth chapter, “The Paratactic Prose of Samuel Beckett: How It Is,” Ziarek recasts her earlier discussion of the “obligation of transmission” in terms of Beckett’s “obligation of invention.” Critics have typically read Beckett’s aesthetics as a negative epistemology which undoes traditional categories of subject and object, representation and property. However, Ziarek sides with the affirmative and inventive features of Beckett’s writing. How It Is marks an important shift in Beckett’s work, from a solipsistic and self-reflective subject (as in The Unnameable) to a subject situated in relation to the other. The text’s notorious difficulty stems from the repetition of phrases without logical and semantic connections, a composition in which the predominating figure according to Ziarek is parataxis–a trope of disconnection and interruption (171). By suspending grammar’s capacity to determine the object of representation, Beckett’s paratactic style enables a signification of otherness which Derrida has called an “impossible invention,” impossible because alterity can only be signified in the blanks between the words, not in the words themselves.

     

    “How it was I quote before Pim with Pim and after Pim how it is three parts I say it as I hear it…” In Part I’s opening phrase, Ziarek suggests that the anonymous speaker occupies a secondary position in the sense that he does not initiate his speech act, but engages in quotation. Ziarek also traces the temporal lapse, the slippage from the past–“how it was”–to the present–“how it is.” This temporal withdrawal from the past suggests that the signification of the other is precisely what cannot be recovered. It is this “remainder” in Beckett’s writing–the residue which persists after the traditional resources of signification have been erased–that enables the other to emerge despite (or perhaps because of) the limited present possibilities of representation. Beckett’s “impossible invention” thus places the decentered subject in the position of a witness and a scribe in relation to the other, a relationship that reveals a crucial understanding of obligation. As Ziarek point out, Beckett himself locates obligation at the core of his aesthetics, which clearly moves the task of writing beyond desire, knowledge, and pleasure. In “Three Dialogues,” Beckett defines his project as “the expression that there is nothing to express, nothing with which to express, nothing from which to express, no desire to express, together with the obligation to express” (170).

     

    The final chapter, “Witold Gombrowicz: Forms of Life as Disfigurement,” does not conclude as much as repeat Ziarek’s major contribution to contemporary ethics: the displacement of subject-centered discourse is not exhausted by skepticism’s account of the impossibility of all truth or meaning; rather, this displacement gestures toward an ethical encounter with the other which the grammar of our forms of life cannot determine or predict in advance. Given Ziarek’s conceptual elaboration, there is bound to be a certain repetitiveness in her book; however, its rigor unquestionably consists of the range of thinkers and writers–against the current picture of many of them as priests of negativity–which Ziarek profitably rereads in terms of their rhetoric of failure.

     

    In her reading of Gombrowicz’s last novel Cosmos (published in 1965), Ziarek introduces a modernist text which, like her other exemplars, shows how an encounter with the other exceeds the very structure of its representation in language. Like Gombrowicz’s theory of form, Cosmos dramatizes the limits of interpretive strategies; one based on a rational hermeneutic, the other on a sensual autoeroticism. In a parody of the conventions of both detective and gothic fiction, Cosmos shows how Witold and Fuchs, two young detectives of sorts, set out to solve the mystery of a hanged bird. In their obsessive frenzy to interpret the accumulating events seemingly associated with the bird’s death, they nearly commit a murder in order to complete the formal arrangement of disparate anomalies (219). By withholding this aesthetic unity, Gombrowicz’s novel–in its very dissolution of form–suggests that what is philosophically disturbing is not the failure of interpretation, but rather its very success. It is from this “failure” that Ziarek brilliantly succeeds in elaborating the compelling possibility of a contemporary ethics, challenging our understanding of poststructuralism and modernist aesthetics, and their relationship, in the process.

    Notes

     

    1. Stanley Cavell, Disowning Knowledge in Six Plays of Shakespeare (Cambridge, England: Cambridge UP, 1987), 10.

     

    2. Stanley Cavell, In Quest of the Ordinary (Chicago, U of Chicago P, 1988), 173.

     

    3. Judith Butler, Bodies That Matter: On the Discursive Limits of “Sex” (New York: Routledge, 1993), passim.

     

  • Holly Hughes Performing: Self-Invention and Body Talk

    Lynda Hall

    University of Calgary
    lhall@acs.ucalgary.ca

     

    Holly Hughes, Clit Notes: A Sapphic Sampler. New York: Grove Press, 1996

     

    Holly Hughes, one of the most acclaimed and popular contemporary performance artists and playwrights, publishes five of her works in Clit Notes: A Sapphic Sampler, including: “The Well of Horniness,” “The Lady Dick,” “Dress Suits To Hire,” “World Without End,” and “Clit Notes.” She also includes extensive autobiographical material detailing her artistic process while commenting critically on her family and the sociocultural milieu which informs her work, such as the collaborative feminist performance community at Women’s One World Cafe (WOW) in New York City. In this review, I focus on the two performance pieces I have seen, “World Without End” and “Clit Notes,” which exemplify her active interventions into cultural norms.

     

    Self-creating within complex representational frames, Hughes uses parody and satire in her incisive critiques of misogyny and heterosexual hegemony. Self-creation and sociocultural critique are the thematic axes on which I address her book/performances. While her stage directions indicate “the performer,” her frequent references to her art as self-writing and self-invention invite the spectator/reader to conflate self and performer. There is no evidence to date that anyone else has performed either of the two pieces I address here. In discussing her work, I have simply used “Hughes” throughout.

     

    Describing the sociohistorical changes which impact her experience as an artist, Hughes states that “visibility is the dyke mantra du jour…. When I came out in 1973 we fretted about the Male Gaze, how it could swallow us whole. Now we’re complaining that folks aren’t looking hard enough” (“Headless Dyke” 7). While visibility is liberating and promotes a lesbian sense of self-presence and desire for the artist and potentially for the spectator, visibility also invites and produces societal discipline and censure. In 1990, along with three other artists, Hughes was defunded by the NEA, creating a notoriety which precedes her wherever she performs.

     

    In her Introduction to Clit Notes, Hughes addresses the NEA and the controversy that “swirled around public funding of art that addresses the body, especially the body that’s either queer, female, of color, or some combination of those” (19). The equation of “homosexuality with obscenity” by Congress made the risks of performance evident, as her works confront homophobia. Her art allows her to create and define her selves, providing the space “to talk back” (19).

     

    The immediacy and materiality of the writer/performer’s body and voice on stage facilitate talking back and contesting cultural conventions by acting out subjectivity in relation to history, memory, and desire. Performance by definition suggests repetition, and through repetition, the possibility to pose questions, to play the same scenes and roles differently, and to re-member, re-view, re-shape, re-mark, and re-invent the past. The elaborate stage directions in Clit Notes enable the reader to imagine Hughes’ actions and body during performance. According to Hughes, she hopes her efforts will inspire others to exercise agency and rewrite their stories. Readers and spectators may realize that “they can be the heroine, that they can create their own plot rather than go on living inside the standard narrative” (9). Rewriting and revising old myths and fairy tales strategically, as Hughes does, is a way of interrogating diverse patriarchal, heterosexist imperatives and narrative plots. She concludes “Clit Notes” by inciting the audience to “start acting out our own plots” (212) of resistance. Hughes indicates that very early in life she resisted women’s harmful constrictive scripts of passivity and silence, and their designated female role as object of male desire. As a child she felt “I didn’t want to be a princess,” and she sardonically and subversively inquired: “What if I’d rather be eaten than rescued?” (10).

     

    Writing/Performing: Creative Self-Invention

     

    The autobiographical nature of Hughes’ writings and performances blurs traditional distinctions between the “real” and representation. Her performances and theoretical discourse suggest that, for her, life and art exist in a continuous relationship. Discussing “World Without End,” Hughes says: “The work’s real personal, real autobiographical” (Schneider 180). Refusing to evacuate the subject position, she fluidly performs her self at many ages, as well as her mother and her lover. Hughes foregrounds the complex contextuality in time and space of all subjectivity. Placing her performances and experiences in a sociohistorical context, Hughes interweaves (and subverts) myths, bible stories, family history, and re-membered dreams in her performance of self-in-process.

     

    For Hughes, writing is a source of presence, self-exploration, and self-understanding, often integrated into an engagement with her sexual feelings and development. In her Introduction to Clit Notes she states: “I’m telling stories about how I became an artist and how I became a lesbian” (2). Hughes explains that she used writing to escape from oppressive family influences during “years of watching myself from the outside”; she realized writing “could open as well as close doors” (12). In reference to interrogations regarding her lesbian identity, she asks: “Don’t you hate it when people ask you why you are what you are?” (208). I suggest that this question constitutes the impetus for her art, and Clit Notes offers the reader Hughes’ perplexing and candid answers.

     

    Overcoming compulsory heterosexuality in narratives entails frankly addressing taboo topics and expressing “unladylike” desires and experiences. Hughes suggests the proximity of feeling at home in the body and in the self through sexual acts and through writing/creating reality: “At WOW I can tell the stories I wanted to hear as a child…. I use words to make a home for myself with passageways that lead from the past into the present” (Clit Notes 18). Her writing and performances constitute an integral part of her everyday life. Referring to the NEA controversy and the power of the religious right, Hughes notes, “My role in the Cultural War is still very much a work in progress, a story that I’m telling as I’m living it” (22). Her artistic endeavours address a need to create space for self in a world which largely denies her desires and experiences; she claims, “I’m interested in trying to invent new images for women sexually” (Schneider 182).

     

    In “World Without End,” multiple codes indicate to the audience the performative power to re-create your life. She enters carrying a composition book, and later reads words from it which we presume she has written earlier. She foregrounds the creative mode metadramatically in the first few words: “I’m going to tell you a story” (155). Performing with her own body and voice affords her performances an aura of authenticity.

     

    As a spectator at her performances of “Clit Notes” and “World Without End,” in Calgary in June 1994, I felt engaged in a private conversation. Hughes deliberately creates a feeling of dialogue through her intimate settings, such as an “overstuffed wingback chair” in “World Without End” (154), and her frequent direct address to individual spectators. “Clit Notes” concludes with a debate on being out of the closet or being invisible, in terms of safety, and leaves the spectator to complete the dialogue; “You tell me,” Hughes invites (208).

     

    Body Talk/Commanding the Gaze

     

    Hughes frequently interrupts her narrative and makes individual audience members the object of her gaze and her construction. She refuses notions of male ownership of the gaze and desire by reappropriating the gaze and desire for herself. Her defiant act of “looking back” disrupts traditional unbalanced power relations between the performer and the spectator. Making her body a spectacle of active desire and agency, and claiming her right to a creative look, Hughes embodies a practical resistance to negative social scripts.

     

    At one point in “World Without End,” Hughes directly addresses the audience in a confrontational monologue on issues such as racism, misogyny, domestic violence, rape, and lack of funding for abortion. Her mix of representational strategies motivates the spectators to perceive the fusion of both art and politics in everyday life. Hughes often assumes a teaching stance in relation to the audience, similar to the mother’s numerous lessons to Holly, thereby appropriating the traditional masculine prerogative of knowledge, voice, and authority. In “Clit Notes” she assumes the role of a professor and labels her first lecture “Performance Art as a Tool of Social Change” (196).

     

    She foregrounds the body in her work as a source of creativity, pleasure, and knowledge, as well as the site of often violent social prescriptions. Rebecca Schneider praises Hughes for her courageous acts, declaring that “autonomy and the expression of sexual desire are an unusual mix for a woman to so adroitly control on stage” (172). In her Introduction to Clit Notes Hughes states, “I’m thinking out loud; I’m writing with my body” (2). She recalls that in college her body was “still a foreign country, still occupied by my parents, the doctors, the storm troopers of the normal” (8). Her art performs a Foucauldian counter-resistance to powerful disciplining institutions colonizing her body. She states: “I wanted to live./In my body./In the world” (194).

     

    Hughes performs a body which appears very much under her control, and yet at times she also suggests a body and mind out of control. She joyously performs “hysterical” acts that defamiliarize the spectator and provoke us to read her body and its every gesture carefully. Near the beginning of “World Without End” she grabs flowers out of the vase, “throws them over her shoulder and then takes a nice long drink of water. From the vase” (157). Such an undomesticated act as drinking the flower water invites us to interpret her actions as resistant to several scripts of “normality.” She performs desires that are excessive and uncontrollable, and thus symbolically refuses patriarchal confinement and definitions.

     

    In the opening moments of “World Without End,” Hughes appears lounging deep in the chair, wearing a “red silk off-the-shoulder number” and holding her composition book (156). There are few props around her, focusing the spectator’s gaze on her body and gestures as she commands center stage. The stage directions indicate that “she’s just stepped out of a Balthus painting” (157). Balthus often painted portraits featuring nubile adolescent girls draped seductively over chairs or beds, nude, frequently with legs apart. They appear innocent, vulnerable, and available as erotic objects. Balthus invokes a sinister atmosphere by portraying a childlike body in place of the passive adult female nude of classical representation. Hughes’ relaxed posture in a soft chair holding her composition book evokes Balthus’ painting “Katia Reading.” In a postmodern gesture, consciously imitating a Balthus pose (which in turn represents a re-creation of earlier traditional art focusing on the female body as object), Hughes uses and subverts cultural conventions. She appropriates the stage to reframe Balthus and the patriarchal perceptions of women his art exemplifies. Creating her own text, speaking with her own voice, and self-determining her own posture and dress, Hughes reappropriates female subjectivity for herself. Her self-portrait powerfully exposes confining cultural frames.

     

    Female Sexuality and Desire / Mother Love

     

    Hughes’ provocative critique addresses pervasive cultural silences that surround women’s sexuality and structure our world. Her representations of various components of women’s sexuality bring them into the realm of the visible as she grapples with the dilemma of what can be made visible in a culture that goes to some lengths to forbid, or at least prevent, such scripts. Focusing on sexuality, Hughes discusses “World Without End” in an interview with Schneider:

     

    I'm experiencing that there's an absolute terror in this culture of women's sexuality. It's absolutely frightening...it's like, yeah, women are multiorgasmic, they're insatiable. There have been so many constraints put on our sexuality and so many blinders by every possible institution in the culture that we're just beginning to notice that there's this volcano beneath the surface.... We're just beginning to see that we have this desire, but it's terrifying to us. We back down from it all the time. There's just something monstrous about it, it's so unnameable and unknowable. (179)

     

    In “Clit Notes,” her acerbic, irreverent humor exposes and attacks patriarchal definitions of female sexuality and desire that dangerously distort and silence women’s actual experience and anatomy. The authoritative text she reads and mocks, Dr. David Reuben’s Everything You Always Wanted to Know about Sex, only mentions female homosexuality in a “footnote under ‘Prostitution’” (186). Distorting reality, he highlights strap-on appliances and warns about the extensive length of the lesbian clitoris (187). After her own body search, Hughes demarcates the self-alienation and doubt such misinformation creates in the teenaged girl; she states: “I began to doubt the very existence of my clitoris” (188).

     

    Writing and performing “Clit Notes” brings the unseen and unspeakable “clit” into public discourse. She frequently makes connections between language, particularly the ability to name, and presence. In her preamble to “Clit Notes” Hughes writes, “I see myself as a political artist, and I think that making more people wrap their mouths around the word, if not the thing itself, is precisely the kind of political goal one can hope to realize through theatre” (184). Hughes displaces the phallocentric vocabulary centered on the words “dick, prick and cock” (184) by celebrating the clit. She decries the still current practice of clitoridectomy in Africa as a literalization of violent patriarchal discursive and material erasure of women’s anatomy and pleasures (197).

     

    Hughes demonstrates the patriarchal maneuvres that oppress self-understanding and restrict women’s desire by promoting shame of the female body. In “World Without End,” after telling her childhood friend Jodeen about her mother’s active efforts at sexual education, Jodeen exclaims, “Holly, MY MOTHER does NOT have a pussy, and if she did–I would not want to know about it!” (168). Internalized shame and guilt produce massive self-denial. Foregrounding the insidious alienation from the body, Hughes claims that Jodeen will become “the kind of woman who’s doomed to drown in her own body. Doomed to wear her body like it was somebody else’s clothes” (169). The splitting of the self suggested in “wearing” the body like clothes confronts the cultural construction of body image that frequently produces anxiety and self-denial.

     

    Insisting on the integration of mind and body, and actively articulating her desires, Hughes deconstructs dualistic hierarchies that situate women on the inferior side of male/female, active/passive, mind/body, subject/object binaries. She flaunts her embrace of the “bad girl” linguistic putdown, observing that “a woman only gets two choices: good and bad. So I got on the bad-girl bus because I thought it would be more fun. And let’s remember that I’m a whore and a dyke for good reason. I’m good at it” (175). She claims the authority to name herself, to reclaim words, and to ridicule misogynistic negative labelling of women. Very often works of resistance are critiqued as dangerously reinscribing the status quo. I would argue that Hughes positively deconstructs the prevailing order and provokes thought and more open minds.

     

    Hughes persistently represents “mother” as inimical to traditional cultural scripts of a self-less, non-sexual being. Reversing the traditional male quest narrative, the mother takes her daughter on diverse voyages of discovery into unmapped sexual, psychological, and physical spaces. The mother exemplifies body talk. She uses her whole body to communicate her lessons. Hughes relates the mother’s “way of talking, with her tears and her pussy and with her sentences which could say ‘death’ but mean ‘pleasure’ in the same breath” (169).

     

    A major scene in the performance occurs when the mother is enacted as standing “NAKED. Sssh! NAKED and glowing! Bigger than life. Shining from the inside out” (166). Refusing to repress the erotic bond to the mother, Hughes refutes Freud’s theory that girls abandon the mother as love-object, turn to the father, and as a consequence suffer from sexual repression (251). Sexual repression is rendered dubious in Hughes’ dynamic performance. Excessively retaining and expressing love for the mother, this girl refuses to redirect her desire from the mother to the father and retains the pleasure derived from the clitoris. The mother ensures her daughter does not suffer from culturally-sanctioned misinformation and ignorance of her body, saying, “Holly, this is your clitoris” (167). Hughes blissfully performs the mother’s body and her own as neither a dark continent nor unexplorable. Early in the play Hughes says this “still is my mother’s land. . . . and I am a continent” (161, 163). In fluid, diffused sexual pleasure and bliss, Hughes powerfully reclaims access to the mother’s body and her own.

     

    Hughes also flagrantly undermines Freud’s notions of female genitalia as “nothing to be seen” by producing a new view. Hughes narratively brings woman’s insides out into view and into possible appreciation, placing value on the inner self and not just outer appearance. Calling this naked scene a mother-daughter fertility “sacred ritual, a mystery revealed” (166) which she witnesses and learns from, Hughes highlights the connections between ritual, performance, and life, and implies the audience’s intimate relationship to her self. In complete absence of the phallus, Hughes opens the “hidden room,” and the “mystery” or “meaning of life” is “revealed” (166). The mother celebrates her body and passes the possible pleasures on to her daughter. Performing this recollection with awe and delight, Hughes suggests appreciation for a mother who offers a daughter knowledge and self-respect.

     

    Complicating the female body as a major sign, Hughes’ body is on stage as a real woman’s body, not fragmented and shattered, nor restricted to fixed statuary; “I can smell the memory of ocean drifting out from between my mother’s legs. Oh there is power in my mother’s hips!” she says (165). Smelling the “memory of ocean” erotically re-members woman’s body as fluid, not frozen in fixed patriarchal positions. Her counter-memory constructs a daughter who has seen and witnessed the power of woman’s sexuality autonomous from the male desiring gaze. Here the mother not only has a body, she also embodies the power of sexuality.

     

    Hughes suggests that knowledge and appreciation of woman’s physical body contribute to the process of survival, to woman actively seeking and creating her own answers: “Mama says: ‘Holly, if something’s bothering you, and you want to know the answer to it, just remember the answer is inside you.’ And with that she reached inside herself, and then she pulled her hand out. I could see how wet she was!” (167). Erotic arousal and desire invite the daughter and the audience to explore the unrepresented and the unthought. Knowledge and self-understanding can come from “inside,” from the body and personal experience, from her mother’s teachings, rather than from “outside” misogynistic discourses such as Dr. Reuben’s.

     

    The mother performs transgressive acts like massacring a porcupine and revealing the plenitude of her sexual physical body parts, desires, and responses. Violently bludgeoning a porcupine with an axe, the mother represents death and destruction and celebrates the erotic, rather than exhibiting maternal nurturing and giving of life. As agent, the mother acts out a lesson for four adolescent girls, encouraging “unnatural” acts in the next generation, rather than provoking passive compliance to social norms. Her non-conventional image utterly disrupts and deconstructs expected maternal roles.

     

    Delightful hysteria and madness in the porcupine scene parallel Hughes’ act of drinking the water from the flower vase. Refusing circumscription by “rational” patriarchal scripts for women, she performs in outrageous excess and abandon, and her body and voice literally symbolize civil disobedience. After drinking the green water from the vase, “there is a sense of waking up, of coming to” (163), as though the irrational and hysterical act recovers knowledge about the body and the past that has been repressed by social forces. The sense of “coming to” echoes in “Clit Notes.” After her first conscious mutual kiss with a woman at the age of twenty, Hughes claims “that the expression ‘coming out’ doesn’t quite cover [it]. In my case, it was more a question of…coming to” (191).

     

    Deflating the Phallus

     

    The mother takes an active role in ensuring her daughter’s initiation into the pleasures of the body and also models active agency. Saying “Look, girls! A porkie,” Hughes performs the phallic mother. She is the mother with the axe, the castrating female, in a Dionysian Brechtian wild frenzied scene of symbolically tearing men apart. Tales of chivalrous sword-wielding knights who rescue helpless damsels are displaced by a mother who wields an axe, kills an animal, comes into the restaurant with “her hands full of bloody flesh and quills,” and presents it to her daughter as a lesson (160). This scene evokes Hughes’ earlier childhood memory of getting out a “big knife” and “chopping up everything I could get my hands on” (156). Joyful expressions of active female aggression, violence, and agency suggest the possibility of grasping power and cutting apart traditional cultural scripts, as well as deconstructing paradigms of the patriarchally controlled female body. Speaking of “phallic values that of course we’re trying to lop off” (173), Hughes represents woman as a source of danger.

     

    In “World Without End,” the biblical Garden of Eden undergoes major revision. At the play’s end Eve queries Adam: “Do you have any idea at all who you are porking? I’m the preeminent lesbian performance artist from southern Michigan!” (179). The Adam performing the “porking” (evoking the porcupine incident) is strategically axed and cut down to size at the start and at the finish.

     

    Radically revising the Eve and Adam “master-narrative” and its originary prescriptions and scripts, Hughes places her gestures and radical voice within the first biblical dialogue and within the sociogeographical setting for notions of woman as sinful temptress. The photograph on the front cover of the book parodies such cultural representations of woman. Hughes appears nude except for leaves covering her nipples and pubic area. Four luscious apples hang temptingly from her body, transforming her body into an iconic tree of knowledge. Her face is excessively and luridly made-up and her grin leers from the page. Her body as text to be read revises constricting Christian frames for female sexuality.

     

    Hughes decenters and transgressively parodies the site of the phallus; she exclaims,:”Mr. Adam! What is the meaning of that…edifice…I see leaning out of your pants like that? I haven’t seen anything so interesting since my last trip to the Vatican” (178). An “edifice” suggests a construction and thereby implies the possibility for a powerful potential deconstruction, another perspective, or alternative ways of making meaning. Hughes provides an epistemological questioning of the “meaning” of the penis/phallus. The huge pause in the text performs woman’s perception as unwritten and unspeakable. Her satirical derogatory act of looking at Adam’s genitals, judging them, and ridiculing them reverses “normal” masculine ownership of the gaze and authority to define women’s beauty, anatomy, and desires. Hughes remarks: “I wanted to rewrite the Bible” (177), indicating her desire for cultural change.

     

    Killing Family Romances

     

    Hughes represents the violence and death of spirit and the literal death that are often inherent in heterosexuality and the family romance: “some nights my father would come home drunk. There’d be the sounds of insults. Screams. Breaking glass. You know. The usual family stuff, right?” (155). She expresses the pain of rejection caused by her father’s anger at her public lesbian identification. Stating that her father blamed her for causing his cancer and killing him, Hughes asks: “Anybody want to take a guess what is the worst thing that ever happened to my father? You’re looking at her” (195).

     

    Clit Notes extensively details Hughes’ sexual development. She relates her summers at a Christian leadership camp as “a big dyke training ground” (6). She elaborates on her first sexual desires at the age of thirteen for her social studies teacher. Describing the joys of a current relationship, she comments that watching her lover get out of bed is the “moment I come back to the body I thought I’d lost to my father” (203). Reclaiming the body through love and her art is an ever-present theme throughout Hughes’ works. While sardonic, sharp humor imbues Hughes’ writings, there is an underlying frank interrogation of physical and psychic violence contained in culturally circumscribed compulsory heterosexuality.

     

    To conclude, I propose that Holly Hughes’Clit Notes creates hope and strength for the transformation of prevalent contemporary cultural misogyny and homophobia. Hughes’ introduction, her two performance pieces, and three plays offer a wealth of experience and support for her readers and performance audiences. Reading her texts promotes deliberation and contemplation and provides the opportunity to make the many interconnections among her writings over the years. The passion and dynamic love of life and sexuality Hughes exudes, her insightful ability to analyze her experiences and female sexuality, and her desire to contribute to others’ sense of being at home in the body and in the world make Clit Notes a pleasure for all to read. In addition, I recommend Clit Notes as an excellent text for classes in Drama, English, Sociology, Psychology, Women’s Studies, Gender Studies, and Gay and Lesbian Studies.

    Works Cited

     

    • Freud, Sigmund. “Some Psychical Consequences of the Anatomical Distinction Between the Sexes.” Standard Edition of the Complete Works of Sigmund Freud, Ed. James Strachey. Volume 19. London: Hogarth Press, 1964. 248-258.
    • Hughes, Holly. Clit Notes: A Sapphic Sampler. New York: Grove Press, 1996.
    • —. “Headless Dyke In Topless Bar.” Village Voice. Special Section June 21, 1994: 7-9, 33.
    • Schneider, Rebecca. “Holly Hughes: Polymorphous Perversity and the Lesbian Scientist.” The Drama Review 33.1 (1989): 171-83.

     

  • Dressing the Text: On the Road With the Artist’s Book

     

    Thomas Vogler

    University of California, Santa Cruz
    tom_vogler@macmail.ucsc.edu

     

    Dressing the Text exhibition, travelling in U.S. through 1998, catalogue available by mail.

     

    It is impossible to begin a discussion of the artist’s book without entertaining the issue of definitions. This is not the case with more well-known productions in the book art world, like the Fine Press Book, with its established aesthetic and practice based on high standards of craftsmanship and materials and attention to detail, usually in the service of an “important” text, printed with letterpress typography, in tastefully sumptuous bindings, with restrained illustrations that don’t upstage the text. Nor is it the case with the Livre d ‘Artiste that echoes the craftmanship of the fine press book, but usually has its production and design organized around the work of an artist (preferably a well-known one) who may also take part in the design of the book.

     

    In our time something called the “artist’s book” (or perversely “the artists’ book”) is earning itself the status of a separate category, continuing a movement many think started in the 1960s in the U.S. Still developing, it seems at times like a hybrid version of the other two, but one that is open to a much larger range of design and content, as well as untraditional modes of binding and packaging. It is usually produced by a small independent press, hand-made or hand-assembled in small editions, or perhaps even produced as a unique object. These books and book-objects are the work of artists who are actively resisting the assimilative force of publishing and distribution by creating works that defy easy reproduction, creating a realm where the “contents” of a “book” do not have to be made to fit the printing and packaging norms of trade and university press book production. Such works pose a potential threat to the cultural iconicity of “the book” by challenging conventional category distinctions. This may sound like a definition, but what “book” means in this emerging art form (or medium? or genre?) is still not much more than a hand-held interactive object. Some practitioners and critics claim that the term “artist’s book” has a signification comparable to that of “painting” or “sculpture.” But with the still-limited exposure in galleries and museums, and the paucity of critical writing on the subject, it is impossible to achieve anything like consensus on a single definition.

     

    We now complacently speak of “Greek Tragedy,” as if Aeschylus, Sophocles and Euripides were all doing the same thing. But if we think of the century-long development of that genre, every new production would have been a test case, stretching or confirming each aspect that might help define its form. It was only towards the end of its development that Aristotle sat down to consider the theoretical task of defining it, looking at all the tragedies he could find and inductively coming up with a definition. How did he know what works to look at in the first place? He must have had an adequate working sense of tragedy already, as did the judges and audiences who presided over the institutionalization of the genre. To define something is to announce its limits, or to limit it–to draw a conceptual line or boundary that implies it has reached full development and its borders are secure. In the case of the artist’s book the limits have not yet been reached or recognized, hence critical agreement is lacking. This is altogether appropriate and exhilarating, giving every artist’s book event, whether panel discussion, gallery exhibition, or museum collection, a special importance as part of the process of encouraging, defining, and publicizing this new thing. I recently had the opportunity to be present at the opening of 187 submissions for the Dressing the Text exhibition in Santa Cruz, and to spend a whole day in a hands-on encounter with the 48 works selected by the jury, including one work by each of its four members. In my comments here I’d like to suggest how that exhibition itself will function in its three-year travels across the country, as part of the process of defining what the artist’s book is, seeking a definition by practice rather than by theory or edict.1

     

    These works were responses to a call for submissions that announced a “national, juried competition and exhibition” of “The Fine Press Artists’ Book.” In the call an initial gesture is made to “an exciting period of experimentation” during the past twenty years, in which “both the structure and the traditional uses of books have been scrutinized and re-evaluated. Conceptual book-objects have shattered conventions through exaggeration, distortion, elimination, or substitution of the book’s various aspects, and have opened the entire nature of the book up to new and exciting investigations.” This exhibition is to represent “the fine printers’ response to both the technical and philosophical challenges generated by this exploration.” But the next paragraph defines the “fine press artists’ book” in opposition to this “exciting period.” It is not “a random collection of fractured bits…but rather…the thoughtful amalgam of text, image, paper, binding structure, typography, and meaningful content…[it] remains preoccupied with content.” Then, in an attempt to have it both ways: “Fine press artists’ books carry on the centuries-old tradition of fine printing while participating in the evolution of the book form.” The meaning of “printing” is implicitly defined by the exhibition requirement of an edition of at least ten, to avoid being “precious” in the bad sense, which is implicitly the status delegated here to the unique object. The call thus represents a rather restricted definition of the artist’s book, but a good definition of the aesthetic criteria of the jurors. All past students of William Everson, the members of the Printers’ Chappel of Santa Cruz (Ruth McGurk of Peripatetic Press, Felicia Rice of Moving Parts Press, Peter Thomas of Peter & Donna Thomas: Santa Cruz, and Gary Young of Greenhouse Review Press), are technically skilled and highly creative artist-printers, trying to maintain their dedication to the highest principles of the “fine press” tradition while participating in the evolving identity of the artist’s book.

     

    The catalogue continues and intensifies the conservative (I use the word in a non-pejorative sense) rhetoric of the call for submissions, and backs it up with a formal structure or format that is at times contradicted by the objects it presents.2 In it Gary Young states that “the fine press artists’ book” is “characterized by a devotion to text,” and that “printing a book dresses a text.” This antiquated metaphysics of “dressing” a text almost distracts one’s attention from the equally tendentious emphasis on printing as essential to the genre, and from the subsequent emphasis on “narrative” and “page.” A final quotation from scripture (“In the beginning was the word”) is offered as the “philosophical conceit” that “infuses” every book, making it a “tale of incarnation” in which the “written word is speech incarnate,” and “the printed page allows utterance to become corporeal, and grants it a physical milieu.” But surely spoken utterance is corporeal, even though conventionally and metaphysically troped as “spirit.” And surely most of the printed (and not-“printed”) pages (and not-“pages”) of works in the exhibition were not spoken utterance before they were written.

     

    The quotation from scripture and the rhetoric here sound more like a defensive stratagem than like the manifesto for a bold new swerve in the art/book world. This is not at all surprising, since the values and skills represented by the fine print tradition are beleaguered from all sides. The tone is similar to that in the 1995 Fall Schedule of Programs from the University of Iowa Center for Book Arts: “With the support of numerous foundations, corporations, individual contributors, and over 800 members worldwide, the Center for Book Arts ensures that the ancient craft of the book–that container which preserves the knowledge and ideas of a culture–remains a viable and vital part of our civilization” (3). But in this case there is also a genuine desire to embrace the new, to expand artistic and creative horizons–if it can be done without going to extremes. The artist’s book evolution potentially threatens the aesthetic hegemony of fine printing and binding, so it is not surprising that some aspects of the exhibition are more than a bit inconsistent, with a number of the accepted entries not even trying to meet one or more of the announced criteria in the call for submissions and the catalogue. To accept such works equivocates and undermines on one level what is being proclaimed on another, continuing and repeating a process that is already evident in the call and catalogue.

     

    I turn now to a brief consideration of the harvest produced by the call, and a look at how that harvest is represented in the catalogue, where each item is photographed and described by means of basic categories that include author, artist, printer, binder, edition size, and dimensions. The photographs (by Don Harris) show the books for the most part in what we might call the codex display equivalent of the missionary position: leaning back or flat, open to the gaze (if not the embrace) of the spectator, presided over by a photograph of William Everson’s regal and monumental edition of Robinson Jeffers’ Granite and Cypress. An intriguing feature of the catalogue is its inclusion of sample text from each work, printed above or at the side of the photograph of the work, seeming to suggest that the words can exist free from their material embodiment, equally themselves and not themselves in any merely material form. Taken from the inside of the book, the sample texts testify to the existence “in there” of the essential text commodity, reminding viewers–like the glimpse of a piece of slip under a dress–of how much of the work we are not seeing, either in the photograph or the exhibition itself. These excerpted texts are all printed in the same italic font, with justified right margins. One implication of this gesture may be that the text of a work can exist in some representable naked form, separate from its “dressed” version in book form; but this would trivialize the difference of materiality that is supposedly the raison d’etre of the artist’s book. The one exception to this practice is worth noting: an Arabic text is not extracted for quotation, suggesting a surplus of materiality that exceeded the available fonts. Other examples obscure the illegibility or the non-semantic nature of their texts, displaying features that challenge or subvert the transparent representability of textual elements. In one case, however, the gesture does demonstrate that illegibility when a Greek quotation is badly garbled. Since the bookmakers were probably using the Greek primarily as a visual design element rather than a phonetic/semantic one, the difference between lower case sigma and omicron may be negligible; in either case, the effect of Greek will be produced in the majority of readers who do not know the language. At any rate, the few works that do raise the issue of the aesthetics of illegible documents are assimilated into the norm through typographic representation.

     

    There are a few exceptions to the missionary position norm in the photographs, where codex books stand up to show off their covers, but the most interesting exceptions are the numerous folded entries. These raise questions about the meaning and significance of the category “Binder” listed for each entry. Perhaps “Folder” would be a better term, with “Box maker” replacing “binder’ for the entries that chose that mode, since another exception to the “binding” category is the predictable assortment of boxed sets of prints. There are several boxes with “loose” contents that are quite pleasing, both in construction and content. One of these must be a contender for the world’s most artistic (and expensive) CD container: for $425 you can purchase one of the 55 “editions” of Strauss’s Vier Letzte Lieder/Four Last Songs, recorded by Elizabeth Schwartzkopf (with Georges Szell conducting) and packaged by Michael Alpert along with a beautifully printed libretto in German and English.

     

    “Dimensions” is another specification called for in the catalogue, to indicate the book’s size when closed up and at rest. This works well enough for the conventional codex, where the contents are distributed on the visual field of a single page at a time. But for others it is a bit like measuring a fishing pole when taken apart and packed in its case, rather than assembled for use. A prime example of the problem is Karen Kunc’s


    Mexican Gothic

    Full Image 57K

     

    Mexican Gothic, listed as 4″x 8.” There is a hole at the top of this work, placed so that it can be hung on a wall in order to reveal its full 80″ length at one time. This is a work with text by Vinnie-Marie D’Ambrosio, designed both to be read sequentially, as its folds are negotiated, but also to be looked at as an elongated broadside or wall hanging. A horizontal example of the same effect is found in Joseph Krupczynski’s Marginal Notes, an oriental-fold book that resembles an accordion broadside. A more ambitious and cumbersome example is John Talleur’s Eurydice Unbound, designed “for those of you who take delight in both reading and looking.” Talleur goes on to explain that the full effect of his work requires at least 40 linear feet of wall space for display. Is this a book that can be “unbound” to become a mural, or a mural bound into the confines of a book? Or is it an interactive work, where the reader-holder-looker can participate Orpheus-like in the “unbinding” of the work?

     

    This discrepancy is not limited to the folded books, for quite a few of the bound ones use the fully opened scope of two facing pages as their aesthetic mise en page. Other works engage the issue of size in different ways, testing the limits of how large–or how small–a work can be and still be an artist’s book. The average size “at rest” of all the books in the exhibition is 9.52″ x 8.79,” with the giant of the lot being Gloria Kondrup’s Extinctions at a monumental 22″ x 27.5.” There are also a few dwarfs, like Seth Kroeck’s


    McCarty Street Matches

    Full image 172K

     

    McCarty Street Matches, a 2.5 x 3 matchbox, with 21 matches inside, each match printed with a line of text. The wit of this is that it plays parodically both on the “container” motif and on size. Since its 21 “lines” can be combined in an infinite number of textual/spatial combinations, it is arguably the container of the most text in the whole show. The smallest entry of all is Donna and Peter Thomas’s


    A 1000 Mile Walk to the Gulf

    Full image 92K

     

    A 1000 Mile Walk to the Gulf. Another playful and skillfully made work, it too is a sneaky David among the Goliaths. When opened it turns out not to be a codex at all, but a scroll, with its text by John Muir printed on one long sheet of paper. The 1000 Mile Walk is a scroll-stroll, one long continuous sheet wound on wooden rollers. Other titles are misleading in other ways, like Mark McMurray’s Notebook Used along the New Jersey Coast, which is not a notebook at all, but the printed representation of text taken from a notebook used by Walt Whitman. This is a “fine print” production, quite busy and puffed up, in extreme contrast to its “notebook” source. Another codex that’s not a codex is Felicia Rice’s


    Codex NAFTArt

    Full image 66K

     

    Codex NAFTArt, with text by Guillermo Gómez-Peña. This is a work still “in process,” and one of the more interesting and exciting combinations of visual and textual material in the exhibition. Another juror’s entry that combines wit and humor with superb craftsmanship is Ruth McGurk’s Cannibal Ants.


    Cannibal Ants

    Full image 56K
     

    More obviously self-reflexive or self-descriptive titles grace other works. Martha Carothers’


    Inner Room

    Full image 161K

     

    Inner Room is a three-dimensional meditation on the possibility of thinking of a book as room(s), exploiting the silent sculptural potential of the book’s physical form, with each kinetic page combination a marvel of creative precision. Its minimal text by Lynd Ward is impressed into the paper without ink, for still more three-dimensionality, and to produce a complete effect of blanc becoming. Meg Belichick’s Frosting and John Talleur’s Eurydice Unbound, Kitty Maryatt’s Mani-Fold Tales, Walter Feldman’s Quiet Words and Beverly Schlee’s


    Texthypertext

    Full image 87K

     

    Texthypertext all play on the structure/content nature of their form. Coriander Reisbord’s Defensive Book has a text consisting of defensive imperatives (“Don’t trust anybody”) and pages embellished all over with straight pins, so that it is almost impossible to read it without getting stuck. A less obvious example of name play is Gloria Kondrup’s Extinctions, a work that seems to exist in large part to confirm the parodic aptness of Seth Kroeck’s McCarty Street Matches. This is a tome that presents itself as a tomb, a crypt for “the nameless or the unforgotten dead, whose faces we have never looked upon or voices ever heard.” These five giant slabs of charcoal gray paper are a bit like the Vietnam Veterans’ War Memorial in Washington, except that there the names are presented as live information about the dead, text to be read and touched, preserved and shared. Here the endless names printed in black on black are unreadable, as if already buried in oblivion along with the carcasses of their extinct namesakes.

     

    The contents of many works in the exhibition fall into some fairly predictable categories, among them that of myth, the old standby source of text suitable for continuing the tradition of sumptuous editions of the “classics.” Another popular source of text for artist’s book production is the artist’s family, and there are a number here, ranging from the poetry of someone’s eight-year-old niece (Walter Feldman’s Quiet Words) to children’s books, to family album books, with more detail than one wants to know about people one doesn’t know (Kirsten Johnson’s Past Presences, Susan Lowdermilk’s


    All My Relations

    Full image 192K

     

    All My Relations, to mild feminist protest (Rochelle Kaplan’s Daddy was King) to an eight-year old’s memories of cold-war paranoia and A-bomb fear (Russel Jones’ Overshadowed) and whimsical expressions of gratitude for learning how–and how not to–breathe (Jeri Robinson’s Inhale, exhale. These family-related works tend to favor bold, primitive techniques and materials, including coarse paper, handwriting, linoleum cuts, rubber stamps, and punched holes with wire ring binding.

     

    There are several livres d’artistes in the classic mode, with the poet dead or translated (or both), and the artistic elements of the presentation tending to dominate the production. Raphael Fodde’s Motets has text by Montale in Italian, with an adequate English translation. The book is too large for convenient reading, and the text is all in caps, to make it fit the scale and bring it into a relationship with 11 powerful etchings by Virginio Ferrari. James and Carolyn Robertson’s The Bread of Days includes the originals and translations of 12 poems by 11 Mexican poets, translated by Samuel Beckett, who didn’t have any interest in the project but needed the money. In spite of the hackwork translations, this is an exciting work, beautifully printed, with etchings by Enrique Chagoya filling each page to its outermost limits with dynamic force-fields of design. These items are impressive works, but in spite of their “important” texts it’s clearly the visual art that is running the show. For me, that keeps them from joining the first ranks of this fascinating and challenging exhibition.

     

    The largest single content/text category represented in the exhibition is poetry, and it is in this category that we also find some of the most impressive and aesthetically pleasing works, books that deserve a place among the best representatives of the fine print tradition. They are not necessarily elaborate, or sumptuous, or complicated, or even expensive. But they are superb examples of that complex and rare harmony of text, materials, design, structure, execution, and illustration or decoration that constitute a successful production. Claire Van Vliet’s


    Night Street

    Full image 126K

     

    Night Street combines a suite of poems by Barbara Luck on urban themes with a dense, graphically rich, complex rush of textures and images by Lois Johnson that echo the experience of city streets. The pages are folded, composed mosaic-style from several different papers, with images printed on offset press and silkscreened. Each opening of this sophisticated work is like a different miniature cityscape. Gary Young is author, artist, and printer for


    My Brother’s in Wyoming

    Full image 60K

     

    My Brother’s in Wyoming. In extreme contrast with Van Vliet’s work, this is an elegantly quiet, minimalist production, with what seems like as much open space as the state it represents. With four exceptions, each opening has a simple drawing on the right, with one line of print starting at the bottom right of the facing left page that continues across to the right. The exceptions are four drawings with a greenish background and no text. The overall effect is a brilliantly earned simplicity and harmony, without a single gratuitous feature. Inge Bruggeman’s Negation is one of only eight works in the exhibition priced below $100.00. In it she presents a poem by Hank Lazer, both in printed and tape cassette form. In this work, too, less is more. The interesting poem is enhanced by the tall pages that reinforce its form, and the combination invites repeated readings and handling of the work. K. K. Merker’s Manhattan presents poems by Amy Clampitt. One of the most striking pleasures of this work is the effective formatting of the relationship between Clampitt’s printed text and the abstract, colorful linear illustrations by Margaret Sunday. This is the second in a series of livres d’artistes published by the University of Iowa Center for the Book, and it is a delight to hold, to look at, and to read. One of the many reasons I single these four out is that they present contemporary poetry of high quality in such an intimate relationship with all the aspects of production. Even when the author, artist, and printer are not the same, the harmony is as effective as if they were. These are books one would gladly go back to again and again, and they represent an impressive fulfillment of the goals of the Dressing the Text exhibition. It is fortunate that the show is travelling widely, giving viewers across the country a glimpse of this perspective on the evolution of the artist’s book.

     

    Notes

     

    1. The exhibition will be installed next at the John Hay Library (Brown University, Providence, Rhode Island: September 12-November 29, 1997) and at the Olin Library (Mills College, Oakland, California: January 12-March 6, 1998). It opened in Santa Cruz at the Art Museum of Santa Cruz County (April 15-May 28, 1995) and has been on view at the Clark Humanities Museum (Scripps College, Claremont, California: January 15-February 23, 1996); the Vernon R. Alden Library, Special Collections (Ohio University, Athens, Ohio: March 15-June 15, 1996); the Minnesota Center for the Book Arts (Minneapolis, Minnesota: June 29-September 14, 1996); and at The Davidson Library, Special Collections (University of California, Santa Barbara, California: October 7-December 20, 1996).

     

    2. The catalogue for the Dressing the Text exhibition is available from Ruth McGurk, Santa Cruz Printers’ Chappel, 318 Rigg Street, Santa Cruz, 95060, for $12, plus $2.50 postage and handling. A panel discussion featuring Johanna Drucker, Marcia Reed, and Michael Davidson was held in connection with the exhibition; an edited transcript is published in Quarry West 32 (Fall 1995).

     

  • “A Lifetime of Anger and Pain: Kalí Tal and the Literatures of Trauma”

    David DeRose

    Center for Theater Art
    University of California, Berkeley
    dderose@uclink4.berkeley.edu

     

    Tal, Kalí. Worlds of Hurt: Reading the Literatures of Trauma. Cambridge Studies in American Literature and Culture. Cambridge, MA: Cambridge UP, 1996. 296pp.

     

    I am squirming uncomfortably as I read the first few pages of Kalí Tal’s Worlds of Hurt: Reading the Literatures of Trauma. She opens the book with a political anecdote that questions the integrity and judgement of no less a figure than Elie Wiesel, the high priest of Holocaust survivor literature. A bit stunned, I flip to the beginning of the next chapter. Here Tal characterizes a group of Vietnam veterans in front of the Lincoln Memorial as “entrepreneurs…hawk[ing] commercial products [and] POW/MIA propaganda” (23). Chapter three? George Bush is under fire: his pronouncement that “‘we’ve kicked the Vietnam syndrome’” implies, in Tal’s words, that “the whole country has been struck ill with this disease, and the Gulf War is the prescribed (and successful) cure” (60-61).

     

    To anyone not familiar with Tal’s subject matter, the literature of trauma, or with the repressive and reductive treatment afforded the study of such literature by the academy, Tal’s aggressive polemics might seem excessive; her use of public political examples might appear inappropriate in a work devoted primarily to literary texts. But as Tal herself reminds us early in her text, “bearing witness is an aggressive act” which “threatens the status quo.”

     

    It is born out of a refusal to bow to outside pressure to revise or to repress experience, a decision to embrace conflict rather than conformity, to endure a lifetime of anger and pain. (7)

     

    Tal’s own work, like the work of the writers/trauma survivors she describes, is a calculated act of aggression that situates the literature of trauma (and the study of such literature) within the broader realms of literary theory, cultural production, and national politics, all of which have long combined, Tal argues, to ignore its authority, devalue and silence its authors, and deny its unique position in the world literary canon. Tal seems to argue that those few trauma survivors/authors (Wiesel among them) who have entered the literary pantheon have done so not in recognition of the unique qualities of the literature of trauma, but in spite of them.

     

    The formidable task Tal sets for herself is to establish a position of recognition and respect in contemporary literary and cultural studies not for literature about trauma survival, but for the literature of the trauma survivor. To do so, she must begin with a definition of terms. But in this field, even the defining of terms becomes a political mine field. “Trauma,” for example, is defined by the American Psychiatric Association (APA) as an event “generally outside the range of human experience.” Yet, as Tal points out, in the United States one form of trauma, rape, is “more common than left-handedness.” Thus, it is clear that, to the APA, “usual human experience” can only mean “usual white male experience” (136); the recurring traumas of women are politically silenced by a psychiatric vocabulary which denies their prominent and disturbing place in our society.

     

    Defining a “Literature of Trauma” is no less problematic. For many scholars (including members of the literary and psychoanalytical communities at Tal’s alma mater, Yale), any work of literature which deals with traumatic events or the aftermath of such events is literature of trauma. The status of the author is irrelevant; no differentiation is made, for instance, between a fictional work of literature and the autobiographical bearing of witness by a trauma survivor. Text is text, the argument goes; literature is literature. Tal’s work, by contrast, is based on the conviction that for therapeutic and political reasons, one must identify a distinct literature of trauma comprising the writings of trauma survivors, and unwaveringly defined by the status and identity of those authors as trauma survivors. In Tal’s study, this literature includes, but is not limited to, narratives written by Holocaust survivors, Vietnam War veterans, and incest and sexual abuse survivors.

     

    Using Vietnam veteran authors as an example, Tal explains the difference between the impulse that leads an author to employ traumatic events as a literary device and the compulsion that leads a survivor to bear witness:

     

    These works [by nonveterans] are the products
    of the author's urge to tell a story, make a
    point, create an aesthetic experience.... in
    short, the product of a literary decision.
    The war, to nonveteran writers, is simply a
    metaphor, a vehicle for their message....
    
    For combat veterans, however, the personal
    investment of the author is immense.
    (116-117)
    
    Literature of trauma is written from the need
    to tell and retell the story of the traumatic
    experience, to make it "real" both to the
    victim and to the community. Such writing
    serves both as validation and cathartic
    vehicle for the traumatized
    author. (21)

     

    The act of bearing witness is undertaken both therapeutically in order to rebuild the survivor’s internal sense of “personal myth,” and publicly and politically–before the community–in order to insist on validation from and make an impact on public norms of representation. As Tal insists, “representation of traumatic experience is ultimately a tool in the hands of those who shape public perceptions and national myth” (19). Those who control such representation are empowered to identify social power relationships and to determine the public perception and the fate of such traumatized communities as, for instance, rape and incest survivors.

     

    Thus, not only is the representation of trauma a highly political tool–a tool, Tal insists, which must remain in the hands of those who have first-hand knowledge of traumatic experience–so too is the job of interpreting and decoding such representations. The conventional literary scholar (or the manipulative politician) “has at his or her disposal the entire cultural ‘library’ of symbol, myth, and metaphor, but he or she does not have access to the meanings of the signs that invoke traumatic memory” (16). Survivor/readers, by contrast, “have the metaphorical tools to interpret representations of traumas similar to their own” (16). Tal identifies herself as a survivor of sexual abuse who “consider[s] it necessary not only to admit, but to define [her] subjectivity” (4). She seems to challenge literary scholars and political pundits who hide behind the mainstream’s customary adopted guise of neutrality to do the same.

     

    Tal’s exclusionist position–that only trauma survivors may represent trauma, and, perhaps more militantly, that only trauma survivors can properly “read” representations of trauma–is sure to incite critical rioting between the guardians of the “text is text” status quo and the anti-hegemonic forces of the marginalized. And yet, it is even more likely that Tal’s inclusionist position–that is, her controversial inclusion of various traumatized communities under a single umbrella–will create acrimony within and among those groups of trauma survivors. Holocaust survivors are inclined to insist that there is no human experience that could possibly be compared to the Holocaust: no body of literature with which Holocaust literature could be linked. But Tal classifies literature of trauma across demographic and political lines, unifying the voices of survivor communities who would appear to have little in common. By citing the psychiatric community’s recognition of Post-Traumatic Stress Disorder (PTSD) as an occurrence exhibited across boundaries of gender, community, and experience, and by pointing out the successful treatment of various post-traumatic ailments with arts therapy, Tal establishes a bridge among these communities and defines a therapeutic model that links the artistic output of sexual assault survivors, Vietnam veterans, and Holocaust survivors. Her argument is compelling, but none of these groups is likely to feel entirely comfortable with a comparison that empowers their voices as trauma survivors but that lumps them together with other such groups.

     

    Worlds of Hurt is broken up, over seven chapters, into alternating units of theory and application, the latter coming in the form of “readings” from a broad range of cultural products and texts. The first chapter, “Worlds of Hurt,” serves to establish the academic and political battleground over the meaning and relevance of trauma narratives, to identify the common links among the various communities of trauma survivors that Tal will examine, to create a critical vocabulary, and to propose an interdisciplinary methodology for “reading” such narratives.

     

    In Chapter Two, “A Form of Witness,” Tal introduces that most paradigmatic of trauma literatures, the Holocaust narrative. But rather than offer a textual reading of Holocaust literature itself, she illustrates the transformation of the Holocaust into a metonym, not for the actual events that took place under Nazi rule in Europe, but for a set of formulaic symbols that reflect the narrative codification of those events. She then demonstrates the struggle of scholars to take control of and to dictate the meaning of “the Holocaust” as metonym by giving a political reading of the scholarly battle between Bruno Bettelheim and Terrence Des Pres for the right to “interpret” Holocaust literature.

     

    Chapter Three, “Between the Lines,” again looks at how trauma literature is traditionally “read,” this time comparing the attempts of seven prominent Vietnam War scholars to “fix the floating signifier of ‘Vietnam’” (61). All seven demonstrate Tal’s assertion that “traditional literary interpretation assumes that all symbols are accessible to all readers” and that most critics, unable to access the survivor’s symbolic universe, “dismiss the ‘real’ war and its devastating effect on the individual author,” interpreting the war as a set of symbols and metaphors “which denote instead an internal crisis of the ‘American character’” (115).

     

    To offer graphic evidence of the “real” war and its aftermath, Tal turns in her fourth chapter, “The Farmer of Dreams,” to a reading of poems and selected prose memoirs from the writings of the prolific Vietnam veteran, W.D. Ehrhart. Tal demonstrates the existence in Ehrhart’s work of what Chaim Shatan calls the “basic wound,” a psychological scarring generated in response to trauma that leads to a state of permanently altered, adapted interaction with experience. Employing a psychoanalytic vocabulary developed in arts therapy to define a survivor’s stages of recovery from PTSD, Tal chronologically traces Ehrhart’s various periods of writing as acts of personal revision in the wake of trauma.

     

    In Chapter Five, “There Was No Plot, and I Discovered It By Mistake,” Tal builds upon the theoretical groundwork laid in Chapter One and focuses in greater detail upon a number of concepts introduced within the first four chapters. She continues to define the terminology necessary for appreciating literature of trauma and for distinguishing between her proposed approach to such literature and conventional approaches. It is here that she defines the key terms of “personal myth”–one’s internal “assumptions about experience and the way the world works” (166)–and “national myth,” the collective myth of a people, “propagated in textbooks, official histories, popular culture documents, public schools, and the like” (115). Here she also defines the liminal state of the survivor. Because trauma, by its very definition, lies beyond the boundaries of “normal” conception or experience, because it is “unspeakable,” trauma survivors have set for themselves an impossible task. “The accurate representation of trauma,” Tal notes, “can never be achieved without recreating the event” (15). In other words, only trauma can convey trauma; only trauma can “accomplish that kind of destruction” (122). It cannot be re-presented. Thus, the trauma survivor “comes to represent the shattering of our national myths, without being able to shatter the reader’s individual personal myths” as his/hers have been shattered. (121)

     

    It is also in Chapter Five that Tal elaborates on the applicability of feminist theory in comprehending the therapeutic and political roles of trauma narratives and their interpretation. Because violence, for instance, frequently occupies a prominent position in the lives of women and in their narratives, many of the tools developed by feminist criticism to address that violence are applicable to the literature of trauma. Feminist theory is concerned with “how we read” and how our reading of events, as well as literature, is dictated by hegemonic control of cultural discourse. The dismantling of that control is a shared goal of feminist thought and the literature of trauma. Likewise, feminist theory has focussed on the limitations of language and of conventional literary means of expressing women’s experience. Since the literature of trauma deals with the “unspeakable,” it explores similar limitations.

     

    In Chapter Six, “We Didn’t Know What Would Happen,” Tal demonstrates the applicability of the theoretical models built in the previous chapter, offering a brief political history of incest and sexual assault narratives in a “society where violence against women is the rule rather than the exception” (137). She looks specifically at the techniques of cultural production associated with such writings by giving a comparative reading of the packaging, presentation, and marketing strategies employed in two recent anthologies of sexual assault survivor narratives.

     

    In Chapter Seven, “This Is about Power on Every Level,” Tal begins with models of post-traumatic behavior and experience generated in arts therapy and PTSD studies to trace the process of self-healing in three incest survivor narratives. But Tal moves beyond her therapeutic models to demonstrate the link between self-healing, self-validation, and the advocacy of public awareness and political action. According to Tal, the author’s work involves not only self-healing, but also the “reclamation of anger” (215) and control over “both the writing process and the interpretation of her work” (242). The work of healing the individual, she concludes, is inseparable from “the work of building a community of women, of making changes in the world” (221). These are conditions of struggle which Tal then applies, in her final pages, to the work of all survivor/artists.

     

    Kalí Tal’s book is equal parts scholarly brilliance and political and academic defiance by a member of a survivor community reclaiming control of the process of interpreting the literature of trauma. She has, in essence, defied and rewritten existing definitions of such literature, creating a critical methodology out of seemingly disparate and frequently feuding and territorial arenas of expertise. The diversity of the invaluable resources she calls upon and integrates into her arguments is truly impressive. And she reads so many different kinds of literary, cultural, and political texts, that all but the most broadly read interdisciplinary scholars will find themselves reeling as she blends critical vocabularies and methodologies to move effortlessly from the intellectual grudge match of Bettelheim and Des Pres, to the veteran poetry of Ehrhart, to the marketing of sexual abuse anthologies, to a therapeutic model of incest narratives.
     
    I am still squirming as I put down Kalí Tal’s Worlds of Hurt: Reading the Literatures of Trauma, but my initial anxiety over the vehemence of Tal’s attack has long since been replaced by uncomfortable and contradictory emotions regarding the embattled rights to represent and to interpret evoked in this book. Tal’s work reveals scholarly criticism of trauma narratives as a battlefield of political agendas and no less political methodologies. Her own adversarial position invites attack from academic as well as political opponents, from both the jealously territorial and those professing neutrality. But Tal seems both ready and eager for the fight; after all, bearing witness to trauma is “an aggressive act,” a lifetime decision “to embrace conflict rather than conformity” (7). Worlds of Hurt should be widely read–and, one would hope, widely employed as a model of interdisciplinary scholarship and academic activism–in all circles of cultural, gender, psychoanalytic, and literary studies related to the various literatures of trauma.
     

  • Son of Kong, How Do You Do?

    Gregory Wolos

    Aplaus, New York
    Baltowolos@aol.com

     
    It’s a 45 minute boat ride from the outer isle airstrip across the straits. The ferry’s railing cuts into my solar plexus, but I lean forward until my ribs ache. The pain and my excitement keep me breathless. Though I can’t see it through the cottony dawn fog, I can feel my island directly ahead: Tallulo Lillo, largest of the South Pacific’s Halloween Islands. Word of mouth, colorful travel brochures, and intuition have convinced me that this tropical paradise will be the perfect site for my next picture– the major studio, megabuck blockbuster that will free me from bondage to the backlot slasher films on which I’ve cut my directorial teeth. My reputation for turning low budget carnage into cash has earned me this opportunity, and I won’t waste it. I’ve come to this island to film the movie of my dreams. When the fog lifts, Talullo Lillo, as viewed through my professional eye, will no longer be Talullo Lillo. It will be Kong’s Island.

     

    I’m here to remake The Son of Kong!

     

    Whispers distract me, though I know I’m alone on the slick deck. In my other movies, the first of the Slitter series, for example, hushed voices sifting through the fog would be a bad sign. The character who hears them is done for. The neck hairs of an audience familiar with my work would tickle to attention. But my fans would be disappointed now, because I know these voices.

     

    I pretend at first that they belong to my young son and his nanny who nap with our baggage in the ferry’s cabin, but I’m kidding myself. Though I strain to keep my focus forward, I can’t block out my childhood voice, nor the laugh of my youthful mother. Now I see us, sneaking up from behind as suddenly as a tractor trailer in a rearview mirror.

     

    “We lost your daddy in the war,” Mom says. “When I was pregnant with you.” Then she laughs, tosses the waves of blond hair the men in her life would die for, and funnels cigarette smoke as acrid as Godzilla’s breath through her nostrils. He died in the South Pacific, she says. “He was a hero,” she says, though I never saw a medal. Men passed through our house like ghosts, the same man with different faces, none of them heroic, none of them my father. They all loved my mother’s golden hair.

     

    I’ve invented a father for my dreams. As if they were old movies, I watch the flashbacks he never lived to dread. I see gray newsreel figures formed from ashes and fog, their color wept away by time. Some soldiers lose their last meals over the sides of the landing craft before crouching into rows, using their rifles as staffs. My father last vomited back on the transport, one quick wretch over the railing. It spread like a parachute, shrinking toward the dark sea, reminding him of training films of paratroopers blown from their planes like dandelion seeds. But that’s in Europe. Here they say Zeros love to pick you off while you float through the clouds. The enemy waits in the island jungle. My father’s death would be their glory. Dad’s crammed in too low to see the horizon, which would be invisible anyway, because the fog pours over him, as white as milk. Sea swells smack the hull with a hollow syncopation. The newsreel ends, and the spinning film flaps on the projector, over and over.

     

    The drums on shore pound like the vein in my temple, but slightly off, like a tune on the car radio a milli-beat off from the windshield wipers. BA-GA-BOOM, BA-GA-BOOM, BA-GA-BOOM, over and over, happy drums, and why not? What a boon to the island economy! A Hollywood movie on location for over six months. Allison and her crew have been here for a week already, chatting up the locals, handing out everything from Baby Kong pens to free passes to watch filming (which mean nothing– we’ll run an open set, as long as spectators keep their mouths shut while the cameras roll). We’ll let them think we need extras, though we won’t use a single Islander. If they’d seen the originals, they’d know that Kong Island is a black community. The image of terrified Polynesians just doesn’t register. Their shrieking faces look too happy.

     

    Footage of screaming Pacific Islanders was test screened across the country, and no significant demographic group bought the premise. Some left the theaters swearing they smelled coconuts. A few said pineapple. None of the testing mattered anyway because of my commitment to the ethnicity of the original Son. But the demographics helped me avoid a studio showdown, because it’ll cost, flying in hundreds of black extras. So there’s no bigotry here. There won’t be any pale Island folk in my movie. Too Mutiny on the Bounty. Too idyllic.

     

    Ahead the fog congeals, a broad floating strip a lighter shade of gray. BA-GA-BOOM, BA-GA-BOOM, BA-GA-BOOM. Materializing on a higher plane than I would have thought, an out-rigger canoe appears, bearing welcoming gifts, no doubt. They’re up early. If they were to offer me an Island girl for the evening, hair like black silk, skin smooth as coconut milk, I would accept their hospitality. With a vain touch I stroke my own cheek and find it hardly smooth. If I had a minute for a quick shave, I’d take it.

     

    The grainy old film rolls again. I watch as my father rubs his chin with his knuckles against his gritty beard. How will he shave in the jungle with his enemy lurking behind every fern, ready to spring for that bristly throat? He’s dreaming about a white porcelain wash basin. Hot water steams the mirror above. He clears a spot with the heel of his fist and looks into the future. Does he see his son beside him, waiting for him to lather his cheek? Mom lies in bed, her hair spread over the pillow like a sunrise. Reality returns as fog reseals the clear spot on the mirror, and my father feels the weight of the pack on his back and the rifle in his hand. There have been stories about G.I.’s drowning because cowardly landing craft pilots released them in deep water And if he should scramble safely to shore, what then? Every dune, every trunk of bamboo hides an enemy. They can make themselves smaller, thinner. They are diabolical, magic.

     

    My boy has come along for the ride. Angela, his mother, has left us no choice. She’s on her honeymoon in Budapest. She’s married a chess master, and there’s some kind of World tournament there. I imagine Klaus, her husband, hunched over a chessboard, his craggy brow shadowing the pieces like Skull Mountain above Kong’s Island. (There’s no mountain on Tallulo Lillo. Just palm trees, a few lagoons, white beaches, the sky, and the Pacific Ocean. The computer imaging people will design Skull Mountain according to my specifications.) Sweat dots Klaus’s forehead– a drop in slow motion close up falls like a jewel and shatters in a silent explosion at the onyx feet of the black king. What frolicsome honeymoon nights Angela and Klaus must be enjoying.

     

    I met my wife at the first Woodstock– as she swayed topless upon the shoulders of a massive, thick-bellied fellow, her breasts lightly basted with dried mud, as if she were a clay sculpture coming to life.

     

    “Hello,” I said, gazing upward. “You have beautiful eyes. You should be a model.” The big fellow holding her aloft may have growled at me. I can’t remember his face.

     

    For years Angela and I searched the footage of the documentary, looking for ourselves. As time went by we gave up. Had we ever met? Had either of us really been to Woodstock?

     

    Having Carl was a doomed attempt to stave off middle age and salvage a marriage of nearly twenty years. “Papa” and “Mama.” New roles, new self-definitions. We should have been screen tested. There should have been a reading. Either an absence of aptitude or an abundance of apathy rendered us unfit for parenthood. I won’t blame my own lack of a father figure. Imagining oneself a good father is no more difficult than visualizing a murder. We’re committed to the reality of neither.

     

    I remember the moments just after Angela gave birth to Carl. A nurse had swabbed the baby clean and nestled him at his weary mother’s breast. Angela’s lips pinched for a second, and she blinked dry eyes rapidly. She’s thinking too much, I thought, feeling my stomach fall. “He’s pretty hairy, isn’t he?” she murmured finally.

     

    I nodded. I patted my wife’s hand, pressed gently with my knuckles the downy flesh behind the ear of my son. Then I yawned, sorry that I did, but unable to stop myself. “Tough business,” I said pointlessly.

     

    Carl lost his furriness, all except for a headful of wild black curls. I see the boy whenever my schedule coincides with my custodial responsibilities. Odd weeks and weekends, special circumstances like our present trip. We are cordial. We call each other Carl and Dad, respectively.

     

    Our voyage to the Halloween Islands will be the longest time we’ve spent together since his mother and I split up. His nanny Greta accompanies us. She has trouble meeting my eye because Klaus, Carl’s new step-Daddy, is her nephew. Yesterday afternoon on the sun deck my little boy beat me at chess, which I suppose is an argument for nurture over nature.

     

    The boy is excited about the trip. He knows all about Kong. We’ve spent many weekends watching the original and sequel. He owns a photograph of the eighteen inch model used for both the senior and junior ape. Carl knows that baby Kong was pure white. He even knows that the little giant had a nickname– Kiko– used by the production crew. He owns one of those monkey dolls usually made of gray socks with white and red heels and toes, except his is all white. He calls it Kiko, though he knows the difference between a monkey and an ape. He’s aware that Kiko’s my baby, and that my son of Kong will be nameless, in faithful tribute to the original sequel.

     

    “We’ve got problems!” Allison says before I’ve even settled into the limousine that awaits me at the dock. Carl and Greta will follow in a taxi so my assistant and I can talk business. Finding and solving problems is Allison’s job. She’s high energy and dedicated. We’re a team, unless she screws up. She knows I’d hand the studio her head, and there wouldn’t be any hard feelings. I have very little leverage until this film succeeds.

     

    Allison pinches an unlit cigarette between her lips, though she quit smoking years ago. “I like smokers,” she says. “I want to keep myself attractive to them.” And she is attractive, in spite of the grip on the cigarette that crimps her mouth into a sneer. She wears her dark hair rolled and twisted in a knot so tight atop her head that her blue eyes are pulled wide open. And because of her impulse to force them into a worried squint, they bulge with frightening intensity. “The Bwide of Fwankenthtein,” Carl once whispered to me in a quavery lisp.

     

    We failed as lovers. I found her attention to detail too exacting for a physical relationship.

     

    “Problems?” I ask. I am fingering the strings of flower petals draped around my neck by nearly naked island women. The less exclusive hotels near the harbor gleam like chalk cliffs over the palm trees and pink beach that curves against the blue ocean into the horizon. “What could possibly be a problem here? I’m being treated like royalty– like a Tiki– I’m a God. They’ll be sacrificing their virgins to me, like old Kong. Won’t they? What about locations. Do we have an itinerary?”

     

    “Yes– wait–” Allison blinks– the look of the Bride when she met her betrothed. “I sent that canoe out. I paid for those drummers. I hired those girls. Those flowers came out of our own budget. Now we’ve got a few publicity shots to send back to the States. Nobody else on the island knows you’re here yet. The word is that you’re arriving by plane tomorrow. That give us time to prepare.”

     

    I don’t like the sound of this. I’m not ready for it. “Prepare?”

     

    “Listen–” Allison spits the cigarette out of her mouth, doesn’t even seem to notice as it bounces off her thigh onto the leather upholstery. “–These are simple island folks, but they’re pissed. They really are.”

     

    “Okay– so who’s ‘they?’ Who’s not welcoming Son of Kong with open arms?” I’ve got visions of kids hugging furry white Kiko dolls that’ll make teddy bears obsolete. The rims of Allison’s contact lenses brand her bright blue irises.

     

    “There are two groups, really. But they’re forming a coalition, and I hate to say it, they’re getting support.” She’s unzipped a canvas briefcase and hands me a clipboard thick with xeroxed newspaper articles.

     

    ” ‘Mothers against Kong,’” I read.

     

    “It’s hot locally already. But right now it’s an island issue. Can you imagine if it gets to the states?”

     

    “The studio will love the free publicity.”

     

    “Maybe.” Allison’s eyes pop like flashbulbs. “But women are very powerful these days.”

     

    I hand the clipboard back to her. I can’t focus on the article. I’m too tired from last night’s champagne and the sleepless nights my nightmares cause. My hands rise to my aching temples. “Summarize,” I say.

     

    “Well,” Allison sighs, “It seems our project is attacking motherhood. Who, after all, is the little giant ape’s mother? ‘Son of Kong,’ okay, but where’s Mama Kong? Why doesn’t she get half the credit? The baby’s not the product of abiogenesis, is he?”

     

    “Abiogenesis?”

     

    “It’s in the article. A Ms. Malamala, she’s the spokesperson, says that by denying the Son of Kong his maternity, we’re, in effect, denying all children their mother. We’re not only undermining the maternal role in a child’s co-nurturing, we could cause psychological damage to children and even adults who watch the movie and have actually experienced or even only feared childhood abandonment. Like flashbacks.” Allison picks up her loose cigarette and jams it back between her lips. “What you’ve done,” she says, “is unite feminists and motherists. Quite an accomplishment. Nobel Prize caliber.”

     

    “What do they want?” I ask. Suddenly, every limb feels leaden, as if I’m pinned to my seat in a space vehicle accelerating to escape velocity.

     

    “Creative options? Acknowledge the baby ape’s maternity. Title change to The Son of Kongs, maybe, as in Mr. and Mrs. Or explain that missing Mommy. Something that makes her sympathetic, of course. Or make the movie involve the Mom thematically.”

     

    “Or baby boy’s attachment to her– his grieving over his dead father complicated by the Oedipal magnetism of his recently remarried Mom.”

     

    “Remarried?” Allison struggles to squint. New veins thread the whites of her eyes.

     

    “To Carl Denham– the promoter who started the whole mess– and baby Kong is despondent–and vengeful. A psychological wreck. They want creative? I’ll give them a god-damned monkey Hamlet!

     

    Allison is silent. She purses her lips, and the cigarette sticks out at me like an accusing finger. “This is serious,” she says.

     

    I sigh. “Okay. A motherhood group supported by women’s rights activists. Who else hates me?”

     

    “Only the group of Islanders who are calling you a racist.”

     

    “What?” It would be a pleasure to do nothing but watch the scenery. It reminds me of Honolulu, but it’s wilder. Nothing is cultivated. The flora cut by the road is profuse, tangled, and mean. Lush, but not luxuriant. Inland there are hills, but no mountains. Where’s Carl, I wonder, and glance out the limo’s rear window. All I see is the gray road snaking back to nowhere through the over and undergrowth. From above the cerulean sky flattens us like a cover slip over a microscopic specimen. Occasionally, the deep blue Pacific breaks into view through the shore side vegetation. There’s a shadow on the waves– maybe it’s Venus surfing in on her oyster shell to remind me of what a sexist bastard I am.

     

    And now I’m a racist too?

     

    “The word’s out that you’re not intending to use locals in the film. I couldn’t squelch it.”

     

    “So now I have to apologize for being faithful to the original? These people should understand about art. Don’t they remember Gauguin? Hell, we’ll give their Island Marlon Brando the part of Charlie the cook. Charlie’s Chinese.” An ache swells in my head like the Devil’s fetus. I’m talking and listening, but my eye has caught that shadow on Pacific again. It might be something large swimming just below the surface. Just before the foliage again interrupts my view, I see it’s an empty military landing craft retreating with the tide.

     

    “I’m afraid they won’t be so easy to appease–” I receive Allison’s voice as if through cheap headphones. “Raymond— Raymond– your monkey’s white. Not only do they want representation in the film, they have a problem with the monkey’s whiteness–”

     

    “He’s not a monkey, god-dammit, he’s a gorilla!” But I’m wishing I hadn’t lost that landing craft–

     

    The newsreel again.

     

    Every instinct screams at my beached father to retreat, to turn to the sea like a newly hatched turtle. Does he envision, as I do, a gull’s bill scissoring through a soft shell or severing a flipper with a snip? His raging nerves deafen my father to the enemy’s bullets, but he feels their concussion as they split the air.

     

     

    Fear drives him forward. He struggles past a leg lying on the beach. It wears a familiar boot, and the khaki cloth swaddling its shin is the color of his uniform. Its stump glistens like raw steak. It lies toe up, as if it’s the only visible limb of a sleeping ghost. My father lumbers by into the jungle, but the leg hangs in his mind, kicking away all thoughts but one:

     

    Has the enemy seen anything like the golden hair of his girl back home? Her face hovering above his bare chest, her curtain of hair descending like cool sunshine against his skin.

     

    The buzz of voices. Allison’s and my own. Arguing out of reflex. “–the economy!” I’m shouting. “What do they do here, export coconuts?”

     

    “Tourism. They’re very poor.”

     

    “Well, Son of Kong will change that.” Our hotel, the only building in sight, squats on the horizon. “They’ll get a location credit. HBO will do a ‘Making of–‘ here. The studio will set up a Kong museum in town. I see a theme park–”

     

    “They want their own people to be in a movie made on their island,” Allison says. “They’re funny that way. Territorial.”

     

    My head still aches. Does everyone have such trouble being welcomed? “What about preserving the integrity of the original? And do they care about putting African American actors out of work?” I wrench my neck around and peer down the serpentine road. The foliage pours behind us– the fluid palms wave and bow like sea weed in the creamy wind. From a distant fold in the verdure my boy’s cab emerges. As I picture Carl hugging his white monkey and gazing at the tropical sky, our limo brakes to an abrupt halt. Allison’s clipboard skitters off the seat. She ignores it, her attention riveted to whatever she sees straight ahead through the windshield.

     

    “Damn,” she mutters. We’ve reached a semi-circular drive along which huge flags atop fifty foot poles snap in colorful international array all the way to the hotel entrance. But our path is blocked by a mob of a hundred or so placard toting Islanders.

     

    “Pull up to them slowly,” Allison tells the driver. “You’ll have to talk to somebody, Ray.” She’s nervous, and her eyes bulge dangerously. We coast toward the crowd, and the bodies part to either side like floating flower petals. The protesters, male and female, wear tank tops and T shirts, shorts or skirts printed in bright floral patterns. Most of them hold their signs lazily, as if they’re umbrellas on a sunny day or rifles on safety. They’re so relaxed I begin to wonder if I’ve mistaken the purpose of their assembly. Until I read their signs.

     

    “KONG GO HOME” many state in succinct protest, though there are others, longer and more puzzling. “SON OF KONG AIN’T NO MAMA’S BOY” one reads. This is hoisted suddenly by a slender Island woman in a sleeveless orange dress ornamented with an elaborate gilt design. The sign she totes like a glittering statuette no doubt alludes to Kiko’s lack of a mother. Her gesture must have been a signal, because as her placard rises the others sprout in response.

     

    A short, thick fellow wearing black glasses, a Fu Manchu, and a thin braid about a yard long waves a cryptic sign overhead in a beefy arm: “WE ARE FIT TO BE TRAMPLED!” His grin gleams white against his butterscotch skin. So do the grins of the woman in the bright dress and the rest of the revitalized demonstrators. Maybe they’re not really upset, I think. Maybe it’s all a joke.

     

    “They look happy to see us,” I whisper to Allison as we drive through them. Then we get close to the bearer of the “TRAMPLED” sign, and I understand it. It means the Islanders consider themselves good enough to have a giant ape grind them face down into the humid soil of their homeland. I look again at the smiles of those who crowd the limo– and I see how badly I was mistaken. The lips of these folk shrink away from teeth bared in anger. A glow burns deep in their dark eyes like the red hot coals of a barbecue pit. But it looks like they’re smiling.

     

    “See, for Christ’s sake,” I mutter, “Look at those faces– that’s why I can’t use them. From a distance they look like they’re laughing.”

     

    “Do more close ups–” Allison whispers back.

     

    There are thumps. At first I think the limo has run into the protesters, but then I realize that they’re slapping the car, paddling as it passes as if we’re fraternity pledges. Allison and I scrunch down in our seats as the thuds crescendo. We are surrounded by flowered torsos. Now and then a face squints for us through the tinted glass. I remember that Carl’s somewhere behind. Shrunken defensively, I swivel necklessly like Quasi Moto to peek out back. The rear window is covered by a mosaic of hands. From those palms I could read their futures, if I had the art. My concern for Carl tugs at my focus.

     

    Color drains from the picture, and I’m watching as my father crouches before me in the jungle. His eyes are wide with fear. His hand strangles his rifle. What act of bravery can I imagine for him? These eyes, haunted yet hunting, sweep the foliage until they meet mine. My heart pounds as I wait for the snap of recognition.

     

    Allison and I, little Carl and a very frightened Greta are surrounded. Hotel security escorted us just short of the hotel doors, four burly guys who look like wrestlers and flexed their Pacific Island muscles while the crowd waved its placards and chanted, at a surprisingly high pitch: “KONG-OH, KONG-OH, KONG-OH!” (Kong, go?) But the guards melted away from us like pig fat on a spit when confronted with the paparazzi and media jackals that block the entrance. I recognize some of the scavengers poised for attack with microphones and cameras. These are not mere locals. They represent tabloids and major news syndicates– the U. S. of A.– Hollywood. I turn a desperate eye to Allison, and she shakes her head.

     

    “Not me,” she frowns. “Try one of them.” She bobs her knot of hair toward the demonstrators.

     

    Greta hugs herself inside a sweater, as if it’s sleeting down her collar. Her eyes are downcast, but her upper lip curls contemptuously in my direction. Carl, his wild hair leaping like a black flame, stands beside his nanny, unprotected and waiting. His albino monkey dangles from his hand. I catch my son’s eye and pat my thigh, and he trots over, smiling up at me. His tongue pokes through the gap where he’s lost a front tooth. His eyes flutter eagerly. I place my hand on his head and collect him against my hip. The crowd surges like an ocean at our backs. “KONG-OH, KONG-OH, KONG-OH!” The media fiends roil before us like a nest of hornets.

     

    “Hide that thing,” Allison hisses. I think for a second she means Carl. Then I realize her popping eyes have locked upon the white monkey doll. She’s not wild about my son, though she’s never said so. She knows he thinks she’s “thcary.” His lisp only surfaces in critical moments of emotional certainty.

     

    The jungle is grim in black and white, depthless like a bas-relief. My father lurches desperately through, clutching his rifle. He’s lost his helmet and backpack. Dad’s in full retreat. He’s discovered that there’s only a single enemy, whose pursuing tread shakes my vision.

     

    Papa Kong.

     

    There’s music now, a full orchestra, staccato strings hurrying Dad along. He hesitates, casting a glance over his shoulder, and the orchestra pauses. Another thunderous step! My father resumes his retreat to fresh music, ducking under a creeper, sweeping a fern from his path with the rifle he totes like a relay baton. Sometimes victory is survival and courage is the safety of a dream. And both my father and the beast have a golden girl on their minds.

     

    Until this project my films have created terror in the civilized landscapes of cities and suburbs. Deranged killers of my creation infiltrated our children’s schools, summer camps, and malls. But it’s in the jungle that my daddy runs from the father of my newest film’s star.

     

    The hotel looms above us like the Titanic’s iceberg. I imagine that its submerged bulk has torn a hole in our hull, and we’re sinking. Already we’re listing badly. I’m losing my balance. The protesters surround our little group, from which Greta has defected, on three sides. The nanny now stands among the reporters, who squirm about her like nursing puppies.

     

    Something’s happening here–a convulsive pulse in my leg. Carl’s got an arm locked around my thigh like a tourniquet. He’s sobbing and reaching toward Allison, who snarls at him and brandishes her teeth. She’s crushing the monkey doll her flat chest, trying to cover it up with her thin arms.

     

    “Damn, Allison,” I sigh through a tense grin. The last thing I need is a scene among the Islanders. I sift through their faces, hoping for a sign of mercy “Come on, give the kid his doll.” The protesters have stopped their chant and stand silently, watching, as do the reporters, who no longer buzz about Greta.

     

    “Son of Kong, how do you do?”

     

    I jerk my head around so fast nerves and muscles pop. It’s the woman in the orange and gold dress. But she’s not talking to me. She’s bent over my son. Her black hair sweeps over his shoulders like a magician’s cape, and he disappears for a second. The cape lifts, and she’s shaking his hand, and he’s staring at her wide-eyed. Still stooping to my son and clasping his hand, she glances up, past me, and her black eyes threaten Allison like hot pistol barrels. My assistant clutches the white doll with anemic ferocity.

     

    “Wicked thing,” the Island woman says. “Give the boy back his monkey!” If such a thing is possible, she’s got a voice like an angry doe–Bambi’s mother on the subject of “man.” My hands ache to slide down the curves of her dress–to test her reality.

     

    Allison hesitates a second, shrugs, and tosses me the doll, which I catch and give to my son as my assistant stalks to the knot of reporters. Carl lifts it to his damp cheek and rests his head upon it.

     

    “Poor, poor motherless thing.” The Island woman rises from my boy’s side, and her eyelids lift, her eyes blooming like black satin flowers. Does she mean the monkey or my son?

     

    “You screwin’ up big time,” a sharp voice beside me bleats. It’s the squat Fu Manchued Islander with the black glasses and whiplike braid. His biceps swell like hams out of the short sleeves of his flowered shirt. “Boss,” he says, “we didn’t need the stinking Bounty . We didn’t need your god-damned Melville, ‘the man who lived with the cannibals.’” His buffalo gut bounces with agitation. “Gauguin, what’s he do for us? Steal our soul. Hundred years later, somebody else makes a million bucks. Not us. We got nothing but paradise. ‘Dites-moi pourquoi,’ boss. Why you always running here? Why don’t you go bother some Eskimos?” His massive arms cross emphatically over his belly and his mustache drags his lips into a frown. If I could penetrate his dark glasses and make eye contact, I might stop shaking.

     

    Carl is giggling. The woman who saved his monkey has lifted it to her face and clucks to it, kissing its eyes. I’m composing poems to her in my mind, and I haven’t written a poem since high school.

     

    Helmeted police in jodhpurs and high black boots have arrived. They’re talking to Allison and the reporters. She’s shaking her head, pointing and shrugging her shoulders as if she trying to reconstruct a traffic accident.

     

    My hand’s on my forehead. Beneath it strange notions flop like a netfull of frantic fish. I wear neither a uniform nor flowered shirt, I remind myself. I am a professional– a businessman and an artist in a white suit.

     

    “Listen, Mr.–” I address the bulky Islander.

     

    “Pah-pui,” he challenges.

     

    “Pah-pooey. Have you thought over the importance of The Son of Kong to the island? Economically?” I nod toward my son. My boy cradles his monkey, rocking it back and forth with a placid smile. A strange feeling rises in my chest like a giant champagne bubble, floats into my head and pops, wetting the inside of my skull, misting my eyes. “Pah-pui,” I sniff–this time the name sounds right–“Why, just those monkey dolls alone. It’ll cost more to make them here, but can you imagine? Genuine Kiko dolls made right on the island of his birth! Nobody in the world will mention Son of Kong without thinking of Tallulo Lillo.”

     

    “Screw the monkey,” Pah-pui grunts like a Buddha burping. “You need Island folk. We come with the island. That’s the deal. We want to be in the movie!” The faces around us smear together like a fading blood stain.

     

    I shake my head. Allison gestures among police and reporters at the edge of my vision, but I’m separated from them. The woman in the orange and gold dress doesn’t leave my son. Still cradling his monkey, he leans against her, and her hands rest on his shoulders, her pink nails like the tiny petals of a flower. My heart is melting as I listen to myself.

     

    “I can’t help it. It’s an artistic thing. I want to be faithful to the original Son. What can I tell you? The natives on Kong’s Island have to be black. You seem to be wonderful people, you Islanders. I’m sure you are, but it hurts me to say you just don’t look right.”

     

    Pah-pui’s snorting like a bull. If my brain weren’t spinning, I’d probably be afraid for my life. “We don’t look right?” I imagine his eyes sizzling like volcanic craters behind his dark glasses. “You selling us a white god-damned monkey, and we don’t look right?” A froth of saliva collects at the corners of his mouth.

     

    “Motherless white monkey,” croons the woman with my son in her mama Bambi voice. She’s lost one hand in Carl’s wild hair and her other has slid down his chest and pets Kiko. Her eyes lift to mine, and I feel the roots of their blossoms taking hold in my soul.

     

    Suddenly I’m staggered by a burst of brightness. The Pacific sun has slid from behind the glacial hotel and stuns me with light. But by some trick of staging, only I’m touched. The mass of Islanders, the woman with my son, Pah-pui, Allison, the police and reporters, darken into silhouettes.

     

    I squint into the shadows from my blazing circle. My hand forms a useless salute in my effort to shield my eyes. From somewhere distant I hear the drums that throbbed like a pulse as I neared the island just this very dawn: “BA-GA-BOOM, BA-GA- BOOM, BA-GA-BOOM.”

     

    “God-thilla,” a small voice declares. It’s the child clutching the monkey. “God-thilla ate the Japaneeth.”

     

    And in my mind’s eye, as broad as the silver screen, I see them–who could look more abject, more terrified, their taffy faces pulled into expressions of horror, eyes popped out of their heads, suspended like black marbles, staring ever upward, one man’s lifted arm pointing a finger as if to christen some horrifying compass point in a new world of unimaginable misery and defeat.

     

    “Godzilla!” the figure on the screen shouts, and with that pronouncement departs forever the sheltered innocence of the human heart.

     

    “God-thilla,” my son repeats, and he is himself illuminated like an angel by the moving sun. Carl’s hand rises to his cheek with wonder and humility.

     

    I sigh. And nod. Carl is right. Nothing could be clearer. Black faces, yellow faces, brown faces, white faces, male and female faces, mentally and physically challenged faces–all can quiver and quake in empathetic harmony at the mighty step of Kong. Only the faceless know no fear.

     

    My Son of Kong will feature native Tallulo Lillons–the gems of the Halloween Islands. Kiko will have a mother. My conception of the film turns in my head like a huge glob of primordial clay on a potter’s wheel as broad as heaven, and the possibilities leave me dizzy and breathless. Maybe my movie won’t have a villain. Maybe Kong’s Island won’t collapse into the sea.

     

    The sun shifts. I’m bathed in the fluid shade of a giant, flapping flag, but Carl and his monkey shine like the brightest stars in the universe.

     

    The final scene of The Son of Kong, the original, runs through my mind for the thousandth time, but, even though it’s in black and white, the picture is so clear it’s a whole new experience.

     

    The promoter who exploited King Kong to death has returned to the monster’s island. He discovers, pities, and befriends the baby giant ape his selfish acts had orphaned. In a flimsy act of atonement, he bandages a finger the beast wounds protecting him.

     

    Then a cataclysmic earthquake ensues, and Kong’s Island, untouched by geologic and evolutionary change for millions of years, suddenly melts into the sea like wet clay. All the terrors of the jungle are washed away. Baby Kong, his foot trapped in a fissure, catches up the promoter, who I see now is my father, or someone very like him, and hoists him high overhead. The raging sea rises. The water reaches Baby Kong’s chest. Passes his chin. Soon the bandaged hand is all that’s left of little Kong. It holds my wriggling and kicking father out of the sea, finally releasing him when the rescuing rowboat, containing the kindly captain and, yes, another golden girl, crawls beneath. This solitary hand stays open in a sort of farewell wave. The dying fingers spread, and the bandage comes loose, dragged down like a waterlogged flag as the sea swallows the noble baby.

     

    A smooth trunk curves under my hand as I smile up into the spreading palm leaves. Clinging beneath them a hundred feet over my head are two black coconuts. Towards these shimmies a boy in a fawn-colored monkey suit. It is Halloween on the Halloween Islands, and why not a home-made Kiko costume for my son? What mistaken faith had insisted that the baby ape be white?

     

    Three months into production on Tallulo Lillo, and my boy climbs like a native. He is a great favorite among the Islanders. My own skill at climbing has come more slowly, but I’ve shed much of my discomfort with heights.

     

    “Up you go, Papa Kong,” calls Pah-pui. He stands beside a trailer, his bare belly hanging like globe over a grass skirt. Feathers are banded about his head, wrist, and ankles. A necklace of shark teeth and shells lies upon his chest. A guileless wisdom rests in his dark, unshaded eyes. Make up hides the dragon tattoo on his shoulder. He plays an island chief in the movie. Right now he holds a styrofoam cup of coffee.

     

    During today’s shooting Pah-pui and his tribe of nearly naked Islanders will run in terror from a void–the vacant space that computer imaging will replace with the righteously indignant figure of Kiko’s giant mother. She will crush a few huts but harm nothing living in her fretful search for her son.

     

    My boy chirps happily above, and my legs and arms tighten around the tree. I rise toward him in confident, incremental rhythm. This morning I feel weightless. The studio is delighted with my revised approach to the project. Our family film is slated for release in December of next year. Every child in the world will own a Kiko doll. And a Mama Kong. Though sold separately, they can be velcroed together.

     

    From below, a sudden sound, the cheer of a crowd, swells upward. I am only yards from my Carl. I can almost touch his furry leg. The cheer rises like a warm cloud, a pillow that would catch me if I slipped. I gape downward. The jungle spreads beneath me like the thick green coat of some measureless creature, its limits defined only by the ink blue of the Pacific and the lighter blue of the sky.

     

    It’s the costumed tribe of Islanders who cheer me, Pah-pui’s plumed figure standing out like a rooster. From this height the air is thickly perfumed by the flora, and I submit to a vertiginous euphoria. The cameras, the booms, the extra lights, the platforms and scaffolding, the trucks and carts and trailers flown in from the States, the catering tent–all the artificial evidence of our production, toylike to begin with from this height–dissolve into the jungle. What I see from my palm tree as I rest for a moment upon my cushion of cheers and fragrance are the thatched roofs Mama Kong will appear to trample. I wave to my people and the chorus lifts, and the air grows sweeter. And I’m laughing, just like my boy.

     

    I spy Blanche Malamala, the Island woman who rescued Kiko for my son. Emerging from the crowd beside Pah-pui, she stands golden in the near nudity of her brief native costume. I have asked the computer imaging people to endow Mama Kong with the naturally imperious grace of Blanche’s movements. I have seen the essence of her beauty extracted to a fluid 3-D outline on a computer monitor, seen her metamorphosed into the figure of the mother ape, and I have come to adore the creature.

     

    Without fear I hang above the island, waving, Carl a pleasant thought above my head, and I’m not sure I can ever leave.

     

    And do I love, do I have enough love for it all, I wonder.

     

  • Radio Free Alice

     

    Paul Andrew Smith

    Cary, Illinois
    fedmunds@aol.com

     

     

    Let the priest in surplice white,
    that defunctive music can,
    be the death-divining swan,
    lest the requiem lack his right.

    –William Shakespeare

     
    Radio Free Alice wheels in, nurse in tow, logs-in early– 11:35 pm–I’m on till midnight.

     

    Relief, I confess.

     

    AITOR, types Radio Free Alice, MY FRIEND, GIVE ME SOME GOOD NEWS.

     

    I shrug. You’re early. Nothing to do?

     

    Radio Free Alice shrugs as well as can be expected. The chair shrugs. The entire unit, jockey and machine and nurse, move together. A single, sanitary unit.

     

    What time did you log? I ask then.

     

    MIDNIGHT. I LEFT A SPACE FOR YOU TO LOG-OUT

     

    Did you check the plates on your way in?

     

    DID YOU?

     

    I don’t answer.

     

    I WROTE DOWN THE SAME NUMBERS YOU HAD.

     

    I nod, confess again: I put in what Cam had for her show. I don’t reckon anybody’s actually checked the plates or filaments for years.

     

    DAYS ANYWAY, says Radio Free Alice. THE FCC EVER COMES IN HERE, THEY’LL MARVEL AT OUR CONSISTENCY.

     

    Possible we haven’t even been transmitting.

     

    POSSIBLE, agrees Radio Free Alice without seeming to care one way or the other. The whoosh of the vacuum pumps is marvelously quiet and magical; some frothy liquid slips through a clear tube winding across Radio Free Alic e’s shoulder and collarbone.

     

    The wheelchair, enameled white with chrome, a Cadillac really, glows under the red on-air light. A silver shaker and gunmetal Zippo glint blisteringly from the right armrest. The cursor blinks green on the empty screen, waiting for the driver’s nex t command. Radio Free Alice types slowly, moving only the middle finger on the left hand, the nurse in bleached whites shifts from one foot to the other, the chair pauses tense, ready to vocalize the ponderings of this degenerating physicist cum disk jock ey.

     

    At eleven forty-five I give station ID and read a Public Service Announcement about the early detection of skin cancer. I throw on a Scorpions’ tune and talk into the boom-mike: You won’t need be lonesome, Lizzy my love, when your beau gets his glut of cold meat and hot soldiering; one last night, Liz my love, to take your beau out, to the warm steamy streets where the music is smoldering.

     

    I time it just right and, as soon as I stop speaking, The Zoo pounds through the monitors. Radio Free Alice rocks in quiet laughter, the chair rocks. SICK BOY. STILL, YOU GOT PAST ORIGINAL SIN.

     

    And redemption, I say, I have arrived.

     

    WE HAVE ARRIVED, types Radio Free Alice, WE’RE ALL LIFERS HERE. Yes, the nurse, the chair, the corpus delicti. TIME FOR YOU TO LEAVE. THE AIRWAVES ARE NO PLACE FOR SUCH SUBVERSION. Radio Free Alice attempts a smile.

     

    Subversion. Radio Free Alice is subversion, the hero we all want to turn to: the one who proclaims: if you don’t like the way I do it, don’t come to the show.

     

    SOMEONE’S TRYING TO CALL, says Radio Free Alice indicating the flashing light on the studio phone.

     

    I know. It goes all night, but I never answer it.

     

    POLITICS? queries the throned.

     

    Not politics, I say, I just–you know.

     

    PHYSICS. A flat statement.

     

    I guess.

     

    Radio Free Alice nods. POLITICS.

     

    The phone keeps flashing.

     

    DO YOU KNOW WHO IT IS? asks Radio Free Alice.

     

    I shake my head. This phone thing bothers Radio Free Alice. I’d never have guessed.

     

    Answer it if you want, I say.

     

    IT ISN’T FOR ME, NOBODY KNOWS I’M HERE YET.

     

    Fuckit then.

     

    Radio Free Alice types quickly, but the machine speaks these three words with great pause: MIGHT BE ALICE.

     

    I shake my head.

     

    I SEE HER AROUND THOUGH.

     

    Me too, I say.

     

    The nurse lights a cigarette, leaves a long scorch mark on the NO SMOKING sign with an Ohio Bluetip–the Zippo must be for show–and puts it in the Rabbi’s mouth. Radio Free Alice offers me a cigarette. I decline. A DRINK THEN? The nurse unscrews the cap from the silver shaker, drops in two straws. Radio Free Alice takes a deep sip off one.

     

    Whatcha got there?

     

    MARTINIS.

     

    How do you get the olive out?

     

    The nurse laughs, the chair does not. Not even a whir.

     

    A LITTLE TREAT I CALL AN YVES KLEIN: STAINS YOUR KIDNEYS, MAKE YOU PISS BLUE FOR ABOUT A WEEK. Pause. IT BREAKS, YOU KNOW, THE MONOTONY–

     

    I’ll pass.

     

    GO NOW, types Radio Free Alice, I‘LL RE-SHELVE THE RECORDS FOR YOU.

     

    I’m half-out the door when Radio Free Alice says to wait. THERE WAS SOMETHING I WANTED TO TELL YOU, SOMETHING IN THE NEWS–WELL, SHIT, IT’S GONE NOW. SEE YOU.

     

    * * *
    As a child, I had a favorite sound. My favorite sound: the scraping of a car windshield. Heavy weather–resentment and care expressed themselves in the detachment of frost, the coldness of plastic, the mute, multi-fingered safety of woolen mittens . Not dexterity, but inarticulate strength–a muscled back pushing the ice-scraper over glass and painfully unalike crystals.

     

    * * *
     

    Ahlan wa sahlan, the bird of loudest lay, says Giacomo Josu, as I walk into The Cinder at 11:55. He points one dark finger at me and one at the sky. You’re on the air, but I’m looking at your ugly face.

     

    He thinks that if he weren’t ugly, says Alice, He’d be on t.v.

     

    It’s true, it’s true. I’m certain of it.

     

    A small radio sits on the table between Josu, Cam and Alice. My voice introduces the last song of my every evening: She’s a Blue Light.

     

    What took you so long, Cam asks–I sit and order a coffee, You signing new boots and panties in the parking lot again?

     

    Sex and drugs and rock and roll, I say, making the peace sign, the figs, Churchill’s V for Victory.

     

    The song ends, and my voice closes the show: this has been another edition of blue music for blue balls–

     

    You’ve got no taste at all, Alice speaks.

     

    Tell me again, I say to Cam, do you say panty or panny?

     

    Neither, she explains, but I call bras brawls.

     

    Sounds like you’re looking for a fight, I say.

     

    And Giacomo asks: So, could a woman have a set of brass brawls?

     

    I’ll give you a panny for your thoughts, Cam looks at me.

     

    Ooh, says Josu, I’ve never played strip-coffee before.

     

    I’m very self-aware now, so I ask: Do I really only have one thing on my mind at all times?

     

    Alice nods. Hotbodies, she says.

     

    Cam comes to my defense: You did skip over the dirty words when you read the Penthouse letters. Then she adds: I filled them in for you.

     

    Radio Free Alice locks on, live and vibrating, giving the time, station ID and a PSA about helping senior citizens get into stamp collecting.

     

    Why listen at all? I ask.

     

    There’s nothing else on any of the stations, says Alice as if I should know.

     

    Get sick of classic rock? I ask.

     

    The war, says Josu, we got sick of the war.

     

    * * *
     

    My second favorite sound I had built myself when I was still too young and frail to scrape the car window. It wasn’t baba or mama or dada or doodoo–though all fine words in themselves–but the voice of Ray Nordstrand on WFMT. I had constructed it, th e voice, with a crystal radio–a kit that arrived among the subscription of other bi-weekly science vignettes intended to turn me into a prodigy. It might have worked if only I’d been able to decipher the instructions to most of the projects: a pendulum, a slide rule, a pedometer. Only the crystal radio made sense to me in both construction and function.

     

    Far from becoming a genius, I built a tent on my bed, and imagined myself dug in, waiting for reinforcements, listening to the radio till I fell asleep.

     

    Actually, I’d listened to and recognized Nordstrand’s voice long before I knew the difference between Foucault’s pendulum and a crystal radio, but the completion of that project and the autonomy it gave me from The Family Radio, seemed

     

    * * *
     

    HAPPY MARTIN LUTHER KING DAY, says Radio Free Alice, THIS IS RADIO FREE ALICE, THE SHOW OF CHOICE IN BUDAPEST, BERLIN AND PRAGUE. AND TONIGHT ESPECIALLY IN BEAUTIFUL DOWNTOWN BAGHDAD. HERE AT RADIO FR EE ALICE EVERY DAY IS A HOLIDAY. UP HERE IN THE STATION WITH ME TONIGHT IS A LADY WITH A LITTLE PEACE OFFERING: A BIT OF STRANGE FRUIT.

     

    Her voice admits the air gently and condenses, falls to the ground like mist, and I see them swinging in the trees, picked at by the treble-dated crow whose sable gender mak’st with the breath he giv’st and tak’st, teasing gravity like a r ipe

     

    * * *
     

    It is 12:20 in Chicago a Wednesday three weeks after Christmas when Alice left me, yes it is 1991 and I sit and drink coffee. Because I am tired and haven’t eaten dinner, because I always want other people to feed me, I drink only coffee.

     

    * * *
     

    It is 12:20 in Chicago. Wednesday. 17 January 1991. We have begun bombing the cradle of humanity, the origin of art, the seat of song and religion. Somebody at the next table says sand-nigger, and Giacomo Josu, our sole Arabian tree, tenses his Persian m antle of sarcomere and sweat, and I know immediately and briefly, how Radio Free Alice’s mind works: Beauty, truth and rarity, grace in all simplicity, here enclosed in cinders lie.

     

    * * *
     

    TODAY, says Radio Free Alice, THE ROBOTS GO TO WAR IN OUR PLACE. Leaving no posterity IF IT WAS THE FALL OF AN APPLE THAT OCCASIONED NEWTON’S AWARENESS OF GRAVITY AS H E SAT AGAINST A POPULAR TREE, THEN IT WAS TURING’S APPLE THAT FELL.

     

    * * *
     

    My favorite sound this night could be the Feyn’d idiocy of the Village Crier

     

    My favorite sound tonight might be the drop of a ripe apple into a dewy field, the sound of that cyanic fruit rolling into the lap of a crumpling lab coat

     

    My favorite sound tonight: formica and nickel.

     

    It will remind me of the stirring of a dying fire or the echoing crunch of re-frozen snow–that feeling that someone is walking behind and in step with you–and it won’t take a genius to understand, but I will not understand. I do not understand, but want to take the flat and round metallic tasting onto the tip of my tongue and press it between these fingerprint lips.

     

    * * *
     

    AITOR, LISTEN: YOU KNOW THAT YOU DON’T REALLY FALL IN LOVE UNLESS YOU’RE SEVENTEEN.

     

    Is that on the radio? Nobody else at the table seems to hear it.

     

    * * *
     

    Is ignorance bliss, Josu’s sing-song voice made his abuse tolerable, or is it an envious sneaping frost that bites the first-born infants of the spring? We started bombing around five or so.

     

    I’ve been inside all day, I say.

     

    A radio station, contests Josu.

     

    You’re supposed to flip to the news every once in a while, berates Alice, if only to get the sports’ scores. It’s frigging procedure.

     

    Forget it, Cam assures me, then to Alice: When’s the last time you actually logged-in legally, went to the transmitter, checked the plates and filaments against the FCC regs?

     

    Josu stands, puts on his jacket.

     

    Alice stands. Which direction are you heading?

     

    Josu sort of points, open handed, an indication that the night is–mada yoi no kuchi da zo–what–young? That he is, perhaps, only certain about standing and putting on his jacket. I can’t tell. Alice, however, can: Great, she says, I’m headi ng that way too.

     

    Josu nods and looks at me as if–and I don’t–but I act like I understand. He seems relieved somehow. Quieres la radio, pendejo? he smiles.

     

    * * *
     

    When we were living in Spain, Josu and I made up stories to tell each other and keep expanding our creative vocabularies. It was too easy to fall into a rut of mimicry when ordering food or asking for directions. Josu told this story about a man who fe ll in love with a voice on the radio and let it control his life until, one day, he turned into a radio. Quieres la radio, pendejo, is a line from this story.

     

    * * *
     

    Radio Free Alice pops an olive from a jar by the door, sips blue martini, smokes blue smoke. A sign above the control console says: ON AIR. A red light flashes, its photons always carrying 3.3 * 10-12 erg of energy. Light waves are simple r than water waves because they travel at one speed (c, or 3 * 1010 cm/s), whereas, in water, waves of a long wavelength travel faster than waves of a short wavelength. The radio wave is an electromagnetic wave propagated through the atmosphere with the speed of light and having a wavelength of something from .5 cm to 30,000 m., depending on what station you listen to.

     

    * * *
     

    Hotbodies, Alice had said.

     

    It’s true, I think again. The only thing on my mind: fleeing in eternal flame

     

    * * *
     

    THE CONCEPT OF SCIENTIFIC DETERMINISM HAD TO BE ABANDONED WHEN LORD RAYLEIGH AND SIR JAMES JEANS SUGGESTED THAT A HOT BODY MUST RADIATE ENERGY AT AN INFINITE RATE. THAT IS, A HOT BODY SHOULD RADIATE THE SAME AMOUNT OF ENERGY IN WAVE S AT FREQUENCIES BETWEEN ONE AND TWO MILLION MILLION WAVES PER SECOND AS IN THOSE WITH FREQUENCIES FROM TWO TO THREE MILLION MILLION WAVES PER SECOND. IF THE NUMBER OF WAVES PER SECOND IS UNLIMITED, THEN THE TOTAL ENERGY OUTPUT IS INFINITE. WHICH IS INS ANE.

     

    Radio Free Alice watches the light filter through the smoke and wonders: waves or particles?

     

    IN 1900, MAX PLANCK SAID THAT LIGHT COULD ONLY BE EMITTED IN PACKETS CALLED QUANTA. EACH QUANTUM HAD AN AMOUNT OF ENERGY THAT INCREASED WITH THE FREQUENCY OF THE WAVES. AT A HIGH ENOUGH FREQUENCY, THEN, THE EMISSION OF A SI NGLE QUANTUM REQUIRES MORE ENERGY THAN IS AVAILABLE–THE RADIATION AT HIGH FREQUENCIES IS REMARKABLY REDUCED MAKING THE RATE OF ENERGY LOSS FINITE.

     

    * * *
     

    I nod to Josu. I expect him to put his sandal on his head.

     

    He walks out with Alice, leaving the radio.

     

    You poor guy, says Cam in mock-pity. She stretches one leg out from under the table: good lord, she’s wearing red velvet pants. I don’t know whether to laugh or cry.

     

    Alice is, I throw up my hands, I don’t know what to tell you.

     

    Maybe you should be drinking something stronger than coffee, she says.

     

    I never noticed it before, Cam speaks after a silence above the background music, how you look, I mean.

     

    Ugly? I ask.

     

    Just ugly enough. Strange, she explains, not good enough to be sinister. Bitter?

     

    My my. Maybe we should talk about your face instead, I tell her.

     

    She entirely agrees: We should.

     

    It’s a nice face, I begin.

     

    I know what it is, she declares, it’s unfinished. That’s why I can’t figure it out–your face isn’t finished yet.

     

    I thought we were talking about your face, I say.

     

    We are. It’s different than mine–non-elastic.

     

    I always wanted to be granite-jawed.

     

    You aren’t.

     

    What am I?

     

    Good looking enough to be on the radio.

     

    It occurs to me now, my new favorite sound, as she slides a subway token across the table to me.

     

    I don’t take the subway to get home, I tell her.

     

    I do, she says.

     

    Just ugly enough, then.

     

    She nods and says this: If only your fantasy life were as good as what’s happening to you right now, you could stay home more often.

     

    And I wish I had said that.

     

    What are you trying to say? I wanted to ask.

     

    I wanted her to respond: I’m saying it.

     

    If Gertrude Stein was a child of the Civil War then I, at twenty-three, am a child of Desert Storm.

     

    And I know finally how people remember where they were during a horrible event.

     

    I lean across the table and kiss her with my unfinished lips. She pulls away.

     

    Don’t, she says. I’m not sure yet what I want from you.

     

    It occurs to me now, all the stuff I’ll never understand: If only I’d built the pendulum.

     

    How’s that? I ask.

     

    She continues: Let’s just take this slow and see what happens.

     

    I borrow two dollars from Cam and pay for our coffee, then I take the subway with Cam and her tokens.

     

    * * *
     

    Imagine this story in the way we learn war–some true literary sense of time, event causal, event effect, outcome: then it might be legitimate to expect that I spent the night on Cam’s couch; however, it’s important to remember the rules of Radio Free Alice. On the air: no spit-takes, no double-takes, this phoenix explodes and births–il y a là cendre–distilled from physical convention–il y a le centre.

     

    When we lived in Spain, Josu and I would swim out on red flag days when even the lifeguards went home. We liked the constancy of the waves and riptides working against us.

     

    When we lost sight of each other, we’d measure the distance by shouting, listening impossibly for the Doppler effect.

     

    * * *
     

    In another week I will be at Cam’s apartment again. Expecting to love as love in twain has the essence but in one; two distincts, division none.

     

    We will order a pizza pie and, when the boy rings the bell, Cam will hand me a twenty. I will meet pizza boy in the lobby and he will say: I can’t change this. Give it to me and I’ll come back with your money in fifteen minutes.

     

    Of course, I will say, tearing the bill in half, handing him half.

     

    His face will fall. Nobody will take this, he’ll say.

     

    I’ll agree. You’ll get the other half when I get my change.

     

    Cam and I will not make love. We will speak again only twice more after that evening.

     

    * * *
     

    Radio Free Alice thrashes red flag air waves. Scratches back of hands, thinks: I am going blind, everything seems so far away. Radio Free Alice squints into the white desk-lamp and the computer screen becomes unreadable for about thirty seconds. The n type type type

     

    THE FREQUENCY OF THE WAVES RECEIVED ARE THE SAME AS THEIR FREQUENCY WHEN EMITTED. UNLESS THE LIGHT SOURCE MOVES. IF IT MOVES CLOSER, THE SPECTRA SHIFT TOWARD THE BLUE END, FURTHER AWAY, RED-SHIFTED.

     

    * * *
     

    Cam turns the television on and we watch the war. My family couldn’t afford a TV during Viet Nam, so this is my first time–save for news clips. She turns the sound down and flips on Radio Free Alice: it’s incredibly sexy, I’m embarrassed to say, th is do-it-ourselves extended rock video.

     

    We do not mate head-on, Cam and I, but choose instead to live hand to mouth–like eating dates and pomegranates and saffron. We press lips. An attentive audience, she responds to my voice unspoken as if that canal really were an ear pricking up at m y dense vibrations from beyond Radio Free Alice and the war. Aural sex.

     

    * * *
     

    WE MEASURED THE SILENCE, types Radio Free Alice, the background a click click click, IN MOTHER OF PEARL, SLIPPING SOFT AND FAT FROM THE SHELL AND DOWN THE HATCH WITH HORSERADISH, BEER, HANK JR. ON THE JUKE BOX–TEN TUNES FOR A DOLLAR–AND THE SEXUAL DYNAMICS WAFTED OVER THE OLD URINE SMELL OF A DISCOMFORTING QUESTION, KEPT ME FROM ASKING IT, KEPT ME FROM VOCALIZING THIS LAST SONG ABOUT LOVE AND OYSTERS. WE ALL NOTICED ABOUT THE SAME TIME, ALL OUR STA RING AND SMACKING AND SUCKING, THAT SHE HAD PULLED OFF HER SOCK. I SHOULD HAVE CLOSED MY EYES AND THOUGH OF CHRISTMAS OR BASEBALL OR THE ENVELOPE OF AN F-16 WITH THE STAMP AFFIXED UPSIDE-DOWN. WE ALL THOUGH WE UNDERSTOOD UNTIL SHE, TURNING AWAY, PLACED HER LAST WORDS ON A CRACKER: THEY’RE ONLY OYSTERS.

     

    THEY’RE ONLY OYSTERS, continues Radio Free Alice, SOMETIMES APHRODISIACS AREN’T, BUT I’M HERE FOR YOU. I’M ONLY ONE MACHINE, BUT I’LL GIVE YOU EVERYTHING YOU WANT IN A SOUNDTRACK INCLUDING AN EXCUSE.

     

    * * *
     

    I could almost blame you, Cam explains later, making it sound so simple about sex and friends as if it were just the right song was all you needed. Your voice might be the only handsome thing about you.

     

    I rub Cam’s shoulder blades. You’d have to know Alice, I tell her. I did this for Alice.

     

    I did this for Alice, Cam says.

     

    Not my Alice.

     

    No, another Alice.

     

    * * *
     

    The station is clean. Neither a cathedral nor a confessional, it displaces myth. It is where Radio Free Alice plays records and reads poetry and types observation and other people listen or do not: a personal ten thousand watt stereo.

     

    Radio Free Alice defies context.

     

    The problem is: Radio Free Alice defines context where context is a dangerous issue. Clearly, there is more at stake than whether to play Love On The Air or On The Air or In The Air Tonight. And Radio Free Alice plays none of these. The point is: the information is immediate and constant and people always believe what they hear. That is, they believe that what they hear is being broadcast at that time.

     

    * * *
     

    Alice, I tell Cam, never made an issue of truths. You know? I mean, facts were matters of–I don’t know–matters of discipline.

     

    Yes? Yes, I think I know: if you stay with something long enough–

     

    –that’s right, I say, it solves itself.

     

    * * *
     

    The phone is patched directly through the chair–the hotline, the redline, the quanta, code blue–Radio Free Alice always answers, never takes requests.

     

    * * *
     

    I trace the cut of Cam’s arms and back: bicep, tricep, traps, lats. Do you lift weights? I ask.

     

    Some. I swim mostly and play a little handball. We should play sometime.

     

    We are.

     

    You know what I mean.

     

    I’m not much at sports. I ran in Pamplona: white shirts and slacks, red berets and sashes, like little targets darting across immovable objects…or were they irresistible forces, the angry bulls? The one casualty when I was there: an American soldier.

     

    She turns over, I drum my fingertips along her collar bones.

     

    These are my favorite part, she says, do you know what they’re called.

     

    Leaping virginals, I tell her.

     

    What? No, dopey, the clavicle.

     

    I know, I say, but I always think of music: the clavicembalo. The parts that hit the strings in a harpsichord are called leaping virginals.

     

    No they aren’t.

     

    Nevermind then, I defer.

     

    She pulls me toward her. Let’s make love again, darling.

     

    And with Radio Free Alice crescendo, war-blue screen washing over us, Cam’s teeth sink in my neck, humming to go slow, honey, go slow.

     

    * * *
     

    FREQUENCY SWING IS NOT THE DIFFERENCE BETWEEN THE MAXIMUM AND THE MINIMUM VALUES OF INSTANTANEOUS FREQUENCY IN A SIGNAL, BUT A DANCE. DOWN ON YOUR HEELS, UP ON YOUR TOES, STAY AFTER SCHOOL, LEARN HOW IT GOES

     

    The chair, the nurse, the turntables, the phone, all do the Charleston: the Varsity Rag, the Chastity Drag.

     

    * * *
     

    Cam still has on her white bobby socks. I couldn’t get her to wear the oxfords to bed and it’s just as well now, since she’s kicking to get the socks off. It’s that schoolgirl look for the physicist who does his best work in strip clubs:

     

    “Don’t you want something left to the imagination?”

     

    “Good Christ, what do you think pubic hair is for?”

     

    * * *
     

    FREQUENCY MODULATION, whispers Radio Free Alice, ISN’T HOW OFTEN YOU GET LAID. IT’S A CONTROL YOU CAN’T EVEN SEE, MAKES YOUR EYES BIGGER THAN YOUR STOMACH.

     

    * * *
     

    Cam asleep, I walk around her apartment quiet and cold. The war flickers silently, Radio Free Alice: white noise; Doppler sirens and Mars lights–red and blue–pull me to the window. Ice crystals have formed along the inside edge and I press my thum bprint into the facets. Shiver. If I listen hard I can hear Cam talking in her sleep.

     

    end

     

  • The Book of Myst in the Late Age of Print

     

    Steven Jones

    Department of English
    Loyola University Chicago
    sjones1@luc.edu

    MYST is a registered trademark of Cyan, Inc.

     

    The Myst Age

     

    My point of departure is the fact that the 1993 Broderbund-Cyan CD-ROM game Myst has sold an estimated two million copies to date, making it among the most widely experienced hypernarratives (if not, strictly speaking, hypertexts) in our time.1 Only the Web as a whole has allowed more users to follow more forking paths to unexpected if not indeterminate ends. Even if we grant the phenomenological differences between a literally textual and a graphical environment, theorists of hypertext would do well to pay attention to Myst and what it reveals about the place of the Book at this late moment in the history of print culture. When the stand-alone CD-ROM game is situated in the context of cultural production (in this case, materially, the publishing enterprise), the world-making impulse figured in the very structure of the game, as successive or parallel “ages” or technological regimes, tellingly gives way to messier arrangements in the social nexus–extraneous networks, intertexts, contradictory modes of production, overlapping markets of users, hybrid notions of genre, sparse or tangled, end-less webs of provisional links. Myst and its production makes a text worth reading, in part because of the way it reminds us of what we know but are continually tempted to forget: that no text–much less hypertext–is an island.

     

    Despite its graphical interface and its being marketed as a virtual reality game, Myst is fundamentally a hypertext product. It was developed in the early, quintessentially hypertextual software, HyperCard,2 and one navigates the spaces of the game by clicking through successive cards in a series of stacks; it’s just that the cards contain images rather than verbal lexias. Besides, as others have noted, Myst has deep (sub)cultural roots in command-line games like Adventure and Zork, with their virtual environments the player manipulates by way of raw text.3 ASCII commands–turn left; open trapdoor; pick up torch–are replaced in Myst and its species of game with mouse clicks through a lushly rendered series of images (over 2500 in this case). In effect, such hypermedia games translate hypertext into pictures. Another way to put it is that they amount to nonverbal renderings of what Michael Joyce once articulated as the ideal hypertext experience, in which “movement” takes place as a series of “yields” to the touch of the hand of the user. 4 In this case, the user’s hand holds a mouse and the onscreen cursor is the familiar tiny-hand icon. Trial and error, experimental wandering, is the only way short of an “external” hint book to learn which objects or paths “yield” to a click. When frustrated or trapped–in the dead-end tunnel of a maze, for example–one is at first tempted (as the documentation warns us) to give in to unproductive “thrashing,” clicking wildly on every possible feature of the scene.

     

    Viewed more positively, this potential for frustration looks like freedom. The lack of directions and paucity of verbal clues in the game are precisely what most reviewers have praised.5 Like stumbling into someone else’s dreamscape or stepping into a quiet surrealist painting, the general opinion runs, this game encourages the suspension of disbelief in one’s freedom to navigate. The paths fork and you must choose, but there is no default motion sweeping you along: you stand still until you click. And since, as the publicity for the product repeatedly makes clear, no one dies in this game–Myst is an antithesis to the maze game Doom–the user tends to relax into the rhythm of aimless wandering, a flâneur without the crowd, strolling, alert and yet dreaming, ready to respond with a forefinger click of focussed attention to any phantasmagoric object or scene. By far the most promising objects, however, those that yield instant transportation to other “ages,” turn out to be the enigmatic, backlit, fetishistic, leatherbound books that are everywhere you turn in this landscape.

     

    From Arthurian narratives to Romantic and Victorian poetry, of course, magic talismanic books have been central devices in the romance-quest tradition, a tradition whose complicated history eventually sweeps up games like Myst. But we can be more precise than this. The books in Myst are clearly self-conscious products of our own Late Age of Print. Their magic is of a historically specific kind, connected to hypertext and what it portends for the aura of the Book and its culture.

     

    In fact, brothers Rand and Robyn Miller, the celebrated creators of Myst, explain their design in terms that will sound familiar (to say the least) to any theorist of hypertext.6 In one interview, for example, Rand reports that the “interactive story design” of the game “went along two paths–the linear and the non-linear.”

     

    The linear was the back story and the history, all those elements that followed a very strict time-line. The non-linear was the design of the worlds and was more like architectural work. Like building a world without the time element at all--a snapshot of an age. Now the struggle was to try to merge the two by revealing some parts of the linear story during the exploration of the non-linear world, while maintaining the explorer's feeling that he/she can go anywhere and do anything they please.7

     

    So described, the celebrated freedom of such game-play, the “non-linear structure” of the user’s constrained choices, exists in a tension with the sense of an ending built in under the game’s surface. On one level, the story flows right to a single site: the subterranean cave of “D’ni” below the island’s central Library. On another level (or played another way), it remains on the surface of the island, free to move in a determinate but unpredictable number of directions. But the alternative levels of narrative are not equal. As Rand Miller sees it, “the end had to pull things back together for one of the several different ending scenarios.” The plot stream that leads inevitably to these endings breaks through the surface of game-play intermittently, like the famous underground river of Coleridge’s Xanadu. The user is, however, always aware of something portentous rumbling just below the surface of the island (partly prompted by the suggestive ambient soundtrack). Like Friday’s footprints in the sand, there are teasing clues and signs of an overarching, providential plot, the mystery in the Myst. Most of the game was designed without a cinematic-style linear storyboard, but the designers did use structural maps and what they refer to as “top-down” flow-charts. As they point out, the subterranean flow of the story was intentionally built into the user’s experience of the landscape; if the designers couldn’t completely constrain the paths taken by users, they could, as Rand Miller says, “gently nudge them, using clues and other information, toward the end.”

     

    Although no user ever has to reach it, of course, the “authorized” endgame of Myst is a conventional narrative denouement with a couple of abbreviated forking paths. The bedrock of Myst Island–as well as the other “ages” or parallel universes to which players can travel–turns out to be a highly overdetermined oedipal story, like that of any number of Fantasy-SF novels. According to Rand Miller, the story developed, which is to say: its “details came to light,” not before but in the midst of designing the game. However, because of the huge commodity success of the CD-ROM, the codex book version–like the novelization of a popular movie derived from a screenplay’s back-story–was published after the game, not as a luridly illustrated paperback in a standard SF trilogy, but as a relatively expensive hardcover ($22.95), by Hyperion Books. As a linked-media publishing event, Myst: The Book of Atrus, makes a fascinating text.

     

    Its glossy boards are covered in photo-faux leather, complete with “water stains,” “scratches” and raised and textured “gilt” corners, and its main title is represented as “stamped” or “burned” into the cover, with its subtitle apparently scribbled beneath with a pen, just above a mandala or rose-window emblem. Inside, the pages are artificially yellowed, the illustrations deliberately primitive pencil or charcoal sketches from the protagonist’s notebook. Clearly, this is a book that means to be a Book–and in as many ways as graphically possible. It is also a book about (magic) books, the story of a patriarchal wizard who possesses a Prospero-like techne that allows him to make worlds by writing them (or perhaps only to open portals to existing, parallel worlds–this is kept unresolved). The same magic allows him (and others) to travel to these worlds (or “ages”) via special “linking books.” A functional prequel, The Book of Atrus ends literally where the game of Myst begins, its first-person Epilogue repeating the Prologue voiceover one hears at the beginning of the game–an “ending…not an ending,” written in the protagonist’s journal, explaining that a lost Myst book dropped into a volcanic fissure earlier in the novel is, in fact, the very same small book that plops down into the darkened, starlit space of your computer screen when you open the game.

     

    By returning recursively to a back-story that actually grew out of their HyperCard experiments in architectural/cyberspatial play, the Cyan design team has self-consciously and literally inscribed a book at the “origin” of their “non-linear” hypernarrative. The hardcover prequel that developed from the game itself is thereby figured as the organic “trunk,” the origin from which the multilinear branches of any user’s game-play must grow:

     

    no branching from the ground up until the first branches. Those first branches are the non-linear part--where the user can start defining where the story goes. (Rand Miller)

     

    Like the character Atrus, the authors of Myst claim to have created worlds by writing a book. But in fact the worlds have a kind of historical priority over the book–they were designed before the novel was written. The installation of the novel as the game’s “prequel” may say something about perceptions of the consumer market for CD-ROM hypernarratives. Having become gods of the new media, heroic garage entrepreneurs, the members of the Myst team still feel the need to be traditional authors. Toward that end they hired David Wingrove, an experienced British writer of Fantasy-SF, as co-author of the prequel. But the interesting questions of collaborative authorship, origins, genres, and intertextual influences surrounding Mystdo not end there.

     

    The Jules Verne Age

     

    The creators of Myst have repeatedly held up one book in particular as the primary textual inspiration for the game: Jules Verne’s The Mysterious Island (1874).8 This classic Victorian SF novel will serve my purposes here, however, not so much as a source, but as a “linking book” through which we can enter the age of nineteenth-century techno-adventure fiction and the literary tradition in general. Verne is an important figure for modern SF and postmodern cyberculture (from the earliest cinema to the fiction of William Gibson), especially as his work exemplifies a gendered subgenre largely constructed in the Victorian period: “boy’s adventure fiction.”9 Within this subgenre, one strain in particular develops out of the “Robinsonnade”–from Defoe’s Robinson Crusoe to The Swiss Family Robinson to Treasure Island–the story of castaways who must fend for themselves, reconstructing western civilization on a primitive desert island.

     

    As Pierre Macherey argued long ago, the significance of Verne’s work lies in the dislocated relationship between the “theme” of “nature conquered”–demonstrated through the image of the island–and the genre of the fantastic narrative (and what happens to this narrative once Verne sets it in motion).10 In the end, the theme of conquest has been called into question in crucial ways; however, along the way, the various adventures often seem mainly excuses to showcase ingenious gadgetry and complicated machines–which are all constructed out of the raw materials of nature, like precocious solutions to difficult engineering-school puzzles. The episodes seem mere pretexts for technical descriptions; bridges, tunnels, ships, gunpowder, metal alloys, pulleys, elevators, windmills, dams, and machines of every sort are designed, built, and then explained in exhaustive detail. The moral of this part of the story would seem to be the inevitability of progress: “From nothing they must supply themselves with everything,” we are told of the castaways. In answer, a shipwrecked sailor cheerfully remarks: “there is always a way of doing everything” (37, 26). Technological conquest is represented by Verne as the better part of a global colonial enterprise:

     

    we will make a little America of this island! we will build towns, we will establish railways, start telegraphs, and one fine day, when it is quite changed, quite put in order and quite civilized, we will go and offer it to the government of the Union. (81)

     

    But as in Myst, there is also in this adventure novel a nagging mystery to be solved. Verne’s castaways discover traces of a presence on the island, which would qualify the terms of their colonization. Increasingly they find signs of an anonymous, paternal, yet invisible hand, which offers provisions and needed equipment, intervenes at moments of crisis, and–significantly–leaves written, textual clues to guide and encourage the colonists. At one crucial moment in the story, the castaways discover barrels of supplies, seemingly washed up on the beach by chance. These include “tools,” “weapons,” “instruments,” “clothes,” “utensils”–and books. The inventory of the books is short, but includes an atlas, dictionaries, and a Bible, as well as three reams of paper and “2 books with blank pages” (186). It is not hard to see these blank books as the tempting tabulae rasa on which Myst was written by the Miller brothers and the Cyan team, books which then become the fetishistic objects that so characterize its graphical interface. But it is the English Bible (inevitably) which becomes the text through which the invisible genius of Verne’s island speaks to the colonists under his secret direction. Upon opening it at random one Sunday evening in a traditional game of prophetic fortune telling, the castaways find a passage marked with a penciled cross: “For every one that asketh receiveth; and he that seeketh findeth” (188).

     

    The hidden author who annotates and then plants the inscribed Bible for the colonists to “discover” turns out to be Captain Nemo, a Byronic, oriental (anti)hero. A defeated Indian rebel leader, Nemo is a political actor turned Frankensteinian loner, and his authority complicates the theme of progress and adventure. We know him from the earlier Verne book, Twenty Thousand Leagues Under the Sea, as Verne’s internal self-references in this book pointedly remind us. Nemo is the authorial voice and presence behind the novel’s back-story. As his name in reverse indicates, he is the “omen” of meaning revealed in the island’s encyclopedic Book of Nature–not to mention in the sacred Book itself. But he is also an enlightened savant, an inventor of futuristic devices, a kind of techno-wizard and maker of worlds. He has constructed a little self-sufficient world under the sea–his submarine the Nautilus, complete with its Victorian library, electric lighting, and pipe organ–as well as a subaqueous and subterranean cavern in which the colonists finally discover him. This climactic setting obviously inspired the endgame of Myst, in which the user is granted a “face to face” encounter with the creator and genius of Myst Island, Atrus, found writing in a book in his underground cave directly beneath the central Library. There, users finally learn the master narrative behind all the techno-puzzles they have been solving and the floating linking-books they have been following to and from the other linked “ages.”

     

    Like the ending of Verne’s novel, which stands as a kind of contradiction to the progress and conquest themes of the book, this ending of Myst comes as something of an anticlimax. To some users it seems entirely irrelevant to the “real point” of the game: the multilinear, nomadic wandering in the mist-shrouded landscape, which can take different paths with each new round of play, sometimes stretching over the course of months. But the persistence of the typical computer gamer’s yardstick–the estimated number of hours it takes to “solve” or complete the game–in online reviews and discussions reminds us that the spine of the back-story is not exactly beside the point for all users, perhaps even for those who favor a less linear style. Deferring the endgame can become a game strategy in itself, a strategy of more or less conscious resistance. Just as in The Mysterious Island, in Myst there is a basic narrative tension–reminiscent of the Russian Formalists’ famous distinction between fabula and sjuzhet11 between following the multiply-forking paths of the interactive puzzles, and following the linking-books to different worlds and “solving” the linear (if slightly forking) back-story mystery, thereby winning the game. The poet Robert Pinsky describes the urge to explore in Myst and related games in terms of active resistance to “a kind of authorial tyranny:”

     

    the reader-user applies herself to see the text expand. This is the opposite of cant about the "freedom" readers have when dealing with interactive texts; it is the freedom of the detective trying to solve a crime, or the captive trying to escape... (26).

     

    In fact, this is congruent with the tendentious conclusion of Verne’s novel, which carries over into the computer game it inspired, whether or not its designers fully intended it: it is Nemo’s strong-willed agency that makes sense of–or, depending on your point of view, displaces, determines, and thus renders meaningless–the castaways’ collective agency. Their ad hoc interactions with the environment are, we discover, always already part of a master narrative; all things work together toward a coherent end, directed, finally, by the “authorial” intentions of a solipsistic romantic genius, who takes his island down with him in the closing pages. Given that Verne is so often cited as the primary inspiration for Myst, a connection borne put by numerous allusions to, parallels with, and translations from the novel in the game, the Miller brothers’ shift in roles–from game programmers, to hardcover authors, to, it may yet turn out, film auteurs (or at least screenwriters)–follows a certain generic logic. As Robyn Miller explained in a recent online forum, referring to the team’s ongoing work on the sequel game, “Myst II“: “sometimes we wish we didn’t have to deal with the headaches of a non-linear story. It is by far our largest obstacle in creating a story that is as powerful as a movie or a good book.”12

     

    On the morning of the 20th of April began the "metallic period," as the reporter called it in his notes....

    At last, on the 5th of May, the metallic period ended, the smiths returned to the Chimneys, and new work would soon authorize them to take a fresh title.

    The Mysterious Island (113, 116)

     

    In Myst, the linear narrative of progress toward a determined end is also ambivalently figured in the basic structural division of the “worlds” of the game into “ages,” allowing players to travel synchronically among different technological periods: “The Channelwood Age,” “The Mechanical Age,” and so on. No clear or unequivocal evolutionary story obtains in these time-space worlds, no march of progress from Bronze to Iron to Electrical. In keeping with the Victorian ambiance of Verne’s fiction, crudely wired electricity, steam power, and noisy hydraulics dominate the game, and technological regimes are mixed promiscuously: a streamlined 1920s rocketship (reminiscent of Verne’s From the Earth to the Moon as well as the Millers’ earlier children’s game, Cosmic Osmo) is docked on the shore near trees and an electrical tower with a large breaker switch, for example, and a hydraulic elevator takes one up inside a giant pine tree. The connection between “making progress” toward the endgame and the theme of technological progress through a series of successive “ages” is hard to simply dismiss. Against this imperative, as it were, the wanderings of the typical player take place in a temporal-spatial gamezone, where technological history is suspended or frozen, so that the “ages” of the game exist as if in a synchronous cabinet of techno-curiosities, surrealistically stationed around in the time-space landscape. Compare this description by Verne of his colonists’ first vision of Captain Nemo’s room, connected to the library onboard the Nautilus:

     

    An immense saloon--a sort of museum, in which were heaped up, with all the treasures of the mineral world, works of art, marvels of industry--appeared before the eyes of the colonists, who almost thought themselves transported into a land of enchantment. (The Mysterious Island, 459)

     

    The Diamond Age

     

    Another recent treatment, but with added Pynchonesque irony, of this idea of the synchronous technology museum lies at the center of Neal Stephenson’s SF novel, The Diamond Age. Here, however, the anachronism is theorized as a future society in which class–or neotribal “phyle”–determines the level of technological society at which one lives. Different ages in isolated coexistence, in a messy pastiche of cultural landscapes apparently modeled in part on mid-twentieth-century Shanghai, different phyles living within walled “[en]claves.” Unevenly applied nanotechnology has rendered everything a question of one’s phyle and its relative access to the “means of production” in a radically literal sense–the molecular “Feed” tubes through which nanotech compilers receive their universal raw material. The Diamond Age commences the instant diamonds become cheaper to “compile” than glass. Out in the distant territories, saboteurs’ fires smolder and a radical alternative to the hierarchical Feed (the Seed) is developing underground among secret hacker societies or “Cryptnet nodes.” But at the very top of this world, high on the mountaintop, is the Neo-Victorian ‘clave, with its tolling cathedral bells and the nano-Diamond Palace of Source Victoria, where the Feed originates, just as the Victorian technological empire originated at the famous Crystal Palace exhibition of 1851.

     

    This dys/utopian future sometimes seems to be merely the infrastructural setting for Stephenson’s exploration of the possibilities of hypertext. The subtitle of the novel: Or, A Young Lady’s Illustrated Primer, names the “book” at the center of this book, an object that looks exactly like a dusty leatherbound volume but contains the latest high-nanotech “rod logic” computers. Commissioned by a Neo-Victorian aristocrat as an educational gift for his daughter, the Primer eventually ends up by chance in the hands of a young “Thete,” a tribeless girl. The rest is an ironically Dickensian plot of changing fortunes and great expectations, except that the young girl (named “Nell” in a parody of the notoriously sentimental Dickens heroine) becomes a highly skilled ninja warrior and revolutionary princess leading a mass march of liberated orphan girls. This surprising twist comes about through her complicated interactions with the Primer, which becomes for her not only a book, but an educational computer, a nanny, a series of multimedia puzzle/adventure games, and a kind of magical amulet.

     

    All of this makes The Diamond Age sound like a computer game folded into a novel–which in a sense it is. Stephenson is a former physics and geography major and something of a programmer, an author whose work is helping to define the permeable fractal border between cybergames and SF literature. His 1992 book Snow Crash, according to its acknowledgments, began as a collaborative effort to build a “computer-generated graphic novel” and–no surprise–will soon be a CD-ROM game; large portions of The Diamond Age take place as extended narrative transcriptions (set in a contrasting, typewriter-like font) of sword-and-sorcerer games played by Nell.13 Within the fiction, the Primer provides Nell with a graphical user interface and high degree of interactivity for what are basically hypernarrative VR adventures, generically like advanced versions of Myst, but with more arcade-style “action” at crucial moments in the sometimes violent plot.

     

    Besides the shared game-play milieu, The Diamond Age shares with Myst a Hitchcockian “MacGuffin,” a central plot device and fetishistic object, a very bookish hyperbook. What Nell comes to understand late in the story is that, for all its advanced computer power, the Primer is basically a highly complex “ractive,” that is an interactive (rather than passive) multimedia work: “a conduit, a technological system that mediated between Nell and some human being who really loved her” (366). This recognition involves for Nell the beginning of a personal quest for her surrogate mother, the skilled bohemian ractor Miranda, who has been hired to perform online interactions through the Primer since Nell’s troubled girlhood. But this idealization of motherhood and the Primer is only part of its story. The Primer is the product of the engineer Hackworth’s invention and programming code, his self-divided mind (he is, after all, a Neo-Victorian and a born hacker, as his name indicates) in which both the hierarchical Feed and distributed Seed technologies overlap. Like any computer product, the Primer is the collaborative result of Hackworth’s design team and the uncountable subprograms they have built into its processors. Moreover, the Primer is designed to “bond” with it primary owner; once it falls into her hands, it alters itself in numerous, unpredictably chaotic ways, mapping its narratives onto Nell’s “psychological terrain” (94) as that terrain is in turn redrawn by her repeated multilinear readings and adventures. It is not a book at all, really, but a highly porous hypertextual node at the center of a messy web of multiple, cyborganic intentions, human agency, technology, and raw chance–a figure for the networked social nexus itself.

     

    Thinking through Stephenson’s figure of the Primer can help us to see how Myst, a kind of hypernarrative prototype for such possible worlds, also exists outside the boundaries of its own CD-ROM or novelization–or, for that matter, any future film adaptation. It is shaped by but finally operates outside the complete control of its authors’ intentions, whether expressed as the authorized back-story or in the web of prequels, sequels, walk-through Web pages, official strategy guides and pirated hint books, in a great many genres that have or may continue to be spun off the game’s possibilities.

     

    The Late Age of Print

     

    Stephenson’s relatively unstable vision of Neo-Victorianism appeared at a moment when “Victorian values” were being promoted by conservatives like the historian Gertrude Himmelfarb and the historian-politician Newt Gingrich as an alternative to cultural relativism.14 At roughly the same time, in a very different sphere, the cult of “steampunk” SF, best represented in Gibson and Sterling’s The Difference Engine, was resuscitating nineteenth-century “dead tech” in a mixed gesture of ironic appropriation and deep-seated nostalgia. The Vernean steam engines, mechanical cogs, hydraulics, and overhead wiring all around Myst Island are examples of a continuing, widespread fascination with Victoriana in many fin-de-siecle representations of technology in our time. The traditional technology of the printing press and codex book is only one more example of this general (re)turn to the dominant images of high industrialism in the search for links to our own possible futures.

     

    But the Book is a particularly loaded figure–arguably the figure of figures–for this anxious longing. The present essayistic journey across several parallel genres has been intended in part to remind us that, despite recent jeremiads and prophecies, it remains profoundly true that, as Maurice Blanchot once put it, “Culture is linked to the book.”

     

    The book as repository and receptacle of knowledge is identified with knowledge. The book is not only the book that sits in libraries--that labyrinth in which all combinations of forms, words and letters are rolled up in volumes. The book is the Book. (145-46)

     

    While it may well be, as J. David Bolter has argued, that “the printed book…seems destined to move to the margin of our literate culture” (2), one would never know it from these recent works in and about hypertext. Perhaps, however, what we need to pay closer attention to is the very prominence of the Book at the heart of emergent cyberculture, especially in the form of an etherial digitized image, amulet, and fetishized object–and (in Stephenson) a parodic simulated “book” that is really a material node within a vast and chaotic, socially distributed network. This flamboyant curtain call of the Book in these different cultural productions of the Late Age of Print surely signals a deeper anxiety, a sense of the impending absence of the material book as an object of cultural significance in the face of increasing hypertextual play.

     

    Notes

     

    1. According to an e-mail reply from Cyan, Inc., 17 April 1996. (My thanks to Cyan for permission to use the two MYST images included in this article.)

     

    2. HyperCard’s role in the early commercial shipping and implementation of hypertext is by now legendary. Significantly, Apple once mounted testimonials on the product by the Miller brothers (“we love it”).

     

    3. See Robert Pinsky, “The Muse in the Machine: Or, the Poetics of Zork,” pp. 3, 26. Zork is now available in a multimedia CD-ROM version. The general historical connection between command-line VR games and hypertext is noted and helpfully contextualized by Benjamin Woolley in his Virtual Worlds, pp. 152-65.

     

    4. See the reprinted introductory document for Joyce’s hypertext fiction, Afternoon, a Story: “Artists’ Statements–Giving Way(s) before the Touch,” in Of Two Minds, pp. 185-87.

     

    5. One representative review, by John and Michael Veronneau, in the online newsletter, Big Blue & Cousins, May 1995, praises the game in terms that connect hypernarrative peace and freedom with unsolved mystery. A “non-confrontational” ambiance, the reviewers suggest, “lends itself to the peaceful and leisurely exploration of the unknown and the enigmatic” (Review). Another brief report on the game by Wendy Anson, “Intermedia ’95,” PMC 5.95 (May 1995), notes more critically the parallel between this specular “freedom” and Benjamin’s capitalist wanderer caught up in the commodity system, the flâneur (paragr. 27-29)–a suggestive allusion I repeat in the paragraph that follows above. (PMC 5.3: May, 1995). Even though the Myst CD-ROM is for the home computer, it is hard not to notice that, in this context, “arcade game” takes on a whole new meaning.

     

    6. A key intervention in the discussion of hypertext as either dialectical or bi-axial is Stuart Moulthrop’s “Rhizome and Resistance,” which critiques the simple application of Deleuze and Guattari’s distinction between “smooth” and “striated” to the space of hypertext.

     

    7. Gloria Stern, interview with Rand Miller, ( “Through the Myst” ). Comments by Rand Miller are from this interview unless otherwise noted.

     

    8. For example, in Jon Carroll, “Guerrillas in the Myst,” Wired (August 1994), 69-73 (71).

     

    9. The subgenre has been consolidated in this century by the publishing industry, and its works are often found in mid-priced glossy hardcover series, lavishly illustrated–by N. C. Wyeth, in particular. Robyn Miller, in an interview printed as an appendix to MYST: The Official Strategy Guide, not only names Verne as a primary source but remarks that eighteenth- and nineteenth-century adventure fiction is his “favorite” genre: “like Treasure Island and things kids used to like. The spirit of adventure” (170). Though Miller’s “kids” sound gender-neutral, such fiction has traditionally been aimed at boys, and Verne’s island, in particular, is an idealized homosocial boys’ club. There is not a single woman character in the large cast of the novel, but this proved to be only a temporary obstacle for Hollywood. The screenplay for the 1961 movie simply wrote in several female castaways in technicolor dresses, who wash up on the shore at the right moment. In Myst, the elusive Catherine is the one main character in the family romance never visually represented in the game. Advance publicity suggests that Catherine will be the “star” of Myst II. After the present essay was essentially completed, the second hardcover book based on the back-story of the game appeared–Myst: The Book of Ti’ana–with a woman as its central character.

     

    10. A Theory of Literary Production, 159-248. Macherey’s readings of The Mysterious Island have influenced a number of interpretations in the present essay, beginning with his treatment of the problem of origins and of the troubled relationship between the colonists’ agency and Nemo’s prior agency as “the secret stage-manager” of the highly artificial island (219-222).

     

    11. “Fable” and “subject,” or “story” and “discourse,” are binaries in the High Structuralist tradition. It is no accident that they are particularly applicable (pace Tzvetan Todorov, for example) to detective fiction, where secrecy and a concealed plotline drives the surface plot. But see Barbara Herrnstein Smith, “Afterthoughts on Narrative,” Critical Inquiry (Autumn 1980), 213-36, for a corrective reminder that every narrative is “a social transaction,” and that “deep-plot structures” are not given but are always already “constructed,” produced by some particular readers in specific historical and cultural circumstances (218-19). Even a back-story “fable” is a version among possible versions of a given narrative.

    12. Transcript of Robyn Miller in an online conference, 19 December 1995 ( Mystique ). On the codex Book of Atrus as a deliberately linear, physical alternative to the nonlinear, indeterminate game world, see Kyle Shannon’s 1995 interview with the Millers.

     

    13. Stuart Moulthrop, “Deuteronomy Comix” (review of Snow Crash), PMC 3.2 (January, 1993), speculates that Snow Crash may have been designed as a hypertext (paragr. 20). Moulthrop’s review raises a number of relevant questions for the present essay, including bibliocentrism in Stephenson’s work to that point (PMC Review 1.193). A I write (late 1996), Viacom New Media is advertising a projected CD-ROM game, Snow Crash, which will contain four possible “endings.”

     

    14. Himmelfarb’s book, The De-Moralization of Society, is the primary inspiration for Gingrich’s fetishization of Victorian values. For a review that uses Stephenson’s to critique Gingrich’s and Himmelfarb’s Neo-Victorianism, see Stefanie Syman’s “Victorians Lost in Space” (FEED, 17 May 1995). The Millers have agreed that a longing for history and tradition may lie behind their conception of Myst. (Kyle Shannon interview).

     

    Works Cited

     

    • Anson, Wendy. “Intermedia ’95.” Postmodern Culture 5.95 (May 1995), rev. 3.595.
    • Barba, Rick and Rusel DeMaria. MYST: The Official Strategy Guide. Rocklin, CA: Prima Publishing, 1995.
    • Blanchot, Maurice. “The Absence of the Book.” The Gaze of Orpheus and Other Essays. Trans. Lydia Davis. Barrytown, NY: Station Hill Press, 1981, pp. 145-60.
    • Bolter, Jay David. Writing Space: The Computer, Hypertext, and the History of Writing. Hillsdale, NJ: Lawrence Erlbaum and Associates, 1991.
    • Carroll, Jon. “Guerillas in the Myst.” Wired August 1994, 69-73.
    • Gibson, William and Bruce Sterling. The Difference Engine. New York: Bantam, 1991.
    • Goldberg, Michael. “Breaking the Code with Neal Stephenson” (interview). Addicted To Noise, 1.07 (July 1995). http://www.addict.com/ATN/issues/1.07/Features/Neal_Stephenson/index.html.
    • Himmelfarb, Gertrude. The De-Moralization of Society: From Victorian Virtues to Modern Values. New York: Knopf, 1995.
    • Joyce, Michael. Of Two Minds: Hypertext Pedagogy and Poetics. Ann Arbor: University of Michigan Press, 1995.
    • Landow, George P. Myst Notes. http://www.stg.brown.edu/projects/hypertext/landow/111/MdWeb/MNMyst1.html
    • Macherey, Pierre. A Theory of Literary Production. London and New York: Routledge, 1978 (chapter on Verne written 1966).
    • Miller, Rand and Robyn Miller, with David Wingrove. Myst: The Book of Atrus. New York: Hyperion, 1995.
    • Miller, Rand and David Wingrove. Myst: the Book of Ti’Ana. Cyan, Inc., 1996.
    • Miller, Robyn. Compuserve chat session transcript, 19 December 1995, Mystique. http://www.bekkoame.or.jp/~mystique/ConferenceScript.html
    • Moulthrop, Stuart. “Rhizome and Resistance: Hypertext and the Dreams of a New Culture.” In Hyper/Text/Theory. Ed. George P. Landow. Baltimore and London: Johns Hopkins University Press, 1994. 299-319.
    • Moulthrop, Stuart. “Deuteronomy Comix.” Postmodern Culture 3.2 (January 1993), rev. 1.193 (Review of Neal Stephenson’s Snow Crash.)
    • Myst. Broderbund and Cyan, Inc. (CD-ROM), 1993.
    • Pinsky, Robert. “The Muse in the Machine: Or, The Poetics of Zork.” New York Times Book Review (199x), 3-26.
    • Shannon, Kyle. Interview with Millers/review of Myst, Urban Desires 1.7 (Nov./Dec. 1995). http://desires.com/1.7/Toys/Myst/Docs/tocrrk.html
    • Smith, Barbara Herrnstein. “Afterthoughts on Narrative.” Critical Inquiry (Autumn 1980), 213-36.
    • Stephenson, Neal. The Diamond Age; or, The Young Lady’s Illustrated Primer. New York: Bantam, 1995.
    • Stephenson, Neal. Snow Crash. New York: Bantam, 1992.
    • Stern, Gloria. “Through the Myst–Another World.” World Village Gamer’s Zone interview with Rand Miller. http://www.worldvillage.com/wv/gamezone/html/reviews/myst.htm
    • Syman, Stefanie. “Victorians Lost in Space.” FEED Magazine, 17 May 1995. http://www.feedmag.com/95.05syman1.html
    • Verne, Jules. The Mysterious Island. New York: NAL/Signet, 1986.
    • Veronneau, John and Michael. Review of “Myst.” Big Blue & Cousins Newsletter 12.5 (May 1995). http://www.bbc.org/~bigblue/may95nl.htm
    • Woolley, Benjamin. Virtual Worlds. Harmondsworth, U.K.: Penguin Books, 1992.

     

  • Bodily Mut(il)ation: Enscribing Lesbian Desire1

    Penelope Engelbrecht

    Women’s Studies
    DePaul University
    pengelbr@wppost.depaul.edu

     

    What do lesbians really want? Animated by an axiomatic awareness that the personal is political, lesbian thinkers in the 80’s and 90’s have extrapolated an astonishing variety of ideologies, theories, and praxes, individually manifesting implicit and explicit longings for everything from better sex toys and babies and domestic partnership benefits to better medical research on women’s health and out tv sit-com characters and radical post-feminist phenomenology. Desire per se has been a hot topic.

     

    Striving to clarify what’s crucial to my lesbian reality, to articulate my desire in and of lesbian theory, I myself have defined lesbian Desire, but I am not yet, and may never be, entirely satisfied by (any) theory of Desire.2 For me, this inconclusion, which is not unlike philosopher Jacques Derrida’s conception of différance, partially characterizes lesbian Desire.3 To describe just one way that lesbian Desire operates in literary texts entails teasing (a) theory directly from the texts themselves, and I do seek to connect–at least in theory–the often divergent realities of (lesbian) words and deeds, coincidentally suggesting some ways we lesbians enact our Desire(s) in the world. The textuality of the lesbian body, the diverse texts of fictional and/or corporeal lesbian bodies, even the writing of lesbian erotica are all at issue here.

     

    In common parlance, “desire” refers to a physiological condition, an affective state, a bodily urge; however, our desires are not simply sensual. I have already argued that I perceive lesbian Desire as an inter/active mode which mediates two synonymous but operatively distinct, performative terms of relation, the lesbian Subject and the lesbian Other/Self. As two lesbians enact these roles, the to and fro of their mutual/ized lesbian Desire(s) emerges as fundamentally mutable, its very essence active mutation, change, motile transformation on the textual (and material) plane(s).4 This Brossardian–not quite Lacanian–Desire paradoxically does (not) anticipate failure in its perpetual inconclusiveness, even as it animates jouissance.5 In other words, my lesbian Desire does not anticipate exhaustion.

     

    Moving to theorize the ENscription of Desire–that is, the simultaneously textual and material, literary and physical writing of Desire–a classical semiotic problem arises.6 How can any presumably precise word or fixed sign (re)present this active Desire, which by my own definition denotes that which eludes concreteness or permanence? French feminist thinker Hélène Cixous might describe my pursuit of those signs by which lesbians have enscribed (a) textual, sexual Desire as a sextual activity, yet this verbal portmanteau reiterates the entangled semiotic collusion that I am interrogating here. In its susceptibility to analysis, to deconstruction, no text may be trusted as a repository of stable truth (see note 3). Indeed, one may slip, à la Freud, and pronounce an accidental truth: our words do not always say what we mean, nor mean what we intend to say. Consequently, an exacting consideration of signs (i.e., words) must take into account différance, must note the semiotic differences, the distinctions, the deferred meanings, and the reinforced lack of conventional, conclusive understanding. Where lies the lesbian corpus, the textual body of this différance? Touching upon this “sext” may partially sate my lesbian Desire to know an/other in words, may site a transmaterial zone open to my interpretation.

     

    In the erotic texts examined here, the literary and the material planes are closely allied, even co-identified–as when erotica courts and attains a gratified reader response. Or, as Alice Parker has written of Nicole Brossard’s works, “Not the least of the pleasures in store for those who are willing to take the ‘trouble’ to decipher [the] texts is an erotics of reading and of writing. The desiring text becomes a desire for the text” (308). Since all textuality comprises the situation and interpretation of signs,7 we may approach the specific matter of lesbian sexual Desire by asking what writing of lesbians-Desiring exhibits the most blatant reliance on (a) semiotic context. Where does one observe lesbian Desire literally enscribed in/by material, corporeal signs? In erotic texts of the mutable lesbian body–in writings about physically altered lesbian bodies, and especially those of mastectomy survivors–we may read the signs (of différance) that, in conclusion, I have termed the “un/marks” of lesbian Desire.8 Through the textual analyses, we may in/deed touch upon the (polymorphous) mutability and “disjunctive ‘coming together’” of lesbian Desire.

     

    Where, then, are the signs of Desire most vividly, even lividly displayed? The erotica of lesbian sado-masochism lunges into view, for in the s/m context, labile bodies comprise the very material, substantive sites for/of visible signs of (consensual) violence. Consider this abbreviated passage from “The Finishing School,” in Pat Califia’s Macho Sluts in which Berenice (Burn-nice?) is proffering one lesson in Clarissa’s s/m education:

     

    Thus far, she had inflicted moderate pain and reddened the skin until it was warm and slightly swollen to the touch, but she had not bruised it. She was not in the habit of marking Clarissa...[but] Clarissa coveted the welts...and often reproached Berenice for withholding them. (70)

     

    One might expect Califia to launch directly into a description of the caning Berenice will deliver, but instead she interjects an emotional explanation of their interaction: “the love between them was genuine” (70). Such a mediating love corresponds to–but might not constitute nor exceed–lesbian Desire.

     

    Only after this affective contextualization does Califia’s text progress to the actual whipping, the inscribing of Clarissa’s marks. In the common language of lesbian s/m, these welts and bruises signify not only the visual evidence of Clarissa and Berenice’s loving relationship, but also the dynamic of their power relationship: the marks identify Clarissa as the loving and the beloved submissive.9 Complementarily, her marks indirectly identify Berenice as dominant, as Actor, as the author and authority who writes her Desire upon the body of the submissive. Berenice is clearly a Subject, and Clarissa seems to occupy the (phallogocentric) position of objectified Other in this binary opposition–Clarissa herself, her body, transformed into Berenice’s text.10

     

    But three specific conditions belie this construction. Foremost, as in all proper s/m scenes, the presumably submissive bottom possesses the power of an ultimate sign, a cryptic, scene-terminating safe word. Were Clarissa merely to pronounce this previously agreed-upon signal (typically some non-sexual yet memorable word, such as “rutabagas”), the dominant Berenice would perforce immediately desist from whichever intolerable acts she was performing. Clarissa has not surrendered the potential of control so much as deferred the exercise of it. Subsequently, Berenice concludes the beating and undertakes Clarissa’s sexual satisfaction–and although “Clarissa babbled pleas for forgiveness and release,” her “whole body begged for more” (Califia 71). In the obliging fulfillment of Clarissa’s concrete demand, via sexual if not entire “release,” Berenice is revealed as only one of two Subjects in the INTER/action, apparently contradicting the s/m objectification construct. Finally, perhaps most importantly, Berenice may wield the cane, the pen with which she writes contusions upon Clarissa’s backside, but Clarissa’s body writes these signs. When struck, the body bleeds within, that blood coloring the skin, that discoloration effecting the bruise, which is the sign. The two women jointly author this bodily text; the emblematic s/m text cannot exist without the co-operation of these two Subjects acting in concert.

     

    Hence, lesbian s/m cannot be conclusively circumscribed as a dangerous and perverse mimicry of oppressive, violent hetero-sex, as Julia Penelope, among others, has claimed (see Call 113-131). The presumed s/m power-exchange is a dramatic artifice, a mere construct. Although Elizabeth Meese has remarked that “how the self-defining capacity and the interior imagination free themselves from phallocentric control is not clear,” she has also pointed out that “the moment of desire (the moment when the writer most clearly installs herself in her writing) becomes a refusal of mastery” (Crossing 122/1). The arguably painful text of the lesbian masochist’s bruised body nevertheless signifies consensual lesbian Desire because she has chosen to submit. Her pain constrains, construes her pleasure. In this context, lesbian s/m activity literally embodies the mutability of lesbian Desire and renders the signs of différance. Those bruises write Desire as they appear and fade: the skin enacts, enscribes mutation.

     

    Contrary to the views of those who share Julia Penelope’s precise disapproval of it, politically incorrect lesbian s/m might be thought to reconstruct the word violence, which etymologically denotes “the making of a way, a path,” but not necessarily an enforced phallic or politically suspect path.11 A critical distinction between this consensual lesbian s/m neo-violence and the violences that many lesbian/feminists associate with hetero-sex generally–and perhaps with gay male s/m–devolves from the absence of an ostensibly natural master, as these lesbians refuse compulsory penetration by the male subject.12 The lesbian masochist chooses her momentary, even fictive mistress: amusingly ambivalent, this feminization of “master.” The lesbian sadist is, like her, a lesbian Subject and her equal. Neither s/m role is absolute or essential; one may choose to enact either role, at different moments. To amplify this distinctly lesbian s/m dynamic, consider the self-empowered lesbian Subject as exemplified in “The Succubus,” by Jess Wells. In this short story, a lesbian’s (violent) Desire manifests itself in real bruises, love-bites and other signs rendered by an invisible lover motivated, hallucinated, and/or animated by the protagonist’s own mind. She sadistically dominates her self which masochistically submits to her self. Whatever she thinks of and Desires, her material body sensorily experiences and visibly textualizes–a bizarre and frightening but highly pleasurable experience!13

     

    Like the celebrated Lesbian Body of Monique Wittig, Wells’ story enscribes a real, if materially implausible, Desire that clarifies the pseudo-oppositional s/m disjunction by collapsing Subject and Other/Self positions into a single, active co-location. In this elision of hierarchical power-over dynamics, the (im)propriety of lesbian s/m begins to look decidedly undecidable, if we forebear to (subjectively, perhaps even sadistically) impose our personal, prohibitive biases on the Desires of others. Yet one might still question the socio-political basis of Wells’ character’s supernatural or psychically configured lesbian self-love. In lesbian “vampirism,” a loaded and persistent hetero-patriarchal tradition at least as archaic as Coleridge’s 200-year-old poem “Christabel,” the lesbian materializes as ghoul, as Succubus (see Case 1-20). The genuinely queer orthodoxy, the sexism and homophobia of such phantasmagorical lesbians are offensive; het/male fantasy here traduces material lesbian praxis, overshadowing it, resituating lesbian women as alien monsters both demonic and seductive, simultaneously dangerous and subject to annihilation. Such textual-cum-theoretical demonization of lesbians is sometimes believed to legitimize real-life queer-bashing.

     

    In fact, the destructive, traditional violence men do perpetrate upon objectified lesbian women does appear in lesbian texts, obviously without any positive aspect or erotic significance in itself, yet furthering discussion of bodily mutilation-as-mutation directly, and of mutable lesbian Desire indirectly. Minnie Bruce Pratt’s poem “Waulking Song: Two” discloses two such events: the rape of her lover, and the after-effects of this attack and its residual marks upon the lesbians’ interaction. These excerpted narrative lines depict the initial assault:

     

    In the summer haze she had gone to work.
    The man with the knife stopped her.
    He shoved her from the door to the straggling hedge.
    He jerked at her shirt and ripped the seams.


    ...


    He raped her and tried to cut her throat. And he did.
    The red of her blood crossed the plaid of her shirt.


    ...


    [Later] She washed the shirt, put it away,
    and looked to see what else was torn (Pratt 18)

     

    Over time, her slashed throat heals; the poem proceeds to delineate how the raped woman reacts anxiously to any tactile connection. Even the touch of her lesbian lover becomes invested with the potential for violence, violation, yet “She feared that I would not touch her, / would not touch, and that I would” (19).14 This ambivalence toward even that touch which signifies love comprises différance. Each touch may become the sign of any touch. Is the loving touch unhappily deferred in the automatic recognition of pain, or is the pain perhaps partially deferred by the Desirable contact? Yes–both at once.

     

    Pratt enscribes the ambiguity of différance with the sign of the scar upon her lover’s throat. This signifying scar represents the unwelcome hetero-patriarchal violence that lodges between them, as it situates the différance that the violence occasioned. The scar that re/presents painful experience functions as a precursory referent and, thus, as a prime signifier of the sign of the touch, informing the touch with unintended ambivalence (18). Indeed, the mark of the scar may also signify a prohibition–a proscription–of touch: a fearful foreclosure of the potential meaning of, or meaning vested in, a touch which might be interpreted as painful, constituting a Subjective refusal to misread the Other/Self’s loving touch (19). The Subject’s partial interruption of mutual lesbian Desire may seem to threaten the Other/Self’s own Subjectivity; at the least, the disruption is provocative. Therefore, Pratt asserts, “I wanted the red mark to peel / off her throat like a band-aid / so she would be herself / without this pain: unscarred, unchanged” (19). Pratt’s poetic Other/Self Desires to erase the painfully red mark of negative change and its referent, the pain, to undo her lover’s mutilation. But as a sign also of a wound healing, the scar signifies the mutation of the mutilation. That is, the mutilation no longer constitutes a purely negative mutilation per se.

     

    Pratt’s poem goes on to outline a process of recognizing this distinction, showing how the lesbian tactile point of contact may be renewed. Lesbian Desire may exist transitionally in or as or via this point of contact.15 Several pages later in her chronological poetic collection, Pratt notes that “It has been three years; the shirt / was mended, not thrown away…I touch her bare arm…Her flesh is solid, not crumbled to dust…Her scar has faded to a thin white line. / I can touch her breast. I can feel her heart beating” (21-2). Their lesbian Desire briefly interrupted did not rupture, was not occluded, still continues. The mutilated victim has become a scarred survivor. The fresh, red scar had signified divisive violence; the old, white scar corresponds specifically to renewed erotic interchange. The lover’s Desire helps to enable this healing–perhaps partly by constructing this polysemous re-investment of the marked lesbian body, through recognizing multiple signs and their meanings, definitions that themselves metamorphose.

     

    The mutable significance of Pratt’s scar resembles the linguistic concept of marked and unmarked adjectives, as Janice Moulton addressed it while dissecting the gender binary, he/she. The unmarked, quasi-generic “he” holds a position of greater positive privilege than the marked “she,” comparable to the positive and negative adjectives “tall” and “short” (219-32). In Pratt’s poem, “scar” changes from a negative, marked sign to an ambivalent, un/marked sign–of différance, I think. The importance of this evaluative referential shift is further exposed in other instances when lesbians have textualized bodily mutilation as neutral or un/marked mutation.16 As Parker has explicated Brossard, “If language structures reality, then transformation, which would occur in and through language, is possible” (309).

     

    The sadly ever-more-common lesbian narratives concerning breast cancer best exemplify the semiotic transformation of mutilation to mutation–and they bespeak a powerful potential to reconfigure negative personal and corporeal perceptions, as well.17 A clear instance develops in Tee Corinne’s story “Vibrator Party,” which delivers both overt erotica and covert social commentary. After double mastectomy surgery, the once sexually exuberant protagonist, Ali, has been stifled by anxious self-inhibition and self-perception of mutilation. Ali resists attending the impending “orgy” because, as she describes herself in the objectifying third-person, “She’s forty-five and missing some of her chest and very self-conscious.” More pointedly still, she adds, “Don’t you understand? I’m afraid I’ll make people sick. I’ll ruin the party just by being there” (80).18 That is, Ali misses, mourns the loss of her breasts, and she fears both peer rejection and her own contagion. Yet it’s the absent, carcinogenic breasts which would infect the party–as a sign of mortality. Perhaps worst of all, for Ali, the breast(s) lost cannot any longer signify Desire, erotic potential.19

     

    Of course, once at the party Ali reacts “normally” to the first nude woman she sees by “star[ing] at [her] ample body, unclothed and unmarked” (83), conceiving herself as negatively marked by the mastectomy scars (of) her missing breasts. But then Ali is shocked when Lena, the hostess, emerges from the hot tub one-breasted and surgically scarred (83). Corinne literally constructs these two women as mirror images, for their twin-like scars run in opposite directions.20 Right there on the sundeck, Ali Desires to touch Lena’s scar, remarking that she’d “never seen anyone else’s” (83), her very wording reminiscent of youthful sexual adventures, of “playing doctor” to access knowledge of bodies. By articulating and then enacting this Desire, her new boldness erasing the mysterious encryption of self-understanding through tactile exposure to an Other/Self, Ali is enabled to shed her own clothes, and Lena traces Ali’s scars in return. In this poignant adult version of “if you show me yours, I’ll show you mine,” the mastectomy scars comprise “private parts” in both euphemistic and moralistic senses; their exposure comprises a significant “transgression.”

     

    All the more significant it is, then, that this thematic node, “the ritual of the touching of the scar,” appears to be standard in lesbian mastectomy narratives. For example, in Zami: A New Spelling of My Name, the late Audre Lorde wrote of her first sexual encounter with reluctant, one-breasted Eudora that

     

    Desire gave me courage, where it had once made me speechless...In the circle of lamplight I looked from her round firm breast with its rosy nipple erect to her scarred chest. The pale keloids of radiation burn lay in the hollow under her shoulder and arm down across her ribs. I raised my eyes and found hers again, speaking a tenderness my mouth had no words yet for. She took my hand and placed it there, squarely, lightly, upon her chest. Our hands fell. I bent and kissed her softly upon the scar... (Zami 166-7)

     

    In Lorde’s text as in Corinne’s, the ritualistic act of touching the mastectomy scar signifies both Desire for and acceptance of the supposedly disgusting “mutilated” lesbian body. For Ali, this acceptance is re-doubled through Lena’s “twinning,” and the scar obtains privilege as a shared markof difference: perhaps only the one-breasted woman can understand the breast-less woman (though we all were breastless girls once). As ever in the modality of lesbian Desire, the corporeal touch, the point-of-contact confirms their semiotic collusion.

     

    We find that the real transgression lies in rejecting alienation, in refusing the asexual isolation hetero-patriarchal society prescribes for “mutilated women” as well as for lesbians. Just so, Lena provides the (inter/active, communal) context in which Ali recuperates her erotic impulse; together, they demonstrate how willing mutual exposure of our most “private parts” can create an affecting, profound bond. When the orgiastic “vibrator party proper” commences, a more subtle thematic node of the mastectomy narrative emerges: a frustrated Ali masturbates, and as she at last approaches the climax, “Lena’s hand caressed her scars” (86). And she comes–as if those scars comprised a reopened semiotic vulva; as if all Ali’s neglected Desire were situated in those (momentarily unread) marks that signify her “lost” breasts. Simply put, as the scars are eroticized, they become the site(s) of, the signs of, lesbian Desire. Paradoxically, when Lena caresses the scars, she caresses the-breasts-that-are-absent, and via her semiotically disjunctive touch, Lena and Ali indeed come together.

     

    This same differential conjunction of material presence-in-absence is clearly reconstructed in another of Audre Lorde’s autobiographical works, The Cancer Journals. Lorde remembers her lover Eudora as “the first woman who totally engaged me in our loving…the night she finally shared the last pain of her mastectomy” (34)–that is, at the moment when the absent breast no longer prohibits lesbian sensuality “by omission,” but (again) presently becomes an active element of Desire. Yet somewhat ironically, after her own mastectomy, Lorde wonders, “What is it like to be making love to a woman and have only one breast brushing against her?” (Cancer 43). She begins to answer this question when she articulates the “new” situation of her surgically altered body:

     

    I looked at the large gentle curve my left breast made under the pajama top, a curve that seemed even larger now that it stood by itself. I looked strange and uneven and peculiar to myself, but somehow, ever so much more myself [than when wearing the foreign prosthesis, which could not] undo that reality, or feel the way my breast had felt, and either I would love my body one-breasted now, or remain forever alien to myself. (Cancer 44)

     

    Lorde may initially define her new asymmetry as visually strange and self-alienating, but her lesbian Desire, manifested as self-love in the last sentence cited, generates self-acceptance. More importantly, Lorde’s exposure of the geometric contrast of the-breast-beside-a-space-where-another-breast-might-have-been has a foreseeable figural/tropic effect: emphasis.21 That space (of the absent breast) magnifies the (present) breast, engrossing its semiotic import as a marker of “the feminine.” Thus, Lorde is“ever so much more [her]self,” a parenthetically one-breasted woman, changed, but not a mutant. She is mutable, Desire-able.

     

    Like Lorde, Adrienne Rich also has written (of such) mutable lesbian Desire–not merely as inconclusive, but as eternally deferred, denied, yet present.22 So to enable here a final, critical coordination of différance, lesbian corporeality, and the textuality of Desire, I turn to Rich’s poem “A Woman Dead in Her Forties.” This poem about breast cancer propounds the mastectomy narrative in a particularly pertinent way, not least because it offers a sensitive, divergent, outside perspective. The poem’s first section presents two key thematic nodes: amid a group of women sunbathing, “…you too have taken off your blouse / but this was not what you wanted: / to show your scarred, deleted torso…You hadn’t thought everyone / would look so perfect / unmutilated” (Rich 53). This initial reticence, like that of Ali in Tee Corinne’s story, not only conveys a genuine concern of surgically altered women, but also constructs the counter-scenario to Lena’s and Ali’s mutual and beneficial self-exposures, for the woman in Rich’s poem evidently anticipated some such mutual opportunity, only to be disappointed in her imperfect physical singularity, left psychologically alone and alienated. Such an experience was “not what [she] wanted”; her Desire remained unfulfilled, virtually negated.23

     

    Rich’s wording alludes to, even parallels, Pratt’s multiple investments of the scar as sign. By replacing her blouse, the woman makes the statement, which Rich italicizes, “There are things I will not share / with everyone” (53). She is a Subject who refuses a one-way and thus impossible social pseudo-interaction of Desire, by refusing to share–or here, to just give up–her most personal, private parts. Referring to that “scarred, deleted torso” as “things,” Rich precludes any potential misunderstanding. A mastectomy does not “delete” a torso. Only an ambivalent marker seems to have been erased. Post-mastectomy, the (“other”) breast remains, with the added signifier of the scar(s), a polysemy which Rich perhaps subconsciously proclaims through the equivocal plural word, “things.” Again, the scar is the mark of a breast.

     

    But these same scars simultaneously refer to absence: they are a peculiar kind of sign, what I specifically term an “un/mark.” The embodied and visible un/mark refers to presence and absence in one stroke, constructing a sort of situated différance, for neither referent can be privileged or chosen as “the Meaning,” while both are always readable. That is, the mastectomy scar asserts the-breast-and-the-absence-of-it simultaneously. The un/mark constitutes an aporia, a sort of black hole of meaning, where all possible meaning is ambiguous and therefore deferred and where all possible meaning is still presently textualized, enscribed. In a sense, this saturated aporia is co-identifiable with (the enscription of) lesbian Desire. Rich’s mortal friend was not a self-identified lesbian per se, yet Rich writes of their love, their “mute [and mutilated] loyalty” as lesbian Desire deferred (see note 23). Rich admits “we never spoke at your deathbed of your death,” graphing yet another site of deferral–love unvoiced, death unrecognized, but nonetheless final (58).

     

    Still, Rich’s echo-like stanzas reiterating the ritual of the touching of the scars most provoke, by writing that weirdly dual reaction, the thrilling, mournful jouissance in and of lesbian Desire: in section one,

     

    I want to touch my fingers
    to where your breasts had been
    but we never did such things (53)

     

    and in section eight,

     

    I would have touched my fingers
    to where your breasts had been
    but we never did such things (58)

     

    As we’ve seen, such a ritualistic lesbian touch might have re-invested the un/mark of the scar with the dual, progressive referents of pain and healing and of mut(il)ation/acceptance; however, in Rich’s elegiac poem, the polysemous touch appears to be perpetually deferred. In life, they “never did such things.” On the contrary: even as it is written, exactly because it is (now) written, Rich textualizes, “embodies” this (im/possible) lesbian Desire. As she writes “longing to touch” she writes the touch, touches the belovéd’s textual body. In these words themselves, the touch is (made) real. Yet, like the undecidability of différance, this certain textual point-of-contact always is but never can be. This, too, is a saturated aporia. The “mute” love Rich has/had for her friend is no more unreal nor less ephemeral after the woman’s death than when it was merely unvoiced. I am mindful of Wittig’s proposition that “what’s written truly exists.” By writing her Desire, Rich enables a disjunctive coming together of lesbian and lost lesbian outside of time: she and her late friend embrace here, on the page, in the inked letters of the Desiring “we.”

     

    This disjunctive coming together elaborates upon the paradox of lesbian jouissance. Not without reason do the exemplary lesbian texts examined here often construe lesbian Desire as a principally erotic mode. By means of Desire, these lesbian writers textualize the body and signify the body itself as a material, indeed sexual, text. Actually, the textual lesbian body constructs a text within a text. Collapsing the distinctions between marks and absent referents, constructing meaningful un/marks, remonstrating that mutilation may or even should be read–or translated–as mutation, with change its very root, the active radical of lesbian Desire operates via the text as the mutable mode and modal referent of lesbian semiotics. Thus, we perpetually revise what is, for a moment, essential.

     

    As an active mode, lesbian Desire does not function ambivalently, despite the paradoxes it evokes. The mut(il)ations of the lesbian body incurred by sado/masochistic, surgical, even assaultive means can only be monologized–marked negatively as mutilation alone–in the absence of Desire, as the opening of Rich’s poem has made most painfully clear in conclusion (53). Lesbian corporeal text and touch devolve from the transforming motivation of intangible mutual Desire: in each, in every succeeding moment, each loving “I” beholds you, lover and belovéd, ever as mutable perfections. That phrase, “mutable perfection,” suggests yet another seeming paradox. Although this Desire in theory is situated in the non-space of transactivity, the Desiring and tactile point-of-contact embodies mutability and informs pseudo-fixed signification, and such a complex of Desire can only be described by the polysemous term “in(con)clusive.”

     

    This lesbian Desire of mine is inclusive of multiple co-operative Subjects, and so, polymorphous; this Desire is not semiotically unstable, but semiotically vital. Like celestial bodies impossibly approaching the speed of light, the faster our Desire rushes toward some mortal terminus, the slower our relative passage toward that ever-more-anticipated-but-never-reached conclusion. A delicious frustration, this inconclusion. In the textual time warp of lesbian Desire, one’s momentary, Subjective pursuit of self-knowledge is endlessly prolonged by the infinite gravity of each Other/Self, the allure of the as-yet-unknown becoming provocative, each Pandoran revelation revising everything that came before. And more is always possible, if we so Desire, if there’s time. In our perpetual (ex)changing, our Desire is ever-fresh. Vive la différance! For always already we enact and enscribe our lesbian Desire as and in the un/mark of the lesbian text, as and in the multiply-meaningful (w)hole of the lesbian corpus. In terms of lesbian Desire, perhaps as always, (lesbian) context is everything. Or, as Nicole Brossard and Elizabeth Meese might conjunctively remark, lesbian Desire writes the lesbian body : writing.

     

    Notes

     

    1. An earlier version of this essay was presented at “Flaunting It: First National Graduate Student Conference on Lesbian and Gay Studies,” University of Wisconsin-Milwaukee, 4/19/91. This later incarnation has benefitted from the insightful critique of three anonymous Postmodern Culture reviewers, and from the critical input of Jennifer F. Ash, William J. Spurlin, and Laura Stempel Mumford–all of whom I thank. Although the essay’s original audience was composed of academics, I’ve tried to keep the essay accessible for lay readers: endnotes explain and/or illustrate the more exotic academic terms.

     

    2. To cite relevant lesbian thinkers and their works guarantees sins of omission. Still, I acknowledge the multifarious influences especially of Jeffner Allen, Dorothy Allison, Gloria Anzaldúa, Susie Bright, Nicole Brossard, Judith Butler, Pat Califia, Lillian Faderman, Diana Fuss, Audre Lorde, Elizabeth Meese, Joan Nestle, Julia Penelope, Minnie Bruce Pratt, Adrienne Rich, and Monique Wittig, each of whom has specifically contributed to my understanding of lesbian Desire. In addition, my theorizing draws on the works of such phallocratic thinkers as Jacques Derrida and Jacques Lacan, most often oppositionally, sometimes appositively, and always informed by astute feminist interlocutors: in particular, Jane Gallop and Elizabeth Grosz (re: Lacan), and Gayatri Spivak (re: Derrida).

     

    For varied further reading on “lesbian Desire,” see Karla Jay’s Lesbian Erotics and Grosz and Probyn’s Sexy Bodies, two recent anthologies. Teresa De Lauretis’ expansive and much-touted theoretical study, The Practice of Love: Lesbian Sexuality and Perverse Desire takes a (to me) troubling sort of “late patriarchal” psychoanalytic tack on the construction of lesbian desire: see Grosz’s critical review in differences 6.2+3, and note 8 below. Also see Grosz’s Volatile Bodies: Toward a Corporeal Feminism, especially. chapter 6, “The Body as Inscriptive Surface.”

     

    3. This French term, différance, combines the idea of difference with that of deferral. In the practice of deconstructive criticism, différance refers to the way we define words (and concepts and objects) not only by identifying their characteristics, but also by noticing absent, disqualifying characteristics. For example, we may decide that a four-legged, fur-covered carnivore with a tail is a “cat” and is not a “dog” by observing the presence of retractable claws and by noting the absence of a bark. Thus, we understand the “meaning” of words partly through identifying pairs of extremes (i.e., binary oppositions). Derrida’s concept of différance further suggests that every word not only “means what it means,” but is also always hinting at (but putting off or deferring) “that which it does (not) mean,” its opposite or negation. To dissever these multiple meanings, or signs, is one way to perform deconstruction.

     

    4. The word “material” is used here in the philosophical sense, to mean “real, concrete; corporeal, physical…” My on-going theoretical project focuses on conjunction(s) of lesbian textuality, subjectivity, corporeality, and culture. A more detailed discussion of the lesbian Subject, the lesbian Other/Self, and lesbian Desire, particularly as distinguished from oppressively “universal” concepts of subject, object, and desire, is developed in my earlier essay “‘Lifting Belly is a Language’: The Postmodern Lesbian Subject,” especially pp. 86, 102ff. Unlike Lacan, for example, I am not pretending to offer the “universal” theory of desire; rather, I am concerned specifically to develop a (not “the”) theory which comprehends lesbian Desire. Hence, I distinguish the “universalizing” usages from my specific usages by capitalizing lesbian “Desire,” etc., as proper nouns.

     

    For various reasons, earlier readers of this essay have voiced concern over whether (or how) my interpretation of “lesbian Desire” verges on some sort of essentialism–a supposed academic heresy. Yet I remain unconvinced of the need for anathematic–even knee-jerk–rejection of so-called essentialism. In discussing “the” (lesbian, corporeal, biologically structured) female body, I deploy a provisional version of essence comparable to that “strategic essentialism” discussed by Spivak (“In a Word. Interview” with Ellen Rooney). So while I am cautious of positing essential categories or concepts, if only because of their potential to universalize personal experience, I also “admit” I am interrogating the possibilities for a theory of lesbian Desire beside(s) or beyond one rigidly captive to (binaristic) anti-essentialism. That is, I am exploring how a lesbian theory might “resolve” the incessant tip-toeing around relativistic, indeterminate, and ultimately immaterial (if not quite nihilistic) High Theory ideas with little bearing on any lesbian “reality.” I want theory that’s not mere academic gobbledy-gook, but that has some relevance to (at least my own) lesbian “real life,” one that might coordinate “common sense” (i.e., a sort of essentialism) with poststructural rationalism.

     

    One more caveat may prove useful here: I cannot express notable interest or expertise in applications of this lesbian theory to hetero-patriarchal relations, which are beyond the scope of this essay, in any case. It is not my task, as a “lesbian theorist,” to make (a) lesbian theory inclusive of hetero-patriarchal ideologies, or to presume to speak “for” straights–or even for gay men. On the contrary, only at this late date in history can a lesbian theory be forwarded in public at all, and I think it’s politically important for straight and other non-lesbian readers to sidestep or minimize or re-examine their hegemonic biases, so as to apprehend this lesbian theory in and of itself, before they seek further rapprochement.

     

    5. Nicole Brossard, a French-Canadian lesbian, has written several important works of lesbian philosophy/theory/fiction (so-called fiction théorique). Her Aerial Letter puts a distinctly lesbian spin on various concepts more closely associated with the late French psychoanalyst Jacques Lacan. Lacanian jouissance, which is considered untranslatable, can be said to carry the duplicit meanings of spiritual ecstasy and sexual ecstasy, of horrible joy, all in one superlative package. Jouissance names the con/fusing experience of joyous laughing which inexplicably dissolves into sorrowful tears. This lesbian Desire which I construe does exhibit some similarities to Lacanian desire (e.g., its paradoxicality), yet is more closely allied with a Brossardian contextual description.

     

    Both Brossard and Lacan advance social theories which are characterized by their membership in eurocentric Western civilization. The distinction between a Brossardian lesbian Desire and a Lacanian universalized desire lies in their differing essences. Lacan’s theory relies on the essential significance of the Phallus and the Law, in an inherently patriarchal, heterosexist, legalistic, and power-oriented construction. Brossard’s theorizing concerns what is essentially lesbian- and female-correlated, egalitarian, communicative, and con/text-oriented. From a Brossardian point-of-view, Lacan’s Phallus is not only irrelevant, but also praxically invisible. Lesbians and heterosexuals (for example) all being people, some theoretical congruencies do occur between Brossard and Lacan, but the distinctions are more crucial. I see Lacan’s theory as codifying the hetero-patriarchal foundation of the Western psyche (and culture), while Brossard visibly resists (and partially displaces) that pervasive infrastructure and its exigencies. See also note 10.

     

    6. See my “‘Lifting Belly is a Language’: The Postmodern Lesbian Subject” for initial discussion of the term “enscribe” (esp. 86).

     

    7. I.e., texts comprise all things which we can “read” or interpret, including writing, or road signs, or body language, etc. To recap a famously amusing (if extreme) example, pop culture critic Tom Wolfe has claimed he learned to interpret ownership of a trendy Barcelona chair as signifying the real or imagined aroma of soiled diapers (61).

     

    8. Although this essay considers texts of “altered” lesbian bodies, it does not exhaust all related sub-categories; e.g., such intentional (and “permanent”) body-alteration processes as tattooing and scarification are omitted here, not least for brevity. See Vale and Juno’s Re/Search #12: Modern Primitives: An Investigation of Contemporary Adornment & Ritual, Chris Wroblewski’s pictorial Tattooed Women, and the Kathy Acker interview in Vale and Juno’s Re/Search #13: Angry Women (177-185). This essay addresses texts selected according to semiotic and (perhaps subjectively) erotic criteria, not taxonomic ones. I do observe, ex post facto, that the chosen texts occupy certain sub-categories: lesbian-s/m-sex-applied impermanent marks, male-assault-inflicted permanent marks, and the surgically rendered permanent marks of mastectomy scars, together inadvertently constructing a range of (increasing probability of) morbidity.

     

    I have somewhat reluctantly considered a more provocative elision: since the (literary) texts discussed here present wounded bodies, one might ask whether lesbians fetishize wounds–perhaps in contrast to heterosexual women–and why. Accepting the (Freudian language of) lesbian fetishization of wounds would lead me to interrogate the relation between an invasive wound, an opening in the flesh, and the apparently open structure of female genitalia, possibly reified vis-à-vis some imaginable childhood psychic trauma. Such a process vests psycho-sexual meaning in wounds through an over-simplistic, linear, causal sequence of events, as if an invasive wounding were always/ever pleasurable, and it imposes a monological, phallocentric, pathologized Master-Meaning of the wounds that forecloses any/all other readings, as if all invasions of the body were always/only sexual. I cannot accept such a per/version of the embodied marks under scrutiny here. To recast (all) lesbian Desire as essentially or entirely sexual and obsessively directed to psycho-sexual gratification, which is what Freudian fetishizing connotes, not only overrates that insidiously pathologizing psychoanalytic construct, but also oversimplifies lesbian Desire.

     

    I am concerned here with textual signs, with marks upon body surfaces, not with three-dimensional flesh, and I cannot delimit the readings of those signs to a single potentiality of Desire. It’s a mistake to assume that the selected lesbian texts here comprehend all lesbian Desire(s). Here, it’s more a case of accepting bodily realities, from wounds to wrinkles, than of fetishizing anything, and this accepting attitude only seems perverse from a heteropatriarchal perspective which demands that women pursue perfect physical beauty and reject or disguise corporeal evidence of imperfection, such as scars (e.g., by means of expensive plastic surgeries). This sexist attitude is one which I and many other women reject.

     

    9. Note the highly appropriate double entendre: “submissive” stems from the Latin submittere, which means “under + to send” (or vice versa). The two roots sub- and “missive” may be rendered in English as literally “under + the letter”…perhaps not of the Law.

     

    10. Feminist theorists use “phallogocentric” to name that male-self-centered, heterosexist, patriarchal notion that The Phallus and The Word (logos) together comprise The Center of The Universe, especially in Western culture. The term alludes to Lacan’s psychoanalytic concept of the Law and/or the Phallus (theoretically not to be equated with a mere organic penis) which represents the ultimate Object of one’s desire. The powerful desiring one is the subject, who is male-by-definition; the object of desire is, therefore, both the phallus/penis and the woman who is the phallus (see objet petit à). Subject (male) and object (female) positions are similar to the subject and object slots in grammar: first-person I to address second-class, second-person you, respectively. Because the object seems inherently alien to the ostensibly all-knowing subject, the object may also be called the Other. The female object/other is treated as if “it” were a thing, not as a (human) equal of the subject (i.e., he who subjects…).

     

    I am arguing that a lesbian feminist theory cannot adopt such oppressive terms and the (Lacanian) concept they re/present, when trying to describe lesbian textual or material relations. Rather, I perceive each lesbian Subject in a two-way relation with an “Other/Self” who is not an object, who operates on an equal basis, who “is” in fact another lesbian Subject, different from oneself, and thus “Other,” but not diminished or degraded in or by difference, so equally a “Self.” My view differs notably from that of Lacan because I do not perceive (or delimit) the Other/Self as an objectified “projection” or “reflection” of an omnipotent, egocentric subject: a critical condition which I think (re-)configures the dynamics of Desire in a lesbian context. See also notes 4, 5, 8.

     

    11. Note the typical phallogocentric connotation of “violence” as forcing a way. See “violation.”

     

    12. William Spurlin has questioned my implicit distinctions between lesbian and gay male s/m practices. While I refer here primarily to anecdotal, apparent conventional wisdom among some lesbian feminists, and admit the superficial resemblances of most s/m practices regardless of sexual preference, I’d suggest that there appears to be a notable difference between the power-dynamic construction(s) of these praxes. Prior to the s/m situation of two gay men, both may be designated as phallogocentric subjects (in the patriarchal, Lacanian sense); subsequently, one man–perhaps momentarily–defers his subjective power to act as an object, though he is not the/an other. Not only is phallogocentric subjectivity of a lesbian theoretically impossible, but also no heteropatriarchal social foundation for the empowered subjectivity of either the lesbian sadist or masochist exists, putting to question whether the lesbian masochist adopts the objective deferral of power or simply enacts a naturalized condition, as a (Lacanian) object. However, I do think that a lesbian Subjectivity operates according to the parameters I’ve described in this essay and elsewhere, even in lesbian s/m.

     

    My understanding of how lesbian s/m differs significantly from s/m performed by heterosexual couples derives from similar principles. In a male-dominant and submissive-female interaction, heterosexual s/m replicates a classic phallogocentric/Lacanian construct; however, I’m under the impression that most heterosexual s/m encounters involve female dominatrix and submissive-male interactions: apparently the flip-side of the hegemonic imperative! In such a case, I think that the seeming power/subjectivity of the female sadist can be enacted only as a gesture of the male subject’s pretense of subjection; i.e., he chooses to permit her to inflict pain on his body, and so the male subject remains the ultimate subject, the female, the mere objectified instrument of his pleasure, her pseudo-empowerment the mere effect of his power.

     

    One could perhaps infer that my discussion of the un/marks of lesbian Desire replicates a reading of courtly love à la Lacan. But I would argue that courtly love itself constitutes a construction identical to the heterosexual s/m dynamics I describe above, in which the illusion of female empowerment is entirely the prerogative of the male subject, his service of the Lady dramatized for his pleasure. But the lesbian un/mark signifies–at least in lesbian s/m–the prerogative of a lesbian Subject, who is a momentarily passive Other/Self, acting in concert with a lesbian Subject. I think the co-operative lesbian Subjectivities engender a significant distinction, especially in terms of the authorial investiture of meaning in the un/mark.

     

    For further discussion of lesbian s/m in its socio-political aspects, see Califia’s essay collection, Public Sex: The Culture of Radical Sex, especially “A Secret Side of Lesbian Sexuality” (157-64), and “Feminism and Sadomasochism” (165-74).

     

    13. See the hysterical/ecstatic physical manifestations of (Christ-like) religious stigmata, e.g., as experienced by Theresa Neumann in the 20th century; or by the medieval mystic Catherine of Siena, whose stigmata were invisible–veritable un/marks indeed–as Jennifer Ash has reminded me.

     

    14. See Allen’s stark, thought-provoking analysis of experiencing (a) rape, in Lesbian Philosophy: Explorations (27-59).

     

    15. Given space, I would elaborate the idea of tacility as a principle means of lesbian semiotics, textuality, interactivity, and Desire: a means unlike the distancing and hierarchical scopic/visual mode central to hetero-patriarchal subjectivity, yet not analogous to the silent and unknowing corporeality informing the traditional Western view of Woman from Eve onward.

     

    16. I think that such mutilation-qua-mutation is re/presented particularly by permanent signs, rather than by means of temporary ones. That is, the sort of impermanent, self-mutating mark inflicted by the s/m practices excerpted from Califia’s “The Finishing School” does not qualify as mutilating because, in the s/m context, such marks are always considered to be positive, unmarked signs (though outsiders may hold a contrary opinion). This equation of positive marks and “unmarked signs” presents another paradoxical variant of the différance I’m describing.

     

    17. Valuable personal, practical, and affirmative lesbian/feminist perspectives on surviving breast cancer and related women’s health matters are presented in Midge Stocker’s anthologies Cancer as a Women’s Issue: Scratching the Surface and Confronting Cancer, Constructing Change: New Perspectives on Women and Cancer.

     

    18. Duane Allen first drew my attention to the intersecting experiences of lesbian mastectomy survivors and gay male PWA’s; members of both groups may suffer through similar self-criticism and irrational social ostracism. Both AIDS and breast cancer are perceived within the gay and lesbian communities, respectively, as sexuality-related pathological conditions, though for different reasons; the real physical threat of these diseases to each individual in his or her community instills the fear which motivates (misdirected) anxiety toward an already-stricken person.

     

    Furthermore, Chicago queer journalist Jon-Henri Damski has publicly “come out” about himself suffering breast cancer, reminding us that men do have breasts, that breast cancer is not always female trouble, just as no one is immune to AIDS.

     

    19. This essay avoids addressing the breast as a generic marker of the feminine (i.e., of woman-ness) because I myself do not consider the possession/display of a visible bust essential to being female. Breasts may be incidentally correlatable to womanliness, and to lesbian Desire, but are not axiomatic. Let’s also not overlook that pre-operative male-to-female transsexuals may have both visible female breasts and male genitalia, a visually confusing situation in which the penis is often interpreted as the essential gender characteristic by everyone but the transsexual herself. In short, the reader should not generalize from the character Ali’s initial equation of “lost breasts” and “lost Desire and erotic potential.” Likewise, I notice but pass on the potential to interpret Ali’s “carcinogenic breasts as signs of mortality” as a binaristic, negative corollary of “the breast as emblem of life.” The explication of maternal/reproductive metaphors diverges too widely from my topic and purposes.

     

    20. Here, I acknowledge the general influence of Tucker Pamella Farley, whose paper “‘Self and Nonself’: Reflections on a Medical Construction of (Dis)Ease” was presented at the Modern Language Association convention, in Chicago, 1990.

     

    21. This rhetorical effect again echoes linguistic discussions of marked and unmarked terms. See Moulton (228-9) and Penelope (Speaking 101ff).

     

    22. See also Pratt 26.

     

    23. Because Adrienne Rich’s theoretical concept of a lesbian continuum identifies as lesbian all variations of woman-woman contact, from the most casual to the most sexual, I here attribute a lesbian Desire to Rich’s one-breasted straight friend as Rich textualizes her. A woman need not ever perform explicit lesbian sexual acts to experience a lesbian Desire, I think. However, Laura Mumford has prompted me to see how Rich’s willingness to arrogate every individual woman’s right to self-identification (of sexual orientation) by pre-emptive means of this all-inclusive continuum poses at least an ethical problem, namely vis-à-vis “straight” women. See Rich’s widely available 1980 manifesto, Compulsory Heterosexuality and Lesbian Existence, originally published in Signs 5.4.

     

    Works Cited

     

    • Allen, Jeffner. Lesbian Philosophy: Explorations. Palo Alto, CA: Institute of Lesbian Studies, 1986.
    • Califia, Pat. “The Finishing School.” Macho Sluts. Boston: Alyson, 1988. 63-83.
    • —. Public Sex: The Culture of Radical Sex. Pittsburgh, PA: Cleis Press, 1994.
    • Case, Sue-Ellen. “Tracking the Vampire.” differences 3.2 (Summer 91): 1-20.
    • Corinne, Tee. “Vibrator Party.” Lovers: Love and Sex Stories. Austin, TX: Banned Books, 1989. 79-87.
    • De Lauretis, Teresa. The Practice of Love: Lesbian Sexuality and Perverse Desire. Bloomington: Indiana UP, 1994.
    • Engelbrecht, Penelope J. “‘Lifting Belly is a Language’: The Postmodern Lesbian Subject.” Feminist Studies 16.1 (Spring 90): 85-114.
    • Grosz, Elizabeth. “The Labors of Love. Analyzing Perverse Desire: An Interrogation of Teresa de Lauretis’s The Practice of Love.” differences 6.2+3 (Summer-Fall 94): 274-295.
    • —. Volatile Bodies: Toward a Corporeal Feminism. Bloomington: Indiana UP, 1994.
    • Grosz, Elizabeth and Elspeth Probyn, eds. Sexy Bodies: The Strange Carnalities of Feminism. New York: Routledge, 1995.
    • Jay, Karla, ed. Lesbian Erotics. New York: New York UP, 1995.
    • Lorde, Audre. The Cancer Journals. San Francisco: Spinsters/Aunt Lute, 1980.
    • —. Zami: A New Spelling of My Name. Trumansburg, NY: Crossing Press, 1982.
    • Meese, Elizabeth A. Crossing the Double-Cross: The Practice of Feminist Criticism. Chapel Hill: U of North Carolina P, 1986.
    • —. “Theorizing Lesbian: Writing–A Love Letter.” Lesbian Texts and Contexts: Radical Revisions, eds. Karla Jay & Joanne Glasgow. New York: New York UP, 1990. 70-87.
    • Moulton, Janice. “The Myth of the Neutral ‘Man’.” Women, Knowledge, and Reality: Explorations in Feminist Philosophy, Ann Garry and Marilyn Pearsall, eds.. Boston: Unwin Hyman, 1989. 219-232.
    • Parker, Alice. “Nicole Brossard: A Differential Equation of Lesbian Love.” Lesbian Texts and Contexts: Radical Revisions, eds. Karla Jay & Joanne Glasgow. New York: New York UP, 1990. 304-329.
    • Penelope, Julia. Call Me Lesbian: Lesbian Lives, Lesbian Theory. Freedom, CA: Crossing Press, 1992.
    • —. Speaking Freely: Unlearning the Lies of the Fathers’ Tongues. New York: Pergamon Press, 1990.
    • Pratt, Minnie Bruce. “I Do Not Wait” and “Waulking Song: Two.” We Say We Love Each Other. San Francisco: Spinsters/Aunt Lute, 1985. 26, 17-24.
    • Rich, Adrienne. “A Woman Dead in Her Forties.” The Dream of a Common Language: Poems 1974-1977. New York: W.W. Norton, 1978. 53-58.
    • —. Compulsory Heterosexuality and Lesbian Existence. Denver, CO: Antelope, 1982.
    • Spivak, Gayatri Chakravorty with Ellen Rooney. “In a Word. Interview.” differences 1.2 (Summer 89): 124-156.
    • Stocker, Midge, ed. Cancer as a Women’s Issue: Scratching the Surface. Women/Cancer/Fear/Power series, vol 1. Chicago: Third Side Press, 1991.
    • —. Confronting Cancer, Constructing Change: New Perspectives on Women and Cancer. Women/Cancer/Fear/Power series, vol 2. Chicago: Third Side Press, 1993.
    • Vale, V. and Andrea Juno, eds. Re/Search #13: Angry Women. San Francisco: Re/Search, 1991.
    • —. Re/Search #12: Modern Primitives: An Investigation of Contemporary Adornment & Ritual. San Francisco: Re/Search, 1989.
    • Wells, Jess. “The Succubus.” The Dress / The Sharda Stories. San Francisco: Library B Productions, 1986. 71-78.
    • Wittig, Monique. The Lesbian Body (Les corps lesbien). Trans. David LeVay. New York: Avon, 1976.
    • Wolfe, Tom. From Bauhaus to Our House. New York: Farrar Straus Giroux, 1981.
    • Wroblewski, Chris. Tattooed Women. London: Virgin, 1992.

     

  • “The Feathery Rilke Mustaches and Porky Pig Tattoo on Stomach”: High and Low Pressures in Gravity’s Rainbow

    Heikki Raudaskoski

    Dept of Arts and Anthropology
    University of Oulu, Finland
    hraudask@cc.oulu.fi

     

    It is mid-July 1945, and at the same time it is some time after March, 1973. The readers of Gravity’s Rainbow (those still aboard) have just passed halfway. A bunch of Argentine anarchists–having hijacked a German U-boat in Mar del Plata, Argentina, and trying to make it to Lüneburg Heath near Hamburg, in order to make there a film version of Jose Hernandez’s epic poem, Martin Fierro, their anarchist gaucho saint–have been forced to launch a torpedo (Der Aal, ‘the eel’ in German submariner slang) against the U.S. war vessel John E. Badass. The narrator continues: “Der Aal’s pale tunnel of wake is set to intersect the Badass‘s desperate sea-squirm about midships.” (389)

     

    But something surfaces, a new drug to tell the truth, one called Oneirine. Seaman “Pig” Bodine, this profane picaro, who stubbornly keeps popping up in many of Pynchon’s texts, has apparently spiced the war vessel’s coffee grounds with a massive dose of this celebrated new intoxicant. What are we to think of the Bakhtinian chronotopes, the space-time combinations peculiar to narratives,1 when we are told:

     

    The property of time-modulation peculiar to Oneirine was one of the first to be discovered by investigators. "It is experienced," writes Shetzline in his classic study, "in a subjective sense...uh...well. Put it this way. It's like stuffing wedges of silver sponge, right, into, your brain!" So, out in the mellow sea-return tonight, the two fatal courses do intersect in space, but not in time. Not nearly in time, heh heh.2 (389)

     

    Here we have Bakhtin describing one of his main concepts: “The chronotope is the place where knots of narrative are tied and untied.”3 In this case, however, readers deal with a 20th century chronotope. This chronotope illustrates Heisenberg’s undecidability principle in a self-inflicted, hallucinogenic way typical of the 1960s. As is widely known, Werner Heisenberg postulated in 1927 that it is impossible to determine both the position and the velocity of a nuclear particle at the same time: the more accuracy is used in specifying one, the more indeterminacy results in stating the other quantity.4The knots of narrative are never completely tied or untied, readers never know exactly where and when the crucial events take place in the narration. Or?

     

    *
     

    Sticking to knotting: on its first page Gravity’s Rainbow makes a possible commentary on itself, as many have noticed: “this is not a disentanglement from, but a progressive knotting into[…]” (3). Will all the threads of the text, its myriad storylines, then, get into an unsolvable tangle? Or will they instead finally integrate into one final plot, which would lead to the final chronotope, to the literally and/or metaphorically final time and place? As so often in Pynchon’s big novel, these very questions seem to be overtly thematized at the end of the same Oneirine episode:

     

    Now what sea is this you have crossed, exactly, and what sea it is you have plunged more than once to the bottom of, alerted, full of adrenalin, but caught really, buffaloed under the epistemologies of these threats that paranoid you so down and out, caught in this steel pot, softening to devitaminized mush inside the soup-stock of your own words, your waste submarine breath? It took the Dreyfus Affair to get the Zionists out and doing, finally: what will drive you out of your soup-kettle? Has it already happened? Was it tonight's attack and deliverance? Will you go to the Heath, and begin your settlement, and wait there for your Director to come? (389-390)

     

    “Will you go to the Heath?”–a crucial question that points in many directions, not all of which could possibly be named. As first time readers in the middle of Gravity’s Rainbow might not know, the Lüneburg Heath, Lüneburger Heide, is most possibly a place of central importance in the novel. It is just there that the Faustian Nazi-figure Captain Blicero apparently launches his special 00000 rocket, sending his sado-masochistic object, the pale Gottfried, to die in space. What is more, at the very end, the same rocket (or is this a knot again?) seems to have transformed into a missile that is nearing the roof of the Orpheus Theatre in L.A., where “we,” a diegetic “audience” in the novel, have been watching a movie, perhaps carrying the name Gravity’s Rainbow. On the other hand, in the novel’s first episode a V-2 rocket has been launched from the Continent toward London, while Pirate Prentice is dreaming how a “screaming [does it roar only inside his head, I wouldn’t be so sure] comes across the sky.” (3)

     

    As the critics haven’t failed to notice, the rocket’s parabolic arc presents itself as the whole novel’s dominant structural metaphor. In connection with Gravity’s Rainbow it is probably most adequate to talk about the Rocket as Their plot–a “plot” with all its connotations–that is threatening the paranoid characters in the novel. Many of the deterministic and pessimistic readers of the 1970s especially, saw it literally as the novel’s totalizing deep structure.5 The protagonist Tyrone Slothrop’s journey makes a shadow image of the parabola of V-2 rockets: from London via Southern France to Northern Germany. Thus there might well be a closing correspondence between parabola and parable. To speak in terms of the Russian Formalists: the syuzhet of the text would be completely at the service of its underlying fabula, the discourse at the service of the plot. Pynchon’s masterpiece would be a vast apocalyptic jeremiad6 about the fall of Western civilization indeed. It would show itself to be, in Bakhtin’s sense,7, the representative, fatalistic epos of our times, the Book to end them all. That’s how many reacted to it when it came out. “Madness spews forth in torrents, Pandora’s evils incarnate!” wrote Publishers Weekly.8

     

    “Will you go to the Heath?” might thus be a question pointed also at the book itself, which might turn out to be, not a “novel” at all, but a monological epic. The transcendental connection between signs and referents would, indeed, be established at the end of Gravity’s Rainbow. This would be the end, the ceasing to be, of both the book and its readers, well, those of “us” in the Orpheus Theatre, at least. It would be the ultimate chronotope, where time and place vanish. Those of “you” that the narrator has been addressing, would melt together with Them, the carriers of the hostile plot.

     

    Just before the end the narrator notifies: “There is still time, if you need the comfort, to touch the person next to you, or to reach between your own cold legs…” (760). Some time remains, as if as an open question–in the present tense, in the tense future. Even the diegetic “us” will not, inside the novel, reach the terminal closure. And as long as there is still an even minute barrier between “you” and the final end; as long as one cannot reach the final presence which in this context would mean total absence, possibilities for novelness, something new, remain.
     

    **
     

    Anyway: are there real possibilities for novelness? Even if there is no deep structure, no unifying closure, in the novel, will it not become the opposite — a vast array of scattered storylines, a legion of separate “soup-kettle” submarines and solipsistic consciousnesses drifting in the labyrinthine ocean of entropy? Is the paragraph I quoted at length really a metaphor of a world, where isolated, low-feeling units stray like never-arriving messages in the bottle, never-arriving since there’s nobody “out there” to receive the message? As one of the characters, Enzian, finds himself pondering:

     

    Separations are proceeding. Each alternative Zone speeds away from all the others, in fated acceleration, red-shifting, fleeing the Center. Each day the mythical return Enzian dreamed of seems less possible.... Each bird has his [sic] branch now, and each one is the Zone. (519)

     

    Is this the way it has to be? I will postpone my answer. Instead I will ask again:

     

    “Will you go to the Heath?” The question remains unanswered in the end; something remains to be on the way. As long as there are some of “us,” there is a moment left, even if it were only as thick as “the gnat’s ass or red cunt hair” (664), as one of the jack-of-all-trades narrator’s similes goes. Still, the question remains important. The least meaningful part in the question is not the second person pronoun it contains. Brian McHale has shown the crucial importance that this little mercurial three-letter-word has in the novel in transgressing narrative categories.9 “You” is doomed to endless oscillation between tinier and larger audiences, and it is hard to imagine that the movement could anywhere be carried out more intensely than in Gravity’s Rainbow.

     

    At the moment I will ask: who are these “you” anyway, to whom the narrator refers on this occasion? What are the chronotopes of these people and/or things called “you”? What kind of a dialogue is this that surpasses the limits of a “normal” closed conversation and, by containing disquieting surpluses, often confuses subject-object positions? I have already regarded this as a metafictional device; I had the feeling I caught the text talking to itself. Under the umbrella of “you,” the text is forcing itself also on some of its diegetic and extradiegetic narratees, each passively waiting inside her/his own “steel pot” and “devitaminized,” mushy “soup-stock” of his/her own words (or the words s/he gets from the novel). These narratees, some of “us,” (or some parts of us), find themselves in a topsy-turvy situation, where it is rather the text that is reading them than vice versa. You don’t necessarily need drugs to get into Gravity’s Rainbow‘s hallucinogenic dialogics.

     

    Perhaps it is, after all, most secure to come to the conclusion that, in the first place (let’s pretend that there still is a “first place” somewhere), the question: “Will you go to the Heath?” is aimed at these Argentine anarchists in their submarine. This, of course, may also go for the other obsessive paranoids in the Zone, who try, inside the text, to make it to the Lüneburg Heath, or keep on the move, at least. Here you are: the American Tyrone Slothrop, who wants to know why there certainly seems to be an intense connection between his penis and V-2 missiles; Enzian with the other Schwarzkommando, the representatives of the nearly destroyed Southwest-African Herero tribe, who are probably looking for the Lüneburg V-2 launching site to launch their (holy?) counterpart 00001 to Captain Blicero’s Rocket of Death; the Soviet spy Tchitcherine trailing his black halfbrother Enzian, in order to revenge himself on the injustices he has had to live through during Stalin’s reign; the Pavlovian psychologists whose mentor Laszlo Jamf has presumably conditioned Infant Tyrone’s penis to have a hardon in the presence of some enigmatic stimulus that might (or might not) be connected to the mysterious compound Imipolex G, which is presumably used in Captain Blicero’s rocket; the double agents Katje Borgesius and Captain “Pirate” Prentice, who may embody the narrator’s hypothesis that, had History taken another turn, there might “have been fewer crimes in the name of Jesus, and more mercy in the name of Judas Iscariot” (556); and witches, movie stars and directors, scholar-magicians, freaks, black market dealers, sensitives, rocket scientists, lemmings, outcasts, whole central European peoples; all in all, almost everyone among the Zone’s ordinary paranoid hepcats.

     

    Almost undoubtedly the narrator is addressing the focalizer of this episode, the Argentine Graciela Imago Portales, who is in charge of the submarine’s periscope. Or are we eavesdropping her speaking to herself? Before the war Graciela had been the harmless “urban idiot” of Buenos Aires, friends with everybody across the spectrum, from anarchists to Catholics, but particularly within literary circles. The war may have, in a way, driven her “out of the soup-kettle,” “out and doing.” Before the war, Borges is said to have dedicated a poem to her: “El laberinto de tu incertidumbre/ Me trama con la disquietante luna…” (381). (“The labyrinth of your uncertainty/ Detains me with the disquieting moon”10)

     

    Especially when translated into English, these lines can also be seen to refer to these more general “you” I have been talking about: the labyrinthine uncertainty of “you” causes anxiety. The uneasiness is accentuated by the fact that it is the traditional relation between a gazing male subject and gazed female, “lunatic” object that has started to hover here. Who are you, Graciela Imago Portales, your middle and last names equaling “window image” in English? Is it so that you really don’t know who you are, or what it is that you are doing–no longer a clear object, not yet a subject–so you have to keep asking? You do now the watching, deep down there, instead of being the watched one. Will you be up with your male fellow travelers, and will you all get “out and doing,” perhaps outdoing Them? Or will you be finally output as one of Them, after the Director you have been waiting for has come?

     

    Anxiety prevails. “You” begin to break out of your more specific contexts, even when coming back in tense oscillations to those you have touched–even if you were talking to yourself. “You” start moving your reckless potentials,11 much like the “disquieting moon”–itself a metaphor par excellence of female alterities–in the quoted, obviously pseudo-Borgesian lines.12 This is, however, not the first time in Gravity’s Rainbow that Borges is mentioned. Tyrone Slothrop comes across Francisco Squalidozzi, the anarchists’ contact person, when Slothrop is living through his phase as Ian Scuffling, a British journalist in Zürich. Squalidozzi tells him:

     

    "It is our national tragedy. We are obsessed with labyrinths, where before there was open plain and sky. To draw ever more complex patterns on the blank sheet. We cannot abide that openness: it is terror to us. Look at Borges.[...] Beneath the city streets, the warrens of rooms and corridors, the fences and networks of steel track, the Argentine heart, in its perversity and guilt, longs for a return to that first unscribbled serenity...that anarchic oneness of pampas and sky..." (264).

     

    It surely seems that there are some kinds of binary oppositions in the making: on one hand there is a cluster of concepts like openness-anarchy-activity-fearlessness-energy-oneness and, on the other, their opposites closedness-hierarchy-passivity-fearfulness-exhaustedness-fragmentation. It is precisely the open anarchic possibilities of the German Zone just at the moment of the war’s end that attract these Argentine radicals:

     

    "In ordinary times," he [Squalidozzi] wants to explain, "the center always wins. Its power grows with time, and that can't be reversed, not by ordinary means. Decentralizing, back toward anarchism, needs extraordinary times...this War, this incredible War--just for the moment has wiped out the proliferation of little states that's prevailed in Germany for a thousand years. Wiped it clean. Opened it.[...] It won't last, of course not. But for a few months...[...] We want it to grow, to change. In the openness of the German Zone, our hope is limitless." Then, as if struck on the forehead, a sudden fast glance, not at the door, but up at the ceiling--"So is our danger." (264-265)

     

    Hope and danger, both limitless in the Zone. No wonder the readers find the narrator (perhaps ventriloquizing Graciela Imago Portales) contemplating some one hundred pages later: is there possibly anything at all that “will drive you out of your soup-kettle,” all of you, above all these South American characters, particularly Graciela Imago Portales herself, “buffaloed under the epistemologies that paranoid you so down and out, caught in this steel pot”? (389-390) Or do we have a story like, say Dreiser’s An American Dream or Dos Passos’s U.S.A., where the prevailing mood consists of determinism, pessimism, and disablement?

     

    ***
     

    At this point, it is high time to notice that the inhabitants of the novel do have a high time, in the midst of the narration, time and again. This doesn’t solely refer to drugs. This high time is characteristically low time, too. I’m referring to those not infrequent passages in Pynchon’s texts that have caused trouble to Frank Kermode, among others: “[T]hose terrible pop-song lyrics Pynchon has always enjoyed inserting in his narratives[…]are terrible.”13 Precisely: one can’t avoid the feeling that it is the musical in its many forms that could be the most intensive narrative metaphor for Gravity’s Rainbow, “Pynchon’s Great Song” as Thomas Schaub14 has named it. At times one is struck by the notion that it is just these Dionysiac thickenings here and there in the text that act as counterbalances to those passages, where the narrator laments over loss, exhaustion, fragmentation, and suffering in the world. These bursts of energy tend to take the characters by surprise, too. This is what happens to “Pirate” Prentice, when he has got into some kind of a carnivalistic Hell for double agents:

     

    Ah, they do bother him, these free women in their teens,
    their spirits are so contagious,
    
         I'll tell you it's just --out, --ray, --juss,
         Spirit is so --con, --tay, --juss
         Nobody knows their a-ges...
    
         Walkin' through bees of hon--ney,
         Throwin' away --that --mon, --ney
         Laughin' at things so --fun --ny,
         Spirit's comin' through --to, --you!
    
         Nev --ver, --mind, whatcha hear from your car,
         Take a lookit just --how --keen --they are,
         Nev --ver --mind, --what, your calendar say,
         Ev'rybody's nine months old today! Hey,
    
         Pages are turnin' pages,
         Nobody's in --their, --ca, --ges,
         Spirit's just so --con,--ta, --gious--
         Just let the Spirit --move, --for,
         --you! (538-539)

     

    Nobody’s in their cages, because spirit is just so contagious. Might there really be a possibility to get out and doing, to be moved by the spontaneous Spirit? In his essay, “Entertainment and Utopia,” Richard Dyer writes about the utopian sensibility of the musical. He lists the main characteristics of the musical as follows: energy, abundance, intensity, transparency, and community. By energy Dyer means “capacity to act vigorously, realized human potentiality”; by abundance “conquest of scarcity and enjoyment of sensuous material reality”; by intensity “experiencing of emotion directly and fully, without holding back”; by transparency a quality of relationships (e.g. true love and/or sincerity); and community means “togetherness, sense of belonging.”15All these characteristics are to be found, or so it strongly feels, in the verbal performance above–as if the possible sly-ironic overtones would be overwhelmed by these all-embracing, excessive characteristics.

     

    In Dyer’s view these features of entertainment explain why entertainment works: “It is not just left-overs from history, it is not just what show business, or “they” [sic], force on the rest of us, it is not simply the expression of eternal needs–it responds to real needs created by society.”16 Here we have binary oppositions again: energy/exhaustion, abundance/scarcity, intensity/dreariness, transparency/ manipulation, and, community/fragmentation. One can’t help noticing that the first parts of these pairs characterize, at least seemingly, lots of passages in Gravity’s Rainbow. (So do their opposites, to be sure.) Each and every passage like this is invariably contaminated by some form of “popular” or “mass” culture. What are the numerous chase scenes in the novel, if not tireless indicators of energy? This is all the more true when some episodes become hybrids of various popular genres.

     

    Think about Slothrop’s adventure in the balloon, with the vengeful Major Marvy in his airplane chasing him and singing ominous “Rocket Limericks” with his crew (e.g. “There once was a fellow named Ritter/ who slept with a guidance transmitter/It shriveled his cock/which fell off in his sock/ and made him exceedingly bitter” [334]). What else could be the only efficient weapon, or preferably the only available energetic popular genre, but throwing pies right at the antagonist’s face and the engine of his plane? (335-336) Bakhtin knew it already: the great heroes of literature and language “turn out to be first and foremost genres.”17 One experiences the mixing of the genres of aviation movies and comics, chase adventures, obscene army humour, limericks, and silent farces, to name just a few.

     

    There are also moments of unexpected abundance. In the behaviorist Pointsman’s laboratory the rats and other test animals suddenly seem to grow human-size (as big as the somewhat stunned “focalizer” Webley Silvernail himself) and begin their beguine:

     

    	      PAVLOVIA (BEGUINE)
    
    	It was spring in Pavlovia-a-a,
    	I was lost, in a maze ...
    	Lysol breezes perfumed the air,
    	I'd been searching for days
    	I found you, in a cul-de-sac,
    	As bewildered as I--
    	We touched noses, and suddenly
    	My heart learned how to fly!
    	So, together, we found our way,
    	Shared a pellet, or two...
    	Like an evening in some café,
    	Wanting nothing, but you...
    	Autumn's come, to Pavlovia-a-a,
    	Once again, I'm alone--
    	Finding sorrow by millivolts,
    	Back to neurons and bone.
    	And I think of our moments then,
    	Never knowing your name--
    	Nothing's left in Pavlovia,
    	But the maze, and the game....
    
    They dance in flowing skeins. The rats and mice form
    circles, curl their tails in and out to make
    chrysanthemum and sunburst patterns, eventually all form
    into the shape of a single giant
    mouse[...] (229-230).

     

    The passage expresses some kind of tension between scarcity and abundance, to say the least. Even the rodents may keep to themselves potentials to get out of their “soup-kettles” and change into sparkling dancers in a 1930s music spectacle. “Nobody’s in their cages, the spirit is just so contagious,” as the readers were told in the previous song.

     

    This is, however, a more explicit parody of the musical genre as well; the contrast between “the real social tensions” and their “utopian solution” in entertainment is exposed and estranged too plainly. Subaltern groups, like women (as in the first song), gay men, and black people have played a central role in the history of the musical, but laboratory rats express their oppressed status, even in the representation of an excessive genre like this, a bit too clearly. The song becomes ambiguous: there is an undoubted feeling of–at least momentary–abundance and energy, but one cannot say the same about intensity, transparency, or community. Direct emotional experiencing, transparent relations between characters, and the sense of togetherness are all surely implied in this verbal performance. Still, the impression is mixed–“bewildered” as the animal protagonists themselves–when compared with the purity of entertainment. “Spirit’s just so contagious”; “contagious” carries here many meanings: it is “catchy” and “contaminating” at the same time.

     

    “Nothing’s left in Pavlovia, but the maze, and the game.” Perhaps this is not completely true: something might well be left to remind the inhabitants and readers of Gravity’s Rainbow of the utopian potentials in popular culture. This vulgar sensibility is one of the things that distinguishes Pynchon from one of his mentors18 and another labyrinth builder, the intelligent Borges. It is much easier to find remnants of that sensibility in Kafka, a mentor of Borges. Borges himself was conscious of retrospective lines like this, when he wrote about Kafka and his precursors: Zeno, Han Yu, Kierkegaard, Robert Browning, etc. If you ask me, the most memorable lines in this essay of Borges run as follows: “The fact is that every writer creates his [sic] own precursors. His work modifies our conception of the past, as it will modify the future.”19
     

    ****

     
    It is obvious that Pynchon’s labyrinthine carnivalism (there we have it) brings together at least two generic traditions. And since, as Bakhtin writes, “it is precisely the chronotope that defines genre and generic traditions,”20 it may be concluded that the novel brings together at least two kinds of chronotopicalities as well. The first is that of the maze spinners: in this respect the whole of Gravity’s Rainbow is a huge bundle of overlapping labyrinths with centers missing: everyone is “always already” in quest in the middle of something without a clear point of origin or a tangible telos. The situation is emphasized, when, on his Tannhäuserian trip to the German rocket factory inside a mountain, Slothrop paradoxically feels the presence of an absent center21:

     

    [A]mazing perfect whiteness. Whiteness without heat,
    and blind inertia: Slothrop feels a terrible
    familiarity here, a center he has been skirting,
    avoiding as long as he can remember--never has he
    been as close as now to the true momentum of his
    time: faces and facts that have crowded his indenture
    to the Rocket, camouflage and distraction fall away
    for the white moment, the vain and blind tugging at
    his sleeves it's important...please...look at us...
    but it's already too late,[...]and the blood of his
    eyes has begun to touch the whiteness back to ivory,
    to brushings of gold and a network of edges to the
    broken rock... (312).

     

    Does it have to follow, when the centers are not to be found, that the only possibility left is “softening to the devitaminized mush inside the soup-stock of your own words,” as we have heard it surmised?

     

    *****
     

    Possibly this is not the case. Outbursts of “utopian sensibility” (to cite Dyer’s words) are capable of breaking loose every now and then. It is, after all, no wonder that many critics in the 1970s were blind to anything meaningful in Gravity’s Rainbow‘s energetic and plebeian “breeding ground.” Bakhtin’s breakthrough has helped us to see the novel’s popular cultural aspects as belonging to the very core of carnivalistic “novelness.” This holds true especially for Pynchon’s “poetry”: the incorporation of lyrical pieces is an age-old feature of Menippean, hybrid novelness. In addition to these pieces the novel turns out to be an encyclopedia of popular culture and subcultural discourses22 (gaining both forms of representation and material from them): jokes, genres of billingsgate, detective and spy fiction, comic books and strips, science fiction, horror stories, fantasy, pulp magazines, pornographic stories, various forms of film, black English, Hispanic slang, street speech, underworld cant, regional dialect, military slang, parapsychology, children’s lore, etc.

     

    There are no reasons, however, to identify Pynchon’s carnivalistic motifs with Bakhtin’s reading of Rabelais and thus essentialize carnival. To begin with, both the Catholic Church and canonic high tradition in literature were distinct dominating centers, which carnival and the carnivalesque literature could antagonize with ridicule. Besides, it seems clear that Bakhtin’s carnivalistic interpretation bears heavy marks of organicistic, transindividualistic communalism based on agriculture. Bakhtin’s carnival does have an angle to it: it is that of the folk, of the down-to-earth people. It is from that unifying ethical position that noble truths are put into degrading motion, where oppositions ceaselessly melt into jolly hybrids.23 Carnival is an open chronotope like the Argentine pampas, but it has got fences around it, relative to both time and place. No wonder many have considered it as a form of reproduction, of controlled rebellion, which ultimately helped the medieval and early modern centers to consolidate their positions.24

     

    Inside Pynchon’s carnival one can never be sure what the powers above are like. There is, of course, a strong feeling of oppressive structures beyond the visible. A legion of centripetal, monologic, deterministic “grand narratives”25 present themselves in Gravity’s Rainbow. Among them are the Pavlovian psychology, pre-Einsteinian sciences (especially chemistry), technocracy, ballistics, Puritan religion, patriarchalism, multinational capitalism, Nazism, Bolshevism, growing bureaucracy outlined by Weber, some uses of Rilke’s poetry, etc. The big question is: do these monological threads ultimately entangle into a total grand narrative, which might most intensely be symbolized by the parabolic arc of rocketry, by “gravity’s rainbow.” Yet the Rocket, connecting paranoid activities, may not at all be What Is Really Cooking. Enzian can feel it:

     

    [Y]es and now what if we--all right, say we are supposed to be the Kabbalists out here, say that's our real destiny, to be the scholar-magicians of the Zone, with somewhere in it a Text, to be picked to pieces annotated, explicated, and masturbated till it's all squeezed limp of its last drop...well we assumed--natürlich!--that this holy Text had to be the Rocket, orururumo orunene the high, rising, dead, the blazing, the great one ("orunene" is already being modified by the Zone-Herero children to "omunene," the eldest brother)...our Torah. What else? Its symmetries, its latencies, the cuteness of it enchanted and seduced us while the real Text persisted, somewhere else, in its darkness, our darkness.... (520)

     

    Instead of being enchanted by the totemic Rocket, Enzian insists that the preterite people of the Zone should “look for power sources here, and distribution networks we were never taught, routes of power our teachers never imagined, or were encouraged to avoid…we have to find meters whose scales are unknown in the world, draw our own schematics, getting feedback, making connections, reducing the error, trying to learn the real function…zeroing in on what incalculable plot?” (521)

     

    This sounds much like the “cognitive mapping” that Fredric Jameson has been promoting during the last decade.26 Yet unlike Jameson, nobody in the Zone, not even Enzian no matter how hard he tries–let alone, to my knowledge, any of the readers–is able to find out how all aspects (in what may be the most heteroglottic text of all times) could really be united into some “incalculable plot,” totalizable dialectic, Hegelian phase in History. Things get all too kinky for the critters of the Zone to make up anything like that: “Those like Slothrop, with the greatest interest in discovering the truth, were thrown back on dreams, psychic flashes, omens, cryptographies, drug-epistemologies, all dancing on a ground of terror, contradiction, absurdity.” (582) The paranoid feeling of an all-encompassing secret network no doubt resembles what Jameson (modifying Lyotard) calls “the postmodern sublime.”27 Still, in regard to Gravity’s Rainbow one is deemed to stay Preterite, fallen from grace, grace that can also mean the Marxist self-confidence about the course of history. Grace belongs to Them, the Elect, in every version of Their Western Puritan Grand Narratives.

     

    ******
     

    Bakhtin writes: “Dialogue and dialectics. Take dialogue and remove the voices (the particular voices), remove the intonations (emotional and individualizing ones), carve out abstract concepts and judgements from living words and responses, cram everything into one abstract consciousness–and that’s how you get into dialectics.”28 Perhaps it is not needless to add that this “one abstract consciousness” refers to white, masculine, western selfsameness–and the logic of Hegelian “Aufhebungs” can only produce boyish variations on the theme of that selfsameness. If History is one big story about the emancipation of humankind, people should be ready to die for this better future. However, the Soviet Tchitcherine is asked: “Marxist dialectics. That’s not an opiate, eh?[…] Die to help History grow to its predestined shape. Die knowing your act will bring a good end a bit closer. Revolutionary suicide, fine. But look: if History’s changes are inevitable, why not not die?” (701) Bearing Bakhtin’s critique of dialectics in mind, it may be good to notice how it also applies to anti-Hegelian, entropic, and “kulturpessimistische” theories of the complete collapse of civilization. Gravity’s Rainbow presents both of these totalizing alternatives self-reflectively and overtly.

     

    On the one hand, there is paranoia, the “discovery that everything is connected, everything in the Creation” (703); on the other, there is “antiparanoia, where nothing is connected to anything, a condition not many of us can bear for long.” (434) It is fruitful to keep in mind what Michael Bérubé says about Pynchonesque paranoia: it is not only rage for order and immobility, but also a sensitive form of imaginative activity.29 N. Katherine Hayles has written about “antiparanoia” or “entropy” that it contains potentials for both exhaustion and multiplication.30

     

    *******
     

    What comes out of the struggle between these centripetal and centrifugal forces that always already, even internally, show themselves to be conflictual? The centrifugal low elements may well be as such, as was Pynchon’s working title for the novel, “mindless pleasures”; uncontrollable plebeian here-and-now desires. Anyway, these forces are seldom alone or pure in the novel: they are set against centripetal elements. What is more, They-systems seem to be oozing through into every We-system: as Derrida writes, it is impossible to get totally outside of the logocentric metaphysical tradition.31 What can you possibly make of it?

     

    Peter Stallybrass and Allon White insist that the division between carnival and normal life was internalized from the “early modern” period on. From the “licenced event” that was distinguished from normal life carnivalesque changed into the low suppressed area within four symbolic domains: psychic forms, human body, geographic space, and social order.32 Pynchon’s Zone can be seen as a 20th century version of the carnivalesque market place, where the suppressed low elements of bourgeois, modern, “realistic” subjectivity keep surfacing in constant motion, blurring boundaries between those “four symbolic domains” when doing so. There is no hope getting back distinct, autonomous categories, which, most probably, never existed in the first place. (Still, borderlines are not canceled once-for-all; how could they, tense traffic between insides and outsides growing continuously?) The late Allon White writes directly about Pynchon elsewhere:

     

    The "high" languages of modern America--technology, psychoanalysis, business, administration and military jargon--are "carnivalized" by a set of rampant, irreverent, inebriate discourses from low life[....] In Gravity's Rainbow history is referred to as a "St Giles fair," [sic]33 and the symbolic pig, the carnival animal par excellence, wallows everywhere in Pynchon's writing as the foul-mouthed but irrepressible subvert of prissy WASP orderliness. [Pynchon] produces a dialogic confrontation whereby power and authority are probed and ritually contested by these debunking vernaculars.34

     

    The low symbolic pig wallows everywhere in Pynchon’s writing all right, but it often gets hybridized with high elements within the subjects of the novels. Among Gravity’s Rainbow‘s approximately 400 characters you may run into one “André Omnopon, of the feathery Rilke mustaches and Porky Pig tattoo on stomach” (711), who is, moreover, going to play a hybrid, apocryphal classic with his Counterforce chamber orchestra: the Haydn Kazoo Quartet in G-Flat Minor–“kazoo” being this fart-sounding mouth harp that provides cheap thrills.

     

    ********
     

    Stallybrass and White stress that one ought to be careful not to regard carnival as a transhistorical form of activity. White himself forgets this when claiming that Pynchon’s texts differ from the positive carnivalism of Joyce’s Ulysses. Pynchon’s “heteroglossia becomes immobilized into a cold war without positive issue, absurd and terrifying at once.”35 My meaning is by no means to underestimate the carnivalistic elements–like the numerous parodies of Catholic discourses–in Ulysses. Still, in my view the novel encourages the reader to build up a transhistorical order from the allusions to high culture contained in it. High canon is capable of achieving dominance, of solving the puzzle. It is not that Pynchon’s characters wouldn’t search for an order like that. The traditional carnivalistic novel gained much of its strength from the way it ridiculed stable centers and high canonic traditions. When easily distinguishable centers are missing, one is left with labyrinths instead of parodies.

     

    Stallybrass and White emphasize the ways, in which the low elements are suppressed and pushed underground in the making of bourgeois identity. The inhabitants of Pynchon’s Zone have it the other way round: these vigorously popular cultural creatures are trying to find the missing high, centripetal forces (also those within the characters themselves) beneath the visible. This makes them readers of a kind, and, what is more, rather peculiar readers as it were: one character reads, interprets, other characters according to how they shiver, another reads them according to how they roll cannabis reefers–and there is also a character who interprets whip scars (641). There is a strong centripetal urge to find the lost, epic oneness: “Somewhere, among the wastes of the World, is the key that will bring us back, restore us to our Earth and to our freedom.” (525) These, Enzian’s, words appeal, but it seems that even for the African Herero tribe the mythical return to pure epic time is no longer possible. They are, like all others, doomed to wallow in the mess of contemporary global culture. They stay impure, each of them, but not all the same: it is impossible for them to keep just the same as before, or same as the others; they keep making aching differences.

     

    The urge to find the all-explaining center betrays often a dialogic sensitivity toward people and things, as I already stated. Those numerous “lyric” passages in the novel, where the narrator and/or characters feel low after striving for high unities, can never be “jollily relativized,”36 as in the carnivalistic novelistic tradition. The Zone becomes an ambiguous chronotope: open and secret, jolly and sore, spontaneous and paranoid–a labyrinthine marketplace, where it is hard to be in the right place at the right moment. It is as if the narrator would like to gather “all of you” together, but the novel lacks that kind of community, a joint chronotope, which would bring “all of us” together. (One problem, not the least, is that even the frequently nostalgic narrator is not one, but many–fragmentary or heterogeneous, hard to say. And is anyone of “us” any one?) All in all, these interrogative, passionate, quasi-transcendental passages make dialogic thrusts.

     

    On the other hand, popular cultural elements do not prove automatically emancipatory, even though there seems to be open, democratic energy contained in them. You really may feel high, when you experience the low. The novel becomes an unsettling and tension-filled, dialogic but post-dialectic arena of centralizing and marginalized discourses. The low elements act as supplements to the “sophisticated,” high canonic tradition, where Gravity’s Rainbow bastardly and subversively belongs. However, the labyrinthine features in the novel estrange the carnivalistic tradition in their turn. The acts of reading (by both characters and their “acting” readers) form oscillating thrusts to open up a field of possibilities of act/ion and pass/ion together. The reading acts, as passible activity and activable pastime, may subvert here the essentializing dichotomy between activity and passivity.

     

    *********
     

    Likewise the Zone itself subverts the opposition between war and peace. The open, systematic acts of martial violence may have ended, but there is no peace yet that would make it possible to escape into a petty-bourgeois stability. Consequently the nature of dialogism in the Zone is not that of a harmonious, consensual intersubjectivity; rather “dialogic” refers to an inequal and ceaseless field of struggle, where tensions cannot be swept under the carpet.37 In many ways Gravity’s Rainbow is a “war baby”; according to Steven Weisenburger the novel’s chronology follows a carefully drawn circular design that takes nine months,38 like pregnancy. There was this song: “Never mind what your calendar say, ev’rybody’s nine months old today!” (538) Perhaps something is being born into the Zone–a holy child? a monster baby?–but we will never know the outcome, the tensions remain unsolved and in the air, open and secret at the same time.

     

    The energy required to keep this vast magnetic field going is provided by the rich humus of popular culture. In order to maintain the dialogic state between war and peace–to prevent readers from taking refuge in harmonic, peaceful interiorities–Pynchon’s novel recruits all the myriad (high and low, literary and extraliterary) genres and discourses it possibly can cram into itself. This is, I gather, also to show that there are no pure, autonomous extradiscursive positions outside the noisy intertextual arenas of the novel. And We, whoever we are, have to operate in the same impure fields as Them: it seems impossible for any of “Our Folks” to find some–private or public–space and time that would not be at least slightly contaminated by Their readerly stories, Their glorious marches and sad lullabies, Their Western grand narratives.

     

    Yet simultaneously Their plottings seem to lose their transcendence, drawn as they are from Their monological unities and heights into the bewildering field of the narration, into this labyrinthine carnival–and don’t we have here the novel telling about itself?39:

     

    Well, there is the heart of it: the monumental yellow structure, out there in the slum-suburban night, the never-sleeping percolation of life and enterprise through its shell, Outside and Inside interpiercing one another too fast, too finely labyrinthine, for either category to have much hegemony anymore. The nonstop revue crosses its stage, crowding and thinning, surprising and jerking tears in an endless ratchet: (681)

     

    Within this mercurial interface, this kaleidoscopic narrative Zone (which is also a Bakhtinian zone, the sphere of dialogic influence40) both Their centric transcendence,41 and a transcendence that would sanctify any of Our suppressed marginalities, prove impossible. Between these conflictual impossibilities there unfolds a tense and dialogic matrix of possibilities. (T)here They and Their centers multiply, which necessarily doesn’t make Them any less dangerous. We and Our marginalities won’t cohere into one emancipatory subject, which necessarily doesn’t make any of Our different clusters less capable of anything–well, at least these “we” are not automatically any less capable than previous, more dualistic “counterforces” have proved to be in the long run–whoever we might be.42It is a violent matrix, for sure–there are no cutely negotiable, Rortyan ways out of it. But perhaps it is only in a Zonelike matrix, in a staggery boundary-crossing network, with modern illusions of closed autonomies melting into air, that those who (who?) have been kept out of time and out of space could possibly start getting themselves heard. Perhaps.

     

    Gravity’s Rainbow remains in a state of warlike peace, where power and resistance don’t make dialectically reducible opposites. As the novel wants to sing a “counterforce traveling song” to you all, and perhaps to itself, too:

     

    They've been sleeping on your shoulder
    They've been crying in your beer,
    And They've sung you all Their sad lullabies,
    And you thought They wanted sympathy and didn't care
      for souls,
    And They never were about to put you wise
    But I'm telling you today,
    That it ain't the only way,
    And there's shit you won't be eating anymore--
    They've been paying you to love it,
    But the time has come to shove it,
    And it isn't a resistance, it's a
    war. (639-640)

     

    Life during wartime is, however, hard work. To intervene in the dynamics of the Zone means that you have to throw yourself (or your selves) there without guarantees and safe positions. The traveling song has to keep traveling–and “you” have to become deterritorialized, and reterritorialized, time after time, all along. When the division between inner and outer spheres is collapsing, you may feel like Nora Dodson-Truck, a psychic in mental disorder, in the preceding episode: “she will go staggering into her own drawing-room to find no refuge even there, no, someone will have caused to materialize for her a lesbian elephant soixante-neuf, slimy trunks pistoning symmetrically in and out of juicy elephant vulvas, and when she turns to escape this horrid exhibition she’ll find some playful ghost has latched the door behind her, and another’s just about to sock her in the face with a cold Yorkshire pudding…” (638). Sometimes it feels insurmountable to survive the true, tense, and hybrid serio-comicality of the Zone…

     

    Notes

     

    I would like to thank Jouko Salo, Michael Holquist, John Krafft, Bernard Duyfhuizen, Brian McHale, Terry Caesar, and Steven Weisenburger for their fruitful comments on my essay.

     

    1. Bakhtin 1981, 84.

     

    2. Throughout, ellipses are Pynchon’s, except where enclosed in brackets.

     

    3. ibid., 250.

     

    4. E.g. Strehle, 192. Strehle’s often positivistic aim is to trace the influence of modern physics on some contemporary writers (Pynchon, Coover, Gaddis, Barth, Atwood, and Barthelme).

     

    5. Cf. for example Hendin and Sanders.

     

    6. On the novel as a jeremiad, see Smith & Tölölyan.

     

    7. Bakhtin presents the division between epic and novel most distinctly in “Epic and Novel,” Bakhtin 1981, 3-40.

     

    8. According to Weisenburger, 1.

     

    9. McHale, 95-114.

     

    10. Translated by Weisenburger, 187.

     

    11. In addition to Bakhtin’s general condition of dialogism (see Holquist 1990, 14-66), this, of course, bears similarities with Derrida’s critique of closed and transcendental contexts in “Signature event context” and “Limited Inc,” both in Derrida 1988.

     

    12. Weisenburger for one has not found these lines in Borges’ Obras Poeticas. (Weisenburger 187.)

     

    13. Kermode, 3.

     

    14. Schaub, 43.

     

    15. Dyer, 20-24.

     

    16. ibid., 24.

     

    17. Bakhtin 1981, 8.

     

    18. The best essay on Borges and Pynchon is probably Castillo.

     

    19. Borges, 236.

     

    20. Bakhtin 1981, 85.

     

    21. Molly Hite argues for the significance of “the trope of absent center” in Pynchon throughout her study. See esp. 21-32.

     

    22. This list owes much to the one that Weisenburger has in the introductory part to his Companion. (Weisenburger, 6).

     

    23. Bakhtin 1973, 102-103.

     

    24. See Stallybrass and White 1986, 13-15.

     

    25. The concept is, of course, Lyotard’s (see Lyotard passim). Lyotard seems to think that, once Their grand narratives have lost all validity and legitimacy, we are left with Our local and democratic “small narratives.” Pynchon takes the grand “project of modernity” much more seriously, I dare say.

     

    26. E.g. Jameson, 51-54.

      

    27. ibid., 34-36.

     

    28. Bakhtin 1986, 147.

     

    29. Bérubé, 220-221.

     

    30. Hayles, 111-112.

     

    31. Derrida 1972, 21. Linda Hutcheon finds it equally impossible to break away from traditional narratives. What represents literary postmodernism to her, works of historiographic metafiction, first inscribe themselves in traditions, and only this done feel able to subvert these traditions. (E.g. Hutcheon, 224.) In my view this is close to Pynchon’s strategies.

     

    32. Stallybrass and White, 2-3.

     

    33. Actually it is called so in V. (Pynchon 1975, 307.) In Gravity’s Rainbow the War is “Night’s Mad Carnival.” (133)

     

    34. White 1984, 135.

     

    35. ibid., 136.

     

    36. Bakhtin 1973, 102.

     

    37. In Dialogics of the Oppressed Peter Hitchcock similarly emphasizes the latter definition of dialogism at the expense of the former. See Hitchcock, 1-24.

     

    38. Weisenburger, 9-11.

     

    39. As Louis Mackey surmises in one of his fine essays on Pynchon and American Puritan tradition (Mackey, 17).

     

    40. Holquist 1981, 434.

     

    41. And thus total manipulation of Us proves impossible, too. The Foucauldian view (at least in his period of Discipline and Punish) of Their all-powerful control and Lyotardian view of Our nice new freedom seem to make together a neat logocentric binary opposition. Gravity’s Rainbow takes these totalizing opposites into a same immanent field and ultimately shows that they cannot be thought about and talked about one without the other.

     

    42. This is very close to Jim Collins’ notions in his pathbreaking study on postmodernism and popular culture (Collins passim). See esp. 3-27.

     

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    • —. 1986. Speech Genres and Other Late Essays. Trans. Vern W. McGee. Ed. C. Emerson and M. Holquist. Austin: U of Texas P.
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    • Stallybrass, Peter and Allon White. 1986. The Politics and Poetics of Transgression. Ithaca, N.Y. Cornell UP.
    • Strehle, Susan. 1992. Fiction in the Quantum Universe. Chapel Hill, NC: The U of North Carolina P.
    • Weisenburger, Steven .1988. A Gravity’s Rainbow Companion: Sources and Contexts for Pynchon’s Novel. Athens, GA: U of Georgia P.
    • White, Allon. 1984. “Bakhtin, Sociolinguistics and Deconstruction.” In Gloversmith, Frank (ed.): The Theory of Reading. Brighton: Harvester Press Ltd. 123-146.

     

  • Currency Exchanges: The Postmodern, Vattimo, Et Cetera, Among Other Things (Et Cetera)

    Tony Thwaites

    University of Queensland
    tony.thwaites@mailbox.uq.edu.au

     

    [O]ne of the more striking features of the postmodern is the way in which, in it, a whole range of tendential analyses of hitherto very different kinds--economic forecasts, marketing studies, culture critiques, new therapies, the (generally official) jeremiads about drugs or permissiveness, reviews of art shows or national film festivals, religious "revivals" or cults--have all coalesced into a new discursive genre, which we might as well call "postmodern theory," and which demands some attention in its own right. It is clearly a class which is a member of its own class, and I would not want to have to decide whether the following chapters are inquiries into the nature of such "postmodern theory" or mere examples of it. (Jameson, Postmodernism x)

     

    Lists

     

    Is there such a thing as the list in general, the general idea of the list? Lists, after all, resist the general as much as they hint at it. Rather than name a general and finite principle of ordering, the list gives a series of specific cases which is potentially endless. It is tempting to say that this is an endlessness in principle, but principle is precisely what the list suspends, for the moment at least, and until further notice, which we have to admit may never come. The figure of the list is asyndeton, usually defined as the absence or omission of conjunctions,1 but in fact far less committal and more slippery than either of those figures of lack might suggest. Asyndeton refuses to be drawn on lack or presence; it renders indistinguishable the absent, the present-but-unstated, the withdrawn, the obvious, the causal, the consequential and the inconsequential. The asyndetic is not what is absent so much as what refuses to go away: the nagging possibility of connection beyond mere juxtaposition. Lists are thus neither coherent nor incoherent, but work on an unstable margin somewhere between both possibilities, which haunt them both as their possibilities and as the conditions making them possible.

     

    Nevertheless, even though the list may suggest the possibility of a general principle, all that is necessary for it to be a list is mere collocation: the minimal and obvious commonality that its elements are grouped together in this list, here, now. Happenstance perhaps. A list may be no more than a disjunct set, the meeting point for things which would share no internal necessity if it were not for the possibility that the very silence of asyndeton makes that boundary between internal and external a somewhat leaky one, subject to all sorts of osmotic exchanges. The list is provisionally (even though that provisionality is quite indefinite in its extent) held together by the very act of listing. It awaits its principle, which lies somewhere in the future and in the past, as something which is yet to be fully determined but which will be installed by this future act as having always already been there, in the will have been of the future anterior. Structurally, the necessity of the principle cannot help but be retroactive, and thus it carries within it the traces of the contingent, the adventitious. This is why, even in its arrival, this principle remains an awaiting, the purest of happenstance. Such a event need not have occurred, in the sense that it is predictable from none of the predicates of its components; but that it has occurred installs it retroactively as necessary: this is what had to happen for the present, this present, to arrive.

     

    As John Frow points out (10), the list is one of the recurrent rhetorical devices of writing on the postmodern. It would be easy to propose a meta-list of postmodern texts which rely somewhere in their argument on the potentially inexhaustible listing of postmodern things: we would have the cultural critiques of Jameson or Lyotard, the political economy of Harvey or Aglietta, the geographics of Soja, the literary theory of Hutcheon, the celebrations of Hassan. In the list’s suspension of the principle which seems at times almost coterminous with discussion of the postmodern, it is not surprising that, as Frow says, the very idea of the postmodern should be conceptually incoherent (9-12).

     

    Nevertheless, this would not in itself be sufficient reason for discarding the postmodern as simply an ill-conceived notion or an unfortunate mistake. One of the causes for caution Frow gives is that whatever its problems, the postmodern is already in a sense there on the agenda, given as a discursive object, with certain very real discursive, epistemological, institutional and political effects which need to be taken seriously (8-9). This would be a necessary, if minimalist, position: if one cannot take the postmodern as a serious instrument of analysis, one can and should nevertheless treat it at least as a category for analysis, one which must be carefully scrutinised as a socio-politico-epistemological phenomenon rather than dismissed as a mystification. But once this is admitted, another difficulty arises immediately: it may not be possible to draw a clear line between texts which analyse and texts which are analysed. Jameson decides quite early that he is not even going to try to draw that line: “I would not want to have to decide whether the following chapters are inquiries into the nature of such ‘postmodern theory’ or mere examples of it.” Significantly, this declaration follows immediately after a listing: that “whole range of tendential analyses of hitherto very different kinds” which “have all coalesced into a new discursive genre, which we might as well call ‘postmodern theory.’” These analyses coalesce: they are not so much articulated with each other across clear boundaries, like parts of a well-oiled theoretical machine, as subject to a loss of boundary, an indefinition; what they form in their coalescence is something which was not there before, a new genre of uncertain status, whose possibly disjunctive nature is marked by the noncommittal: we “might as well” call it “postmodern theory,” this persistent aggregation whose very structure may be the friability of the list. Jameson’s book is riven–and driven–by an uneasy yet gleeful fascination with a postmodernity it sees as both symptom and treatment, object and means. If the list is asyndetic in its delays and in the instability of its hide-and-seek games with coherence and incoherence, how can one avoid listing in the course of analysing it? Necessary as it is, that minimalist position–at least we should take the postmodern seriously as an object for analysis–cannot be contained, even in the very act of its postulation. From the very beginning, the minimal position is one of excess.

     

    To the extent that the postmodern is asyndetic, then, it is not simply incoherent. What is at stake in it, as both object and tool of inquiry, is a complex and unstable play of coherence and incoherence. We should perhaps read the postmodern not merely as a failure of conceptualisation, but–and always among other things–as the question of external and internal limits of the concept: on the one hand as an index of aspects of the specific phenomena the term attempts to conceptualise and of the problems of conceptualising them, and on the other hand of the limits of conceptualisation in general (which is precisely the question of what such an in general might involve, and of the asyndetic nature of that edge between the specific and the general).

     

    One way of reading the recourse to listing might, for example, be to emphasise its deictic moment. It is as if somewhere along the line in talking about the postmodern, a blockage occurs: as if, for whatever reasons, “the postmodern,” whatever it might be, resisted abstraction or generalisation, or perhaps were precisely this resistance, and repeatedly forced one back to the specific and a resort to pointing. This is a discursive blockage, on the levels of both signifier and signified: the signified concept “dog” is neither this particular dog nor that one; the signifier is neither the way I say “dog” on this given occasion, nor on another the way you say it with quite different voice, tone, pitch, timbre and accent. In the asyndetic blockage which marks one of the limits of language as system, a stammer develops. Language granulates, into a nomination which can only be repeated immediately, potentially without end. But nomination must always, as a condition of its sense, be accompanied by the non-linguistic, the extra-linguistic. I am forced to gesture. I say the word “dog,” and at the same time I point in some way: this one, this one here…And this one too… The structure of the list, then, is never purely linguistic, for all that a list is a sequence of namings. It is also, at the same time and as a condition of its intelligibility as list (and as linguistic), irreducibly gestural, choreographic. It marks a trajectory (here…and here…), the trace of events: a dance, like the spatterings across a Jackson Pollock canvas. Contrary to the common complaint that the postmodern cannot see beyond the linguistic, the list, which would seem to be its figure par excellence, suggests seeing it as the site of a perpetual and constitutive leakage between word and event in its gestural knotting. A most peculiar knotting: asyndetic, provisional, retrospective and situational, forever in the process of being simultaneously unknotted and done up again. The coherence of the asyndetic link is always at stake, and that is why the list proliferates indefinitely, even the shortest list: no finite number of elements can exhaust its reknotting.

     

    If the logic of the list is asyndetic, and if the list is a recurrent figure in discussion or examples of the postmodern, should we just come out and say that whatever else it might be (and that is far from clear) the postmodern is asyndetic? That is, that the postmodern can be predicated as asyndetic, that asyndeton is one of its properties or characteristics? But asyndeton is not just a characteristic among others: it opens the very space of the list in which characteristics and properties can be nominated as such. In a sense which is neither simply logical nor chronological, asyndeton is prior to properties, the proper, the unitary. Once properties are assigned, there is the postulation of a link between the property and the thing which bears it as its property, and thus there is no longer asyndeton. The asyndetic is the keeping open of the question. This is the insistence of the postmodern, certainly, its refusal to go away. It may also be, in a sense on which we will need to elaborate shortly, its value. It may be: the question needs to be kept open. If, of course, precisely, it is to have value.

     

    Asyndeton’s game of coherence is a promise. Like any promise, it may not make good on itself: that is precisely what makes it asyndetic. A promise whose fulfilment was absolutely guaranteed would not be a promise at all, but the determined, ironclad operation of a law. A promise is a promise not because it can be fulfilled, but because it need not be: the real figure of the promise is the broken one. Conversely, when a promise is fulfilled there is something in this very fulfilment which is gratuitous, which need not have occurred in order for it to be a promise, and which has arrived like happenstance from the outside. Asyndeton is no more incoherence than it is coherence: it is the promise of coherence, the very opening of coherence as a question which links it–asyndetically, as a question–to the postmodern. As promise, it is also, as we shall see, the site of return of a certain performativity.

     

    Much writing on or of the postmodern (and this much, this for example, cannot help but bring with it–already, and before the positing of any specific example to fill that role–the list and the question of coherence) of course poses coherence as a question, to the extent that it is quite precisely and knowingly concerned with what can be characterised as logics of structural limit and margin. To pose the question of limit is not to jettison structure, principle or coherence as such: it is to ask about the ways in which regularities and principles of coherence are embedded in and emerge from fields not governed by those principles. It is to position an investigation on the margins where a regularity is still in the process of formation. The instability which is constitutive of margins is thus not merely a stage to be superseded by a final stable form; on the contrary, it is what remains, as an irreducible ghosting or a zone of undecidability where such stabilities not only coalesce but also just as rapidly dissolve again. Instability here reveals itself as the very condition and limit of any possible stability. The philosophical locus classicus for the investigation of such logics of margins is of course Derrida, but the issue is hardly one engaging only philosophy. Such logics are also involved, for example–and here again we have to go into list mode–in things as different as the flexible accumulation which Harvey sees as characteristic of late capitalism, and the ways in which capitalism perpetuates itself as crisis; the generic differends of phrasing Lyotard examines in The Differend; the machinic assemblages of Deleuze and Guattari; and the Jamesonian “cultural logic of late capitalism” (though we might well want to question the singularity of the definite article of Jameson’s subtitle, and suggest that what late capitalism provides is not so much a singular cultural logic as an endless and never fully systematic negotiability of cultural logics).

     

    Exchanges

     

    The list is a set of exchanges across limits, a question of what links and separates. What can be involved in such exchanges? What, for a start, of that very concept of exchange? What exchanges does the concept of exchange itself take part in? If categories are formed in exchange, then exchange itself can be no simple category or concept, but already an exchange of exchanges.

     

    Exchange is never total equivalence. Equivalence is the overlooking of the remainder and the messy overlaps of the superimposition: equivalence is generalisation, and this is why there can be no general principle of the list. Neither, for the same reason, can there be a generalised exchange, as exchange is the very possibility of generalisation, just as it is of equivalence, which it everywhere exceeds. Exchange is invoked everywhere, and yet it has no principle; without principle, it is the very possibility of principle. Exchange is related to the event before it is a matter of the concept; in its nonequivalence, it marks out as remainder a complex trajectory across a number of regions.

     

    Traversing lists, exchange is not a term exclusive to one discourse, or even any totalisable set of discourses. Indeed, the very act of totalisation must necessarily invoke exchange, which thus remains beyond or outside all possible acts of totalisation it enables. Exchange as such cannot be totalised. That there is no general exchange forces us back into list mode, a series of names which will always be haunted by arbitrariness. One such listing: Marx and the political economy of exchange-values; the Saussurean thesis of linguistic value as based entirely on a play of “differences without positive terms”; Lyotard’s familiar argument that performativity, as the effectivity of the circulation and production of exchange-value, becomes late capitalism’s sole legitimation of any action; somewhere nearby, his in many ways complementary argument about incommensurabilities of exchange in the differend; connecting in a number of ways to both of these are the Wittgensteinian problematics of the language-game, with all of their severe disjunctions from the Saussurean model and the various semiotics which come from it; though they seem to avoid mention of each other, a number of connections including a shared one back to Heidegger place Vattimo and Derrida somewhere in the same neighbourhood: Derrida raises the question of a general economy as it emerges in Hegel, Bataille, Freud, and returns repeatedly to the problematics of the post(-) and its destinerrance–to mention only those; in another direction again (now the post- has arrived), there are Harvey’s arguments about market deregulation and the economics of flexible accumulation. And so on, and so on…: the ellipsis, the mark of the list.

     

    To list is not to say that the elements of the list are all examples of the same thing: that at some maybe deeper and more essential level which hides itself from the causal gaze, all of these highly disparate discourses and phenomena would show themselves to be just so many examples of a single process (a quite classical structuralist homology, in effect). That is precisely what the list leaves in suspense and demurs from saying. Is exchange the same thing in Marx and Saussure? In the former, to go no further than the starting-point for the first volume of Capital, exchange describes the relationships between two categories, money and the commodity; in the latter, it describes the co-existence of certain elements within a common paradigm-set of morphemes. Different relationships are set up in each case, in different ways and between different categories of different entities. There is no simple equivalence: one cannot superimpose Marx on Saussure and hope for a neat fit. And yet, neither are the two unrelated. When Saussure introduces the concept of value as the mechanism of linguistic meaning, the extended figure on which he draws is, after all, nothing but the coin. Significantly, it is an analogy which cannot even strictly be made in the detail Saussure’s own argument requires (Harris 118-123). There is a complex exchange between Marx and Saussure, between exchange in Marx and exchange in Saussure. One cannot exchange one exchange for the other in the sense of achieving a total equivalence; but on the other hand, the two exchanges cannot but be exchanged, cannot be prevented from exchange, in all sorts of partial and perhaps unforeseeable ways. And then there are all the other terms in our initial list (and more, and more). Not to mention that there will be, in the very next instance, what we can surely take only as the equally complex exchange between the exchange invoked by any term in that potentially endless list and that of any other. And then between that exchange of exchanges and the previous….

     

    In this proliferation, exchange is a switchboard connecting and marking the distance between all sorts of things, and in ways which can never wholly be determined before the event. There can be no single or even stable and determinable exchange which will be common coin for all of them. What we have here is more like a sheaf of disparate causalities and temporalities, whose vectors move in different directions, at different rates and in different rhythms. Pierre Bourdieu is fond of citing Cournot to the effect that chance is “a word which…designates the encounter between two independent causal series” (Bourdieu, In Other Words 80). In this sense, exchange opens up to contingency where equivalence would banish it. The contingent is not what is devoid of regularity or causality, so much as that whose regularities and causalities–such as they may be, for that remains the asyndetic question–belong to a different economy. In moving from one such economy to another, in even invoking them in the same breath, what is at stake is not only a mechanism of exchange, but also the rates of exchange: how one exchanges between one exchange and another.

     

    Consider this in more detail. Let us continue for a while in the Saussurean circuit. Saussure remodels signification along economic lines, as value produced in the interplay of terms which remain purely differential rather than substantial. An objection frequently raised to Saussure is that this play of differences is nevertheless hampered by its being limited to the linguistic: to the phonemic or graphemic differentials of the signifier on the one hand, and the abstractly conceptual differentials of the signified on the other, in disregard of the nonlinguistic forces at work within language. Under a number of very frequent and influential readings, Saussure is often seen as operating an elaborate and interlocking series of exclusions of the socio-political, through binaries of synchrony/diachrony, langue/parole, syntagm/paradigm: what results is a system which is transcendental, non-phenomenal, frozen off from actual language, actual usage, and all possibilities of agency.2 Nevertheless, as Gregory S. Jay points out, the Course itself “cautions against building a formalist theory on such principles as ‘the arbitrariness of the sign’ and does so through socio-political metaphors.” What’s more, these socio-political metaphors cluster in precisely those passages which are so frequently read as proof of Saussure’s very refusal of the social:

     

    The signifier, though to all appearances freely chosen with respect to the idea that it represents, is fixed [imposé], not free, with respect to the linguistic community that uses it. The masses have no voice in the matter, and the signifier chosen by language could be replaced by no other. This fact, which seems to embody a contradiction, might be called colloquially “the stacked deck” [la carte forcée]…. No individual, even if he willed it, could modify in any way at all the choice that has been made; and what is more, the community itself cannot control so much as a single word [la masse elle-même ne peut exercer sa souveraineté sur un seul mot]; it is bound to the existing language.

    No longer can language be identified with a contract pure and simple…language furnishes the best proof that a law accepted by a community is a thing that is tolerated and not a rule to which all freely consent. (Saussure 71; qtd. in Jay 51- 2)

     

    Jay reads this as something quite different from linguistic formalism: it is, he says, a “demystification of a social contract theory of language,” which “offers itself as a course in ideological criticism,” and which “could aim a political semiotics at those theories of individual freedom, law and community that figure themselves as the transparent self-conscious expressions of knowing subjects” (Jay 52).

     

    A socio-political metaphor does not, of course, make a socio-political discourse. Jay is not claiming that Saussure is a political theorist who has been misinterpreted by wilful epigones as a linguistic formalist. At very least, the more obvious formalisms exist alongside, within passages such as the one I have just cited; they are even in many ways attempts at resolution of the issues raised by such passages, and themselves complex negotiations of the politico-discursive. A reading of the Course cannot afford to forget, for example, that whatever else it might be, its argument is also a disciplinary one, and its distinctions between what is internal and external to linguistics are never a conceptual or epistemological matter alone, but always a matter of struggle over what sort of activity is to be done in institutions which declare themselves linguistic, by whom and with what training: it is an argument about universities, chairs, professionalisation, and funds. Another complex network of possible exchanges plugs into the switchboard, to be read necessarily both with and against an indeterminate number of those other exchanges, in variable and sometimes downright indeterminable ways, but never with the possibility of reading in simple isolation from them, or with the hope that all of these simply reduce to the one simple transaction.

     

    The argument to be made about Saussure, then, is not that he excludes “the political.” (What would the political be, that it could be an option a text could take?) It is rather that such a deliberate methodological refusal is itself a socio-political move. Saussure’s text is itself diacritical: it takes its meanings from a complex set of interchanges which traverse it and which it negotiates but does not regulate, in a way which is both profoundly Saussurean (this is, after all, the very argument the Course makes about meaning as value) and at the same time deeply inimical to the Saussurean project (because these interchanges do not stop short at or even permit the clear definition of a boundary of the text). Saussure’s text operates a set of exchange rates with what is simultaneously incommensurate with it and yet formative of it, and out of which it produces compromises which are functional because of rather than despite their formal incompletenesses.

     

    The political is not a realm outside the textual, with which textuality negotiates more or less faithfully or whose story it tells more or less truly. It is this very ad hoc, partially determined and yet partially indeterminate, unstable, traversal process of exchange. If the economy of exchange set out by the Course appears formally less than consistent, this is because it is also negotiating changes across economies, where no smooth transition of values is possible. Needing to admit as the basis of its theoretical exchange mechanisms the interconnections which make up value, it must also and at the same time exclude some of those interconnections (the “sociological,” the “historical,” etc.) on the basis of other and equally necessary exchange mechanisms (disciplinarity, professionalism, pedagogics, etc.), and without common ground. What are the rates of exchange here, marked within Saussure’s text–if indeed we can still speak of a within of something constituted by its exchanges? What interests are to be gleaned, and what unrecuperable losses? “Saussure” is a complex and unresolved network of switching-points between discourses which are–or so it would seem from the evidence of the Course itself, and its own assertions about what can and cannot be considered within its system–strictly incommensurable. This is not to argue that they cannot be put together.3 They obviously can be, and are all the time, beginning with the Course itself, and with certain very real effects when this happens. Anybody knows that incommensurables are exchanged all the time, that they are among the most banal of exchanges, despite the impossibility of any stable or even fully determinable exchange rate. Formal incommensurability has never meant inadjudicability, just the necessity of playing it by ear. True, the fit will never be exact, the translation never true; there will always be residues left to one side, dropouts on the line, interference patterns where the superimposition of two noncongruences produces fleeting, persistent moiré ghosts in the system. But it is this messiness of fit which is the model of exchange, not the balanced equation (which is the freak, the crude approximation, the burst of nostalgia). And it is this messiness of fit which, far from being an indecision which marks the death of the political, is itself the very possibility of the political, the point from which it can begin.

     

    There would doubtless be similar moves to be made in the other interconnections available on this exchange. Each of them would be a meta-argument, readable as about itself and its own procedures; each of them raises the meta-economic question of how one converts between economies. None of them provides a position which is epistemologically, at least, necessarily more privileged (or more “meta-“) than the others. At the same time, of course, this is not to say the plurality of perspectives means an indifference, in which all such positions would be in principle interchangeable: exchange is after all not formal equivalence, and asyndeton keeps the question of connection open to contingency. The choice–and we should not assume that this should be simply the free choice of an agent–always stands to be something which matters very much. Metalanguages are always in some sense incommensurable, available or performable in different circumstances, under different conditions, producing different effects, all of which are never simply substitutable one for the other. Nevertheless–or is it because of this?–there are always incessant exchanges and negotiations being made amongst them, according to something like a pragmatics of the ad hoc, of what lies to hand. Their very incommensurability is what makes exchange both crucial and unavoidable.

     

    Limits

     

    At various points in each of his English-language collections of essays, The End of Modernity and The Transparent Society, Gianni Vattimo expands on an argument whose outline is familiar from Weber, among others: modernity is that epoch in which being modern becomes a fundamental value in itself.

     

    Modernity is primarily the era in which the increased circulation of goods (Simmel) and ideas, and increased social mobility (Gehlen), bring into focus the value of the new and predispose the conditions for the identification of value (the value of Being itself) with the new. (End of Modernity 100)

     

    Because this fundamental value–the one which effectively founds all other values–is itself necessarily without foundation, one of the consequences of this move is to raise in a particularly acute form the whole issue of axiomatics. With the modern, to the extent of modernity, all that is necessary for value is that something appear in the circulation of exchange: now, here. For modernity, newness itself newly appears as a founding of value (and thus, by its own logic, of the most valued value). The most valued as the most modern is that which is due most to this present circulation, the newest; that which has not, until now, had a place in the incessant circulation of values in which it now appears and for which it now provides a bright, ephemeral point around which everything, at least for now, gravitates. For this modernity, in so far as it is modernity, exchange–and particularly the debut, the entry into circulation–is all. Whatever does not circulate, or at least bear the possibility of circulation, cannot have value. For it even to be value, use-value can only be a derivative form, a sort of residue left behind in the wake of exchange. Value is fundamentally exchange-value: modernity translates currency.

     

    This modernity is expansive and linear: a logic of progress, which is “just that process which leads towards a state of things in which further progress is possible, and nothing else” (End of Modernity 101). Yet it also curiously finds itself checked by a set of internal limits, whose figure here will be none other than the list:

     

    A good deal of twentieth-century philosophy describes the future in a way deeply tinged with the grandiose. Such descriptions range from the early Heidegger’s definition of existence as project and transcendence to Sartre’s notion of transcendence, to Ernst Bloch’s utopianism (which is emblematic of all Hegelian/Marxist philosophy), and to the various ethics which seem ever more insistently to locate the value of an action in the fact of its making possible other choices and other actions, thus opening up a future. This same grandiose vision is the faithful mirror of an era that in general may be called “futuristic”…. The same may naturally be said of the twentieth-century artistic avant-garde movements, whose radically anti-historicist inspiration is most authentically expressed by Futurism and Dadism. Both in philosophy and in avant-garde poetics, the pathos of the future is still accompanied by an appeal to the authentic, according to a model of thought characteristic of all modern “futurism:” the tension towards the future is seen as a tension aimed towards a renewal and return to a condition of originary authenticity. (End of Modernity 100)

     

    Modernity is grandiose in that it tells a narrative–and this can only be a variety of those infamous “grand narratives” of Lyotard–which lays an ethical claim to the future by curving it back onto its past through that “renewal and return to a condition of originary authenticity.” This great sweep marked out by “a good deal of twentieth-century philosophy” and the “most authentic” moments of the avant-garde can nevertheless only be posited metonymically, from examples. Modernity is thus never simply given as general law, but only as asyndetic regularity: or rather, it is able to posit itself as general law only at the cost of excluding as illegitimate or inauthentic whatever might not fall into such a regularity. It would seem to pass over some things, though it may never be quite sure before the event just which they could be. Authenticity and asyndeton thus mark a limit of the modern, its unstable and never complete passage from regularity to rule: the blinking of generality.

     

    That modernity does not sweep all of philosophy and the avant-garde along in its necessity implies that it is open to a certain contingency. Diverse things which are not necessarily reducible to the same–that is to say, which steadfastly remain a list–come together in it, but only to “predispose the conditions for the identification of value…with the new:” predisposition is neither strict determination nor pure accident, but the envelope of the adventitious. What authenticity attempts to mark out, selectively and retrospectively, as already beyond the boundaries of modernity, is a multiplicity of histories which are not equivalents.

     

    The attempt fails in at least three ways, each of which arises not from the countering of modernity with another opposing mode, but from within the very logic of modernity itself. The first has to do with what Arnold Gehlen calls secularization: if the new is the fundamental value and progress “is just that process which leads towards a state of things in which further progress is possible, and nothing else” (End of Modernity 101), there is no room for narratives of transcendence; secularization involves the “establishment of laws proper to each of many different fields and domains of experience” (End of Modernity 103). But as Gehlen points out, this strategy in the name of progress must turn back on progress itself as it

     

    fans out in divergent processes that develop their own internal legality ever further, [so that] slowly progress…is displaced towards the periphery of facts and consciousness, and there is totally emptied out. (qtd. in End of Modernity 102)

     

    Secondly, modernity’s insistence on the new cannot but be a determined ethnocentrism: it is possible only at a certain advanced stage of capitalist development. The collapse of colonialism and imperialism makes “a unilinear and centralized history de facto problematic” (Transparent Society 4). And thirdly, the development of mass media and their insatiable demand for content leads to a proliferation of narratives and viewpoints which “do not make [the social] more ‘transparent,’ but more complex, even chaotic.” (Transparent Society 4)

     

    If the end of modernity, as Vattimo suggests, is thus “when it no longer seems possible to regard history as unilinear” (Transparent Society 2), this end cannot be just a terminal point in a linear progression, after which everything would change radically. Such a point could only be the very moment of modernity itself, the advent of the new. The end of modernity will already have been everywhere within it, in the asyndetic structure of its very regularity. What begins, with this “end,” to reveal itself as already having been there all along is a manifold of regions in which exchange–no longer under the sole aegis of the new — becomes the question of the exchange of exchange: the exchange for which rules do not already exist, where everything is yet to be made. This is the Riemannian space which so fascinates Deleuze and Guattari in A Thousand Plateaus, and in which, according to Albert Lautman,

     

    two neighbouring observers…can locate the points of their immediate vicinity but cannot locate their spaces in relation to each other without a new convention. Each vicinity is therefore like a shred of Euclidean space, but the linkage between one vicinity and the next is not defined and can be effected in an infinite number of ways. Riemann space at its most general thus presents itself as an amorphous collection of pieces that are juxtaposed but not attached to each other. (qtd. in Plotnitsky, In the Shadow of Hegel 57)

     

    It is also the space which comes to characterise the sciences of the nouveau Nouvel Esprit and their break with Bachelardian epistemology, according to Michel Serres’ work of the 1960s and 1970s: the space of Hermes, where knowledge is not the uniform taxonomia of the encyclopedia, or even development punctuated by paradigm shifts, but a series of seas connected by all sorts of unforeseeable passages. Hermes: the messenger, god of communication and of crossroads, but also thief. We could continue: Plotnitsky’s complementarity, Lyotard’s incommensurable regimes of phrasing would all be here somewhere: the very shape of the space is that of the list.

     

    As is its temporality. The time this break inaugurates–and that inauguration can only be a particularly complex logic of foreshadowing–is multiple, non-linear, a sheaf of non-totalisable and asyndetic temporalities. This does not necessarily imply a refusal of linearity or narrative, but it certainly involves a reframing of their significance. Indeed, linearity continues: how could it not when the end of modernity stops nothing, for the reason that the very figure of the end as terminus is constitutive rather than subversive of modernity? Now–and again that “now” will be already far from simple–the linear is retopologised, as a local or regional regularity of the manifold rather than as general rule. To say this is not to limit its extent: there is no contradiction between a phenomenon’s being regional in this sense and thoroughly global in its spread. What regionality implies is not smallness of scale but that its regularities are not already given, in principle, as rule: that is, that their sway is not guaranteed in advance, but is the outcome of exchanges without rule, exchanges of exchange. In this, regionality remains essentially open to the ethical, the necessity of judgement without model, and to the political, in that the extent of a region is always a matter of hegemonies, dominations and contestations whose outcome may in principle have been otherwise. Regionality does not dismiss or destroy linearity or the grand narrative: it multiplies them, and plunges them into a multiplicity of other exchanges which give rise to and situate them, but of which they are no longer the model. The global strategy is essentially local in that it is situational: its outcome cannot be predicted from universal or general principles. Globalisation is itself a strategy, and a local one: it makes certain claims, from certain positions, and with certain effects which, however, are not simply totalisable, due to the regional structure of the manifold, nor, for the same reason, reducible to the effects intended by the agents of this strategy. While linearity and narrative do not in any sense cease to exist, nevertheless, at the limits of modernity’s narrative of progress and the escalation of the new there is silently everted an underside in which everything is also act, event, strategy without finality. One of the purest figures of this would again be Pollock’s abstract expressionism, which retains the line but multiplies it out into an entire field without boundaries, in a depth which everts itself into an entire choreography of bodily movements. On the one hand, the layered depths into which the lines recede and from which they emerge with startling clarity; on the other, the calligraphy which traces out the dance of the painting body. On the one hand, the symbolic, representational, narrative, conceptual structure; on the other, the act or event which gives rise to and underpins this, but which can thus always threaten it with possible dissolution.

     

    Here, it is useful to recall Slavoj Zizek’s characterisation of the act:

     

    With an act, stricto sensu, we can…never fully foresee its consequences, i.e., the way it will transform the existing symbolic space: the act is a rupture after which “nothing remains the same.” Which is why, although History can always be explained, accounted for, afterward, we can never, as its agents, caught in its flow, foresee its course in advance: we cannot do it insofar as it is not an “objective process” but a process continuously interrupted by the scansion of acts. The new (the symbolic reality that emerges as the aftermath of an act) is always a “state that is essentially a by-product,” never the result of advance planning. (Enjoy your Symptom! 45-6)

     

    The product of the interference of independent series, even if those series should themselves be highly causal, is never entirely predictable. Even so, there is something familiar about this. After all, to see the act as a rupture after which nothing remains the same–whether or not that after should be the expected–is precisely the modern imaginary of the moment of break and the narrative of the new which spirals from it. It needs to be augmented by what Zizek elsewhere characterises as the logic of the symptom.4 The eversion effected by the act is not only a break after which everything is different; it is also, and far more oddly, a rupture before which nothing remains the same. The act is retrospective: it reveals this is how things will already have been. Until the moment of the act, things have appeared in one fashion, but with the act the very way in which they have previously appeared now itself appears differently–and in a way which is not predictable from that previous appearance or governed by the intentions of its agents, but is itself also “a state that is essentially a by-product” and thus multiple and asyndetic.5 History is never written solely by the victors, and is singular only to the extent that it is hegemonic.

     

    The “end of modernity,” then, is not punctual. This internal limit of modernity which manifests itself as the eversion of the linearity of the new into the singularity of the event is not a point on a continuum, whether of rupture or articulation. It cannot be assigned a date, not because such an end is purely mythic and refuses to have anything to do with the events of actual history, but because it traverses events in another way than that of the succession of dates. The end of modernity is always too late or too early, never on time, now, here, but marked by an always already or a not yet; it is not a point on a timeline at which everything winds up and something new prepares to begin, but the ways in which modernity’s timeline itself devolves incessantly into the always already and the not yet. Geoffrey Bennington points out how in its own unravelling temporalities the moment of Derridean deconstruction is similarly unlocatable in a chronology:
     

    the logic of supplementarity is stated or signed neither simply by Rousseau nor simply by Derrida (who found it all in Rousseau...)--and this difficulty of assigning (and therefore dating) doctrine or belief obviously explains why deconstruction disrupts any simple history of philosophy or ideas, which would need to know, for example, when the logic of supplementarity was thought or invented (in the mid-eighteenth century by Rousseau or the late twentieth by Derrida--it makes quite a difference in the history of ideas), but cannot know any such thing, for supplementarity exceeds and precedes dating, as its condition of (im)possibility, precisely. (Bennington 198) 6

     

    The limit is not so much boundary as list: a singularity which is always and already scattered across an asyndetic series of other events, other signs,7 traversing which a narrative–many narratives–will be simultaneously both possible and impossible. This is the post- of the postmodern, the “when” in the “when it no longer seems possible to regard history as unilinear” (Transparent Society 2): not an after, or the cut guaranteeing the novelty of the after, but the seriality which now (and that moment is now itself immediately serial, scattered) is seen to have been already always inhabiting history. If modernity is “that era in which being modern becomes…the fundamental value to which all other values refer” (End of Modernity 99), then the postmodern cannot be simply an era.

     

    Not simply: for at the same time it cannot not be that. The postmodern, this end-as-limit of the modern, does not simply terminate anything: neither the modern itself as epoch (whose logic, as limit, it must follow impeccably, at and to the limit), nor, more broadly, epochality itself. The postmodern recasts modernity’s narrative of progress: it localises it within a manifold of temporalities which can be reduced neither to survivals of the past nor to seeds of the future, but which in their very multiplicity remain open to “the scansion of acts.” But this does not mean that the postmodern must be some sort of abjuring of dates or events, that it somehow floats motionless above the real stuff of history of events, or that the postmodern is simply the realisation which could in principle be made at any time, that the linear is underpinned by the multiple. After all, Vattimo insists here that the postmodern is tied very closely to certain actual events which are already embedded in and arise from highly modern narratives of progress, whose logic they do not so much terminate as follow impeccably to its limits: secularization, the collapse of colonialism, and the development and proliferation of the mass media. It is not that the postmodern is without anchorage in the chronological, but that it is everywhere in it, proleptically and retrospectively. It arrives (at this date, in this situation, in the form of this question) in the mode of having always already been there. In such an arrival, of which there will never be only one, the postmodern does not so much begin as it is announced, with all the performative force of announcement. To announce an arrival is to bring that arrival into being by and in the act of announcement; but that very arrival can only be effectuated by an utterance which presents that state of things as already accomplished: “The postmodern is here.”8 The technologies of the media and the collapse of colonialism do not cause the postmodern: they announce it in this performative sense as what is already underway in its multiple and scattered singularity.

     

    We must be careful to give all the necessary performative force to this announcement. There is nothing magical about it: performativity plunges us straight into the social. (Magic would be the imaginary of a performative independent of any real conditions which would make it possible, whose force as performative is rolled up in the word itself, by the tongue of the utterer). Even a classical Austinian performative is unthinkable without this. For “I declare you married” to make any sense at all as a performative, let alone to be felicitous, presupposes as already in place a large array of social, political and institutional formations–legal, religious, familial, governmental, sexual–all of which have their complex, multiple and potentially highly disjunct temporalities. For this reason, the announcement of the postmodern is more than just an essentially epistemological act, a realisation of the complexity underlying logics of progress. Announcement, like a declaration of marriage, makes a difference. For the postmodern to be announced places it already within the real.

     

    It is in this light that we should read the “slightly perplexing tension” which Bennington sees between the ideas of the postmodern advanced in the two parts of the English-language version of Lyotard’s The Postmodern Condition (Bennington 242). In the long essay which gives the book its title, the postmodern is pictured as succeeding the modern in a relatively unproblematic manner which can itself be described only as modern: certain developments of information technology in particular push the modern into the postmodern. But the shorter appendix, “Answering the question: what is postmodernism?,” sees the postmodern as what precedes the modern, as the cutting edge of its avant-garde. Though the appendix represents a later revision of Lyotard’s position,9 the disjunction between the two parts of the book is nevertheless precisely that inherent in the logic of the post-, which is both condition, the state which characterises an epoch, and the question by which that epochality is unsettled. This tension is not a matter of the threatened incoherence of “postmodernity” as a concept, but the very mode of its temporality as both anchored in and dislocative of the modern.

     

    Phatics

     

    It is of particular interest that the domain to which Vattimo returns so frequently that it seems almost the privileged site for this folding of modernity and the postmodern, should be the aesthetic. Not only does Vattimo philosophise the aesthetic as such, rather than attempt to give it a genealogy elsewhere and in other terms, but he often gives it what at first may seem a surprisingly familiar role: the aesthetic is what allows us to imagine ways of life other than those we live, and to “realize the contingency and relativity of the ‘real’ world in which we have to live” (Transparent Society 10).

     

    Taken in isolation, this could almost be the ostranenie of Russian Formalism. But Vattimo’s arguments mark themselves off from these through a series of slight but far-reaching dislocations. In terms which come from the later Heidegger of “The Origin of the Work of Art,” the work is both a setting up of the world and a setting forth of the earth (Auf-stellung and Her-stellung): “The world is set up as the system of significations it inaugurates; the earth is set forth by the work insofar as it is put forward, shown, as the obscure and thematically inexhaustible depths in which the world of the work is rooted” (Transparent Society 53). The world signifies, the earth is the deep substratum of world beyond all signification. But this earth is not simply prior to any world; it is set forth by the work: Herstellung is if anything more active than the English translation would suggest, implying not only a displaying of what is already there or its restoration to visibility but also its production or sheer manufacture. The work is not then a mere froth of temporal and cultural significations beneath which one glimpses the eternal: it is what produces those depths in which world arises as always and already embedded. The work is the retrospective manufacture of the earth, not just of the world. The effect of earth is thus not to root both world and work in an eternal Nature, but on the contrary to deracinate both:

     

    Only because the world of significance unfolded in the work seems to be obscurely rooted (hence not logically “founded”) in the earth, can the effect of the work be one of disorientation. Earth is not world. It is not a system of signifying connections: it is other, the nothing, general gratuitousness and insignificance. The work is a foundation only insofar as it produces an ongoing disorientation that can never be recuperated in a final Geborgenheit. (Transparent Society 53)

     

    The work sets up a world, and in doing this sets forth an earth in which that world will have been always and already deeply rooted; but that earth is set forth in and by that work, a product of the work, which it can found only in a retrospective circle, and necessarily as obscurity. The work is founded not only in but as obscurity: at its heart, always other than it is, is disorientation.

     

    Earth is the obduracy of what refuses to reduce to world, that residue which remains at the heart of any system of signifying and returns to haunt it. In the earlier terms of Being and Time, this disorientation is the anxiety of Dasein faced with a world into which it has been thrown:

     

    While single things belong to the world insofar as they are inserted in a referential totality of significance (each thing is referred to others, as effect, cause, instrument, sign, etc.), the world as such and as a whole does not refer and thus has no significance. Anxiety is a mark of this insignificance, the utter gratuitousness of the fact that the world is. (Transparent Society 50)

     

    This insignificance is not simply an absence of signification. The world has that, and in plenty: all things in it are connected in a dense web of significations and inter-referrals. In a way, the problem is one of the sheer excessiveness of this exchange, which proliferates endlessly and on the local level; its insignificance lies in its asyndetic refusal of generality, that incessant “scansion of acts” of which Zizek speaks. The distinction Heidegger is later to make between world and earth only serves to make the relationship between work and world clearer: if the work disorientates, it is because it too provides an experience of thrownness, an uncanniness in the face of the insignificance this time of the work, which “does not allow itself to be drawn back into a pre-established network of significance, at least insofar as it cannot be deduced as a logical consequence” (Transparent Society 50). Work and world alike are the sites of asyndetic currency exchanges, open to the contingent and the unforeseen. The work “is never serene, never ‘beautiful’ in the sense of a perfect harmony between inside and outside, essence and existence, etc.” (Transparent Society 53). Its very setting-forth is grounded in the energetic disparity of an exchange which can never be concluded, and which is a refusal of use value. Something in it resists being drawn back into the security of a reorientation; the work leaves a certain excess which cannot be consumed, and which can thus only continue unabated in exchange. Indeed, it is the inequivalence of this remainder, the inexchangeable at the heart of exchange, which guarantees the continuation of exchange itself.10

     

    To this extent, what Vattimo is offering seems at times very close to a quite classically vanguardist view of the aesthetic and its functions, and one which correspondingly gives the aesthetic a massive centrality to modernity itself. Modernity arises when, towards the end of the fifteenth century, “the artist came to be thought of as a creative genius and an increasingly intense cult of the new and original emerged that had not existed before (in previous ages the imitation of models was in fact of the utmost importance)” (Transparent Society 2). The socio-political efficacy of the work considered in these terms is as an art “which refuses to be considered as a place of non-theoretical and non-practical experience, and instead claims to be the model for a privileged mode of knowledge of the real, a moment of subversion of the hierarchized structure of the individual and society, and thus an instrument of true social and political action” (End of Modernity 53).

     

    But the twist is that in Vattimo’s argument, this is not simply vanguardism: or rather, it is a vanguardism accelerated to the conclusions of its own logic. First of all, if it claims art “to be the model for a privileged mode of knowledge of the real,” we need to emphasise the indefinite article: a model: by its own logic not the only one, but one which may for all that be global. Aesthetic activity, and particularly the avant-gardist sort, is a useful model for a more generalised economy precisely because in its in-significance it has already performed on itself that transformation into incessant exchange-value which with modernity has come to characterise the monetary economy. (This already is not a chronological marker: it does not suggest some sort of prescience by which, out of all the disparate fields of human activity, the aesthetic has led the way by being first to grasp a logic which will only gradually come to inform other fields; what it points to is a structure of delay, by which that transformation into exchange-value has always and already occurred, even at the very moment of its arrival. What it establishes is not a priority but a folding.) And here lies the second point. In this hegemony of exchange-value, the aesthetic is not just a rather marginal arena of the social, at worst irrelevant and at best the licensed fool. The technological cultures and cultural technologies of late capitalism aestheticise all experience. They produce aesthetic models of behaviour, such as stardom; aesthetic models of government and power, in techniques of consensus, whose effects are made possible only by the essentially rhetorical strategies of the media; even aesthetic models of epistemology, such as Kuhn’s theory of paradigm shifts in the sciences, profoundly based as it is on the figure of genius (End of Modernity 96). Everyday life itself becomes aestheticised.11

     

    Here Vattimo invokes Benjamin, to suggest that there is a complex relationship between the Heideggerian Stoss, the disorientating impact of the work, and the shock Benjamin sees as characteristic of the art of technical reproduction. For Benjamin, shock is a necessary feature of the model of the psyche which Freud suggests in Beyond the Pleasure Principle: the conscious registration of the shocks provided by the unforeseeable stimuli which impinge on the organism is a way of minimising the damage they can cause. While shock may be part of the project of a vanguard art, it is far more demotic, even pedestrian, than the Stoss is for Heidegger. Benjamin’s Baudelaire essay keeps returning to those great figures of the city, the crowd, traffic: shock is the daily experience of coping with multiplicity, the manifold, the incommensurate, the inexchangeable which can thus only be exchanged. If shock also belongs to art, it is an art which can no longer keep itself at a hieratic distance, but which, in the loss of the aura entailed by the new processes of technical reproduction, finds itself plunged into the jostle of the crowd. Film, says Benjamin, is like that,
     

    the art form that is in keeping with the increased threat to his life which modern man has to face. Man's need to expose himself to shock effects is his adjustment to the dangers threatening him. The film corresponds to profound changes in the apperceptive apparatus--changes that are experienced on an individual scale by the man in the street in big-city traffic, on a historical scale by every present-day citizen. (Benjamin 243, n19) 12

     

    But now we have left Heidegger. Unlike Heideggerian Stoss, Benjamin’s shock rediscovers itself in the very haunts of das Man, the “they” of “they say” in all its inauthenticity. On the one hand, there are passages throughout the Baudelaire essay (to go no further than that) in which the everyday appears as the very site of alienation. On the other hand, though–and this is what finds no counterpart in Heidegger–the shock which disorientates emerges from within this very milieu, and not against it from outside. Shock opens the question of community, of community as question, from within itself, and it does this in the very movement by which shock is the experience of what is not yet governed by any single prior system of significations. Once raised, the question may of course be closed again, almost immediately parried by consciousness, but what is important and irreducible is that blinking occasioned by the impingement of the new: it remains the very possibility–as question–of community. Shock and community are profoundly linked.

     

    Shock, community and the aesthetic: for in opening up the gap of the question Vattimo’s invocation of shock harks back, via Gadamer, to a familiar argument from Kant’s Critique of Judgement. For Kant, aesthetic pleasure is “not defined as that which the subject experiences in relation to the object, but is rather that pleasure which derives from the recognition of belonging to a group…that shares the same capacity for appreciating the beautiful” (End of Modernity 56; see also Transparent Society 66-7). The very possibility of the aesthetic is that of belonging to a group: the experience of the beautiful is also and always the experience of community. For Kant, such a group is simply “humanity itself,” a claim which it is hard to see as other than the metonymic and utopian projection of the values of Kant’s own quite specific community, nationality and class.13 (As Vattimo suggests, where foundation is no longer at issue, a group’s identification of itself and its values as universal may be the only form of inauthenticity still possible (Transparent Society 70).) Late capitalism’s technologies of information open up other possibilities, though. The universalisation of the media does not result in the ever more efficient and seductive imposition of a single universal set of values. On the contrary, the media’s very imperatives of efficiency and performativity have the effect of undoing that hegemonic metonym of a single universal set of values. The media allow–even necessitate, as a matter of the very political economy of late capitalism–a multiplicity of narratives, experiences, worlds in the Heideggerean sense. These do not make the social more transparent or utopian; they thicken it into an altogether more chaotic and heterotopian burgeoning of micro-narratives. And all of this, Vattimo argues, occurs as the outcome of the very implementation of rational management, a scientistic rule of reason whose very desire for maximization of effectivity can only scatter out into a multiplicity of dialects, and an erosion of the reality principle. The only universalisation of community the media can offer is the pluralisation of communities (Transparent Society 7).

     

    And it is precisely in the domain of popular culture in all its forms that this proliferating articulation of aesthetic experience as community occurs. The very mechanisms of rational domination contain within themselves, as the rigorous and inescapable consequences of their own premises, a certain dehiscence whereby they cannot but open the possibility of the proliferation of the very things they attempt to bring under control. What power seeks to produce as unity must necessarily in part involve a proliferation beyond the bounds of that unity. This of course is to guarantee nothing, neither the reestablishment of power nor its dismantling: all it says is that the balances are always in their very nature yet to be decided (in its various forms, a frequent closing trope for the pieces gathered in The Transparent Society), and thus that the capabilities of the new media and technologies must be met with what Derrida memorably calls “the most vigilant hospitality” (Points 434 n7).

     

    While this aestheticisation is certainly due among other things to the rise of new technologies, what these do is only extend, accelerate and multiply what is already there. The technologies of “mechanical reproduction” ensure that what has previously been an experience of disorientation restricted to certain narrow domains such as avant-garde art now becomes the texture of the everyday, at the same time as the non-auratic nature of the everyday enters the avant-garde.14 The end of modernity is not so much irruption of the new (which is nothing but modernity itself), but the massive eversion which brings to the surface what that very eversion will ensure will have been from that point always and already there.

     

    There is another sense, however, in which Vattimo’s argument is quite profoundly and classically Heideggerian. For Heidegger, the aesthetic is not a function of the work’s referentiality, nor of any homology it may set up between inside and outside. The aesthetic functions at an altogether more prior and fundamental level than the proposition. If the proposition makes a certain claim to truth, and demands verification (or refutation) through its correspondence to what is the case, then the aesthetic, qua aesthetic, proposes nothing. What makes the work a work is rather what Heidegger calls its “setting-into-work of truth,” the way in which it is able to disclose a world within which such verification or refutation might be a possibility: the yet-to-be-done of the asyndetic. This “setting-into-work” is not itself propositional, but rather the ground (though itself ungrounded, the pure thrownness of situation) on which proposition is possible. Far from sealing the work off from the world, the insignificance, or perhaps presignificance, of the aesthetic is precisely what aligns them, in the mode of the phatic: the question of community, community as question.

     

    The aesthetic, in other words, is already the name for what results when one is faced with the asyndetic. Again, the trajectory of gesture: there it is, facing one; it works, but it nevertheless withholds signification. The work does not so much speak as demand response. What the phatic opens up in the possibility of meeting are the problematics of what Lyotard calls phrasing, the simultaneous possibility (and necessity, as even silence responds) not only of response and responsivity, but also, as Lyotard takes pains to emphasise, of responsibility in its ethico-political dimensions. The horizon of such disclosure of a world is always historical. This is not only in the sense of precise cultural location (the work of art is “the act by which a certain historical and cultural world is instituted, in which a specific historical ‘humanity’ sees the characteristic traits of its own experience of the world defined in an originary way” (End of Modernity 66: my emphases)); it is also, and before that, the very opening of the historical, a term which it asks us to rethink as question. This pre-comprehension which will already have been the space of the aesthetic–the question opened up in and by the asyndetic–is the very possibility of the social and even, in the skewness and even incommensurabilities of reply it guarantees, of the political: “historical, finite” it is “what enables us to speak of an occurrence of truth” (End of Modernity 66).
     

    Notes

     

    1. As, for example, in Preminger (56) and the almost identical entry in Cuddon (60-1).

     

    2. For example, in Eagleton (109-12), Jameson (Prison-House, Chapter III, “The Structuralist Projection)” or Lentricchia (Chapter 4, “Uncovering History and the Reader: Structuralism”).

     

    3. This is surely the point of Lyotard’s The Differend–as against, say, Norris’s reading in What’s Wrong with Postmodernism, that Lyotard is arguing for a sort of laissez-faire pluralism where the absence of formal common grounds for decision of an issue can lead only to an impasse in which no position can be argued against any other. Lyotard’s major example, the one the book opens with, should be an adequate caution against this: the revisionist denial of the Holocaust.

     

    4. “Symptoms are meaningless traces, their meaning is not discovered, excavated from the hidden depths of the past, but constructed retroactively…the analysis produces the truth; that is, the signifying frame which gives the symptoms their symbolic place and meaning. As soon as we enter the symbolic order, the past is always present in the form of historical tradition and the meaning of these traces is not given; it changes continually with the transformations of the signifier’s networks. Every historical rupture, every advent of a new master-signifier, changes retroactively the meaning of all tradition, restructures the narration of the past, makes it readable in another, new way.” (Zizek, The Sublime Object of Ideology 55-6)

     

    5. Thomas Pynchon’s novels are exemplary here, in that they all imply the revelation of a plot which works in retrospect. At some point in each, the protagonist is made aware that she or he may be already part of a plot which extends far back beyond even their own birth; a singularity detonates into a series of asyndetic signs (V, the letter, the Rocket). In Gravity’s Rainbow, Tyrone Slothrop experiences that moment of eversion as one in which the entire world he has known has silently taken some unimaginable step in a new, previously non-existent direction.

     

    6. “The things we are talking about (‘deconstructions’ if you will) do not happen within what would be recognizably called ‘history,’ an orientable history with periods, ages, or episteme, paradigms, themata (to answer according to the most diverse and familiar historiographic codes).” (Derrida, Points 359)

     

    7. Deleuze, The Logic of Sense (especially the chapters “Ninth series of the problematic” and “Tenth series of the ideal game” for their discussions of singularity and seriality) and Difference and Repetition (in particular the logic of the “dark precursor,” 119-128).

     

    8. Cf. Zizek, Enjoy your Symptom 97. Hence perhaps also the insistent figure of the angel as a figure of this performative annunciation throughout Pynchon: the final gesture of auctioneer Loren Passerine in Lot 49, the strange vast figures in the sky glimpsed throughout Gravity’s Rainbow. If the secularization attendant on modernity “takes shape through a resumption of the Judeo-Christian vision of history, from which all references to transcendence are ‘progressively’ eliminated” (End of Modernity 101), the postmodern is a completion of this process by installing the apocalypse–which as Derrida reminds us in “Of an Apocalyptic Tone Recently Adopted in Philosophy” is also an invocation of the performative–everywhere throughout the secular narrative, at its every point.

     

    9.”Answering the question” forms the first section of The Postmodern Explained to Children, published some seven years later. In the second section, “Apostil on narratives,” Lyotard considers that in the earlier text he “exaggerated the importance to be given the narrative genre,” and briefly recasts the issue in terms of the “phrase regimes” from The Differend (Postmodern Explained 31).

     

    10. And here we would have to read the work’s simultaneous embrace and rejection of commodity form: the object sui generis, whose project seeks to render it incapable of reduction to equivalences with other objects around it, is also the commodity in its purest form. See Transparent Society 50-2.

    11.Here one can see an essential confusion in many of the arguments in cultural studies which seek to oppose cultural policy to cultural critique. In this opposition, policy studies seek to identify the moments of intervention into the apparatuses of governmentality, whereas critique remains content with the moral high ground of the enunciation of principle. Policy studies are thus pragmatic and “realistic” in the sense which always connotes approval, while critique remains tied to the aestheticism of an essentially Arnoldian vision of the role of humanities as intelligence and conscience. Such an argument all too readily buys into the essentially polemical opposition of “ivory tower” and “real world,” and does it very cannily to the advantage of policy studies within the current regimes of funding, research and administration. What it just as readily overlooks, though, is the ways in which governmentality, policy and pragmatism so conceived are themselves phenomena of massive social aestheticisation in precisely the sense we have been discussing. As one of the key theoretical texts of policy studies so well knows–Ian Hunter’s Culture and Government–the conditions of modern forms of governmentality lie in the development of regimes of power which operate an intensive and extensive ethicalisation and aestheticisation of bodies and their practices. Rather than an ideological blind obscuring the real practices of governmentality beneath it, the aesthetic is at the heart of governmentality, which remains unthinkable without it. To the extent that it accepts their opposition, policy studies remains no less stuck in the Arnoldian imaginary, which it merely inverts in the name of a superior performance.

     

    12.Two reference points, among the many possible. The first volume of Musil’s The Man without Qualities had appeared in 1930, some nine years before Benjamin’s essay on Baudelaire and six before “The Work of Art in the Age of Mechanical Reproduction.” The nameless pedestrian of its opening–a sort of anti-flâneur–meets his death at the intersection of some of these disjunct causalities:

     

    Motor-cars came shooting out of deep, narrow streets into the shallows of bright squares. Dark patches of pedestrian bustle formed into cloudy streams. Where stronger lines of speed transected their loose-woven hurrying, they clotted up--only to trickle on all the faster then and after a few ripples regain their regular pulse-beat. Hundreds of sounds were intertwined into a coil of wiry noise, with single barbs projecting, sharp edges running along it and submerging again, and clear notes splintering off--flying and scattering....

     

    Like all big cities, it consisted of irregularity, change, sliding forward, not keeping in step, collisions of things and affairs, and fathomless points of silence in between, of paved ways and wilderness, of one great rhythmic throb and the perpetual discord and dislocation of all opposing rhythms, and as a whole resembling a seething, bubbling fluid in a vessel consisting of the solid material of buildings, laws, regulations, and historical traditions. (Musil I 3,4)

     

    And before that, Joyce’s Stephen, baited by Garrett Deasy with the sententious assurance that “All history moves towards one great goal, the manifestation of God,” has gestured towards the schoolroom window through which the sounds of the hockey game can be heard, and placed God firmly in the same street. Behind Stephen’s back, the text agrees, hearing in the shout the name which cannot be spoken:

     

    -- That is God.
    -- Hooray! Ay! Whrrwhee!
    -- What? Mr Deasy asked.
    -- A shout in the street, Stephen answered, shrugging his shoulders. (Joyce 42: emphases mine)

     

    13. See, for example, Pierre Bourdieu’s “Conclusion: Towards a ‘vulgar’ critique of ‘pure’ critiques,” in his Distinction.

     

    14. Two canonical examples of the latter, almost exact contemporaries. 1. As Note 12 would suggest, Ulysses (“Trieste-Zürich-Paris, 1914-1921”), whose scandal is to refuse the very auratics its title offers through the analogy of the banal and the mythic, and to provide instead a densely asyndetic manifold of trajectories, insistently local significations, inequivalent exchanges and irreducible remainders. 2. The series of Duchamp ready-mades from about 1913 to his virtual abandonment of art in 1923, which operate on this edge between shock and aura, between the sacral space of the museum (uniqueness) and the banal spaces of the technically reproducible (multiplicity). The ready-made receives this sacrality and wears it–along with its own use-value now reduced to the empty sign of a function it will now no longer have (snow shovel, bottle rack, urinal)–as fancy-dress. In its gleeful affirmation of exchange-value, it completes the secularisation of the museum’s space.

     

    Works Consulted

     

    • Aglietta, Michel. A Theory of Capitalist Regulation: The U.S. Experience. London: Verso, 1979.
    • Benjamin, Walter. Illuminations. Ed. Hannah Arendt. Trans. Harry Zohn. London: Fontana, 1992.
    • Bennington, Geoffrey. Legislations: The Politics of Deconstruction. London: Verso, 1994.
    • Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Trans. Richard Nice. Cambridge, Mass.: Harvard UP, 1984.
    • —. In Other Words: Essays Towards a Reflexive Sociology. Trans. Matthew Adamson. Stanford, CA: Stanford UP, 1990.
    • Cuddon, J.A. A Dictionary of Literary Terms. Revised edition. Harmondsworth: Penguin, 1979
    • Deleuze, Gilles. Difference and Repetition. Trans. Paul Patton. NY: Columbia UP, 1994.
    • —. The Logic of Sense. Trans. Mark Lester with Charles Stivale. Ed. Constantin V. Boundas. New York: Columbia UP, 1990.
    • Derrida, Jacques. “Of an Apocalyptic Tone Recently Adopted in Philosophy.” Trans. John P. Leavey, Jr. Oxford Literary Review 6.2 (1984): 3-37.
    • —. Glas. Trans. John P. Leavey, Jr., and Richard Rand. Lincoln and London: U Nebraska P, 1986.
    • —. Limited Inc. Trans. Samuel Weber and Jeffrey Mehlman. Evanston, Il.: Northwestern UP, 1988.
    • —. Points: Interviews, 1974-1994. Ed. Elisabeth Weber. Stanford: Stanford UP, 1995.
    • —. The Post Card: From Socrates to Freud and Beyond. Trans. Alan Bass. Chicago and London: U Chicago P, 1987.
    • —. Writing and Difference. Trans. Alan Bass. London: Routledge & Kegan Paul, 1978.
    • Eagleton, Terry. Literary Theory: An Introduction. Oxford: Blackwell, 1983.
    • Frow, John. What was Postmodernism? Occasional Paper No 11. Sydney: Local Consumption Publications, 1991.
    • Harris, Roy. Reading Saussure: A Critical Commentary on the Cours de linguistique générale. London: Duckworth, 1987.
    • Harvey, David. The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. Oxford: Basil Blackwell, 1989.
    • Hassan, Ihab. “The Culture of Postmodernism.” Theory, Culture and Society 2.3 (1985): 119-31.
    • —. The Postmodern Turn: Essays in Postmodern Theory and Culture. Columbus, Ohio: Ohio State UP, 1987.
    • Hunter, Ian. Culture and Government: The Emergence of Literary Education. London: Macmillan, 1988.
    • Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York and London: Routledge, 1988.
    • —. The Politics of Postmodernism. London: Routledge, 1989.
    • Jameson, Fredric. Postmodernism, or, The Cultural Logic of Late Capitalism. London: Verso, 1991.
    • —. The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism. Princeton, NJ: Princeton UP, 1972.
    • Jay, Gregory S. America the Scrivener: Deconstruction and the Subject of Literary History. Ithaca, NY: Cornell UP, 1990.
    • Joyce, James. Ulysses. Introduction by Declan Kiberd. Harmondsworth: Penguin, 1992.
    • Laclau, Ernesto, and Chantal Mouffe. Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso, 1985.
    • Lentricchia, Frank. After the New Criticism. London: Methuen, 1983.
    • Lyotard, Jean-François. The Differend: Phrases in Dispute. Trans. Georges Van Den Abbeele. Manchester: Manchester UP, 1988.
    • —. The Postmodern Condition: A Report on Knowledge. Trans. Geoff Bennington and Brian Massumi. Minneapolis: U Minnesota P, 1984.
    • —. The Postmodern Explained to Children: Correspondence 1982-1985. Trans. eds. Julian Pefanis and Morgan Thomas. Sydney: Power Publications, 1992
    • Lyotard, Jean-François, and Jean-Loup Thebaud. Just Gaming. Trans. Wlad Godzich. Minneapolis: U Minnesota P, 1985.
    • Marx, Karl. Capital. Volume 1. Trans. Ben Fowkes. Harmondsworth: Penguin, 1976.
    • Musil, Robert. The Man without Qualities. 3 vols. Trans. Eithne Wilkins and Ernst Kaiser. London: Picador, 1979.
    • Norris, Christopher. What’s Wrong with Postmodernism: Critical Theory and the Ends of Philosophy. Baltimore: Johns Hopkins UP, 1990.
    • Plotnitsky, Arkady. Complementarity: Anti-Epistemology after Bohr and Derrida. Durham and London: Duke UP, 1994.
    • —. In the Shadow of Hegel: Complementarity, History, and the Unconscious. Gainesville: U P of Florida, 1993.
    • Preminger, Alex, ed. Princeton Encyclopedia of Poetry and Poetics. Enlarged edition. London: Macmillan, 1974.
    • Pynchon, Thomas. The Crying of Lot 49. Harmondsworth: Penguin, 1965.
    • —. Gravity’s Rainbow. London: Jonathan Cape, 1973.
    • —. V. London: Picador, 1963.
    • Saussure, Ferdinand de. Course in General Linguistics. Trans. Roy Harris. London: Duckworth, 1983.
    • Serres, Michel. Hérmès. 1. La Communication. 2. L’Interférence. 3. La Traduction. 4. La Distribution. 5. Le Passage du nord-ouest. Editions de Minuit, 1968.
    • Soja, Edward. Postmodern Geographies: The Reassertion of Space in Critical Social Theory. London: Verso, 1989.
    • Vattimo, Gianni. The End of Modernity: Nihilism and Hermeneutics in Post-modern Culture. Trans. and intro., Jon R. Snyder. Cambridge: Polity, 1988.
    • —. The Transparent Society. Trans. David Webb. Cambridge: Polity, 1992.
    • Wittgenstein, Ludwig. Philosophical Investigations. Trans. G.E.M. Anscombe. Oxford: Blackwell, 1953.
    • Zizek, Slavoj. Enjoy Your Symptom! Jacques Lacan in Hollywood and Out. London: Routledge, 1992.
    • —. The Sublime Object of Ideology. London: Verso, 1989.
    • —. Tarrying with the Negative: Kant, Hegel, and the Critique of Ideology. Durham: Duke UP, 1993.

     

  • The Jewish Entertainer as Cultural Lightning Rod: The Case of Lenny Bruce1

    Maria Damon

    Department of English
    University of Minnesota
    damon001@maroon.tc.umn.edu

     

    
    
    To is a Preposition, Come is a Verb
    (Lenny Bruce, accompanying himself on drums):
    
    To is a preposition, come is a verb.
    To is a preposition, come is a verb.
    To is a preposition, come is a verb, the verb intransitive.
    To come.  To come.
    I've heard these two words my whole adult life, and as a
    child when I thought I was sleeping. To come. To come.
    It's been like a big drum solo:
    Did ja come? Didja come good? Didja come good didja come
    good didja come good?
    Recitatif: I come better with you sweetheart than with
    anyone in the whole goddamn world.
    I really came so good. I really came so good 'cause I love you.
    Really came so good.  I come better with you sweetheart, than
    anyone in the whole world, I really came so good.  So good.
    BUT.
    Don't come in me.
    Don't come in me.
    Don't come imme, mimme mimme
    don't come imme mimme mimme
    don't come in me.
    I CAN'T COME.
    Cause you don't love me, that's why you can't come.
    I love you I just can't come, that's my hangup. I can't come
    when I'm loaded, all right?
    Cause you don't love me.
    Just what the hell is the matter with you?  What has that got
    to do with loving you? I just can't come, that's all.
    Now if anyone in this room or the world finds those two words
    decadent, obscene, immoral, amoral, asexual, the words "to
    come" really make you feel uncomfortable, if you think I'm
    rank for saying it to you, and you the beholder gets rank for
    listening to it, you probably can't come.

    2

     

    In the summer of 1989 I got a copy of Lenny Bruce’s 1962 obscenity trial transcript from Albert Bendich, the defense attorney for the case. As I drove home with the 352-page document, the radio told me of Jesse Helms’ proposed muzzling of the NEA. Heretofore, my interest in Jewishness as a de facto and traditionally “traveling culture” with its own makeshift language(s) had been primarily a process of self-exploration, a project about whose narcissism and self-indulgence I had constant questions. That moment of being trapped in a small and moving space with Jesse Helms and Lenny Bruce, and later, reading the transcript itself, redirected my efforts. My work took on the added dimensions, as well as the urgency, of exploring the ways different “deviant” masculinities overlap and intersect, and how these differences can be read through the hierarchies of culture represented in the trial, which was in effect a showdown between high, low and middlebrow cultures as represented respectively by the academy, the entertainment world with its blurred sexual boundaries, and the discourse of the courtroom and the police force. The trial foregrounded and foreshadowed social change even as its protagonist was offered up for public consumption.

     

    Bruce, the stranger who rode into town and said the right thing at the right time in front of the wrong people, suffered the consequences of a wayward hyperverbalism deployed in the interest of social criticism. Though the scholarship on Jewish-diaspora language use suggests certain strategies–for example, the primacy of anecdotes and minutiae, the valuation of dialogue, commentary and argument as pleasures and/or ends in themselves, the blending of the sublime and the earthy or its rhetorical analogue, the blending of the language of high abstraction and colloquialisms–as characteristic of Jewish written and oral culture, I want to stress that in identifying Bruce’s strategies as “Jewish” I do not posit these strategies as inherently or only Jewish.3 Indeed, Bruce’s manic polyglot eclecticism and makeshift, survivalist logic shares much with a more generalized, multi-ethnic urban sensibility, especially the African-American jive idiom; his “conversation” mingled “the jargon of the hipster, the argot of the underworld, and Yiddish.”4 Nonethless, I focus on the latter because it is, arguably, the primary constitutive element of Bruce’s self-presentation, and because in the context of his San Francisco trial his Jewishness played a mediating role–the lightning-rod role–between San Francisco’s civic structure, the intellectual and sexual countercultures, and the entertainment substratum of the city.

     

    In addition, specific focus on the trial as a cultural and rhetorical event raises issues of censorship in terms that are all too relevantly urgent in light of recent attempts to regulate the languages of the Internet, and to dismantle the NEH and NEA, in the name of policing obscenity. It’s easy to recognize in recent policing of social critique a re-enactment of the anti-intellectualism and anti-pluralism so transparent in the transcript of Bruce’s trial; the charge of “obscenity” is used to legitimate increased government surveillance of the art world, of dissident cultures, and of the academy. I do not argue that Bruce is under attack as a Jew in the same way that 2 Live Crew or Andres Serrano were under attack as men of color.5 Rather, I argue that Bruce’s outsiderhood and ethnic language use set him up to mediate cultural and political tensions in San Francisco–specifically, he was arrested for public references to male genitalia because the emergent gay men’s community in that city posed a threat to mainstream civic discourse. His irreverence and outspokenness about sexuality and race, his willingness (compulsion, in fact) to question all norms of behavior implicated him in the local struggle over cultural expression.

     

    Much lively work on ethnicity, gender and language in American culture has provided the methodological and theoretical base for an investigation of Jewish performance texts and their reception: the approaches to ethnicity and culture provided by James Clifford and Michael Fischer’s “new ethnographies;” the blend of close literary analysis with intuitive musings on the meaning of “vernacular” offered by Houston A. Baker’s work on African-American writers; Renato Rosaldo’s discussion of subaltern wit as a weapon and tool for social analysis; Riv-Ellen Prell’s attention to the specific ways in which gender/power relations are coded in Jewish and anti-Jewish humor. By contrast, with a few notable exceptions, what little scholarship there is on Bruce focuses on the personality cultish aspects of his dramatic life story, or on a simplistic reading of his “martyrdom,” without close theoretical attention to how he generated texts through which we can read the conflicts of his times.6 I hope to bring the questions generated by the first body of scholarship to bear on a moment in Bruce’s and the nation’s life: the moment in which his language use was labeled obscene, and he–not only his words–was censored.

     

    This particular essay, then, explores the cultural position of Lenny Bruce as he stands on the slash between the two words that announced the title of the American Studies Assocation panel for which this piece was originally written: “Inside/Outside: Jewish Cultural Signification.”7 Lenny Bruce balances on that caesura like a carnival artist (his wife Honey grew up, in fact, in the extended-family carny world); he teeters on that vertiginous edge, that “ethereal peak,” as he phrased it, right before his plunge.8 Lenny Bruce as Jewish entertainer is the caesura–the cultural lightning rod of my title–that mediates the inside out, from the outside in.

     

    The lightning rod, the caesura marking difference, the person of Lenny Bruce on stage, is furthermore positioned as an index of male sexuality, the erect penis–not the hegemonic capital-P Phallus of the symbolic order, but rather in this case, Jewish male sexuality, which is as unstable and evanescent in its cultural significance as that liminal space between inside and outside, and encompassing both inside and outside, which characterizes modern Jewish life. If the veiled gentile Phallus is the elusive figure that, like the Wizard of Oz, governs the discursive institutions of American social life from behind the scenes, the exposed penis of the Other is the vulnerable carrier of the subversive disease of “obscenity,” which threatens the stability of those social institutions, and calls down upon itself the harshest recriminations.

     

    Furthermore, using Renato Rosaldo’s analysis of subaltern humor to posit Jewish humor as a weapon of self-defense, one can analyze Bruce’s seduction/attack on his audience as a prototypical Jewish-American male performance strategy for survival. His use of Yiddish to mark a boundary of inclusion/exclusion, his savaging of Jews in front of a Gentile audience as an oblique critique of that audience as well as a direct critique of Jewish hypocrisy and assimilation, the speed of his rap, and his preoccupation with sex and sexuality work together to destabilize normative social relations on all levels.9 These tactics serve as much to confuse the opposition and get away–a tactic of survival–as they articulate an ethical and aesthetic position. They comprise a general critique of stability, an assumption and affirmation of the role of Jew as floating signifier, and a rhetorical representation of the historical and often dire contingencies of Jewish life.

     

    JEW as Diasporic Icon

     

    It’s painful to review the obvious. That Jews occupy the primary (non)space in the Western imagination as interlopers, counterfeits, transients, unknown quantities with chameleon-like qualities is such a truism that to attempt to document it plunges the writer into an exercise bordering on the tautological. I use the singular in my subtitle to underscore ironically the monolithic power of this Western trope: “the Jew” (both genderless and hyperbolic in his invisible masculinity, like “his” “G-d”) as icon of diaspora par excellence. The singularity and capitalization erase the history and materiality of diaspora. The false solidity of the phrase “the Jew” on the one hand and the ethereal diffusion of rotten-sweet crematoria-vapor on the other mask the physical travails and psycho-emotional trauma of displacement. “The Jew” is in fact a floating signifier: the Anglo-Christian imagination represents the Jew as embodying both the elitism of high culture and and the bestiality of low culture, as both the threat of capitalism and that of communism, as both steeped in quaintly old-World ways and committed to dangerously modern and subversive philosophies that “hold nothing dear.” And so on. To some extent this is simply the classic double-bind of an oppressed group. Feminists, for example, have for many years pointed to the virgin/whore/mother tropes constricting the possibilities of women’s sexual expression and experience. And Henry Louis Gates, Jr. among others has discussed the phenomenon of African slaves in the post-Enlightenment New World having to establish their humanity by writing–but not too well: cultivating the persona of the earnest counterfeit was the only way to succeed without being too threatening.10 Unique to the Jewish trope is that Jews as a group represent non-representability. To be Jewish, according to this master-trope, is to be un-pin-downable, without location, liminal.

     

    Performance poet David Antin has pointed out that Jews served as “translators…of language and culture in Southern Spain and the strange fact that they as ‘boundary-dwellers’ in Spain so frequently had the name Marques, that is ‘march-dweller’ or ‘border-‘ or ‘boundary-man or ‘woman’–and furthermore that the names Marx, Marcuse, Marcus all come from an original Marques.”11 English-language speakers are most familiar with this name as the title Marquis, which in early examples provided by the OED refers to the owner of land of poor quality and low profit, or the prefect of a frontier town–a kind of consolation prize of a title. That a name representing liminality itself–boundary-person–evolved into a title of (almost-)nobility just prior to the Jews’ forced exodus from Spain speaks to the longevity and profundity of Western ambivalence toward Jews as objects of desire (that is, of both hatred and intense desire for appropriation). Ricky Sherover-Marcuse has observed that one common form of anti-Semitism is the claim (by the non-Jewish majority) that Jews are the oppressor: we are told that we “control the media,” that we have a secret plot to take over the world, that we’re all rich and pull strings behind the scenes to get our way. The ambiguity of the title “marquis” instantiates this weird reversal; as in the word “snob” (sine nobilitate), the title granted the liminal character, the entertainer-trickster, evolves into ersatz, arriviste pseudo-respectability which can then be re(pre)sented as privilege.12 Indeed, the modern announcer of entertainers (inbetweeners/Jews), the theater marquee, has its origins in the same word: a marquee was the open-air tent inhabited by marquises (inbetweeners/Jews). The multiple puns in Bruce’s visual gag in How to Talk Dirty and Influence People comes to mind here: a photo of the Strand Theatre’s marquee announcing Bruce’s engagement while the caption reads: “At last! My name in lights: S-T-R-A-N-D.”13 A strand is a border (beach) a marker of transition or inbetween-ness. Lenny Bruce was stranded on his own terrain–as the standup (erect) comic, he had marked out the trickster’s border realm for himself and was abandoned to die in that vanguard twilight zone after being encouraged and commended for occupying it. The other aspect of this joke, of course, treats the theme of naming, de-naming, re-naming so painfully prominent in diasporic histories. “Bruce,” the name that appears on the marquee, is no more Lenny’s “real” name than “Strand” is–nor was Schneider, the one before “Bruce.”

     

    That one can both disavow and affirm an identity with perfect sincerity indicates the elusive power of the “double-consciousness” W.E.B. Du Bois has written of so eloquently, and the “ethnic id” aptly named by Michael Fischer.14 The ability to maintain and tolerate seemingly contradictory positions, to live in multiple realities, is currently considered a characteristic of “postmodernism,”15 alternately affirmed as a liberation of consciousness from the constraints of linearity and sequential time/space, and bewailed as a loss of authenticity and stability, a numb sensibility lending itself perfectly to a dangerously high tolerance for and acquiescence to social trauma. This ability, however, is also profoundly and traditionally “Jewish.”

     

    MR. BRUCE WAS NOT PERMITTED TO REPRESENT HIMSELF: Jews and the Crisis of Representation

     

    Kimberle Crenshaw has outlined the inadequacy of current public systems of representation to acknowledge identity and subjectivity.16 She tells of a group of Black women who, as Black women, experienced harrassment in the workplace, wanted to sue their employer for discrimination. They were told that they could not sue as Black women, though that was the identity under fire in these instances of harrassment: they had to sue either as Black–in which case they had to demonstrate that Black men were similarly harrassed, or as women–in which case they had to demonstrate that non-Black women were similarly harrassed. The legal system had no way of recognizing their subjectivity as they themselves experienced it; there was no means for them to represent themselves within the strictures of a categorical worldview that could not make room for them to grant themselves meaning.

     

    As it is for many “minority” groups, the condition celebrated by postmodernists as the “crisis in representation” has long been a lived reality for Jews. The aesthetic and intellectual excitement of challenging Western epistemologies which posit a simple one-to-one correspondence between empirical phenomena and “meaning” intersects pointedly with a struggle for the right to self-representation. Self-representation, according to Bruce, cannot involve a loyalty to a fixed identity; therein, to the extent that nationalism affords a spurious self-certainty, lies the devastating cynicism of his anti-Israel jibes in “Religions, Inc.” (“‘We gotta …great man…to… tell us what to do with the Heavenly Land–Rabbi Steven H. Wise!’ Rabbi Wise: ‘…I tink vee should subdivide.’”)17 and “Christ and Moses Came Back” (“We’re not [in temple] to talk of God–we’re here to sell bonds for Israel!”).18 On the other hand, this refusal of a fixed geopolitical body champions a Jewishness with almost sentimentally universalist overtones, especially his famous anti-essentialist dicta:

     

    I neologize Jewish and goyish. Dig: I'm Jewish. Count Basie's Jewish. Ray Charles is Jewish. Eddie Cantor's goyish. B'nai Brith is goyish; Haddassah, Jewish. Marine Corps--heavy goyim, dangerous. ... Koolaid is goyish. All Drake's Cakes are goyish. Pumperickel is Jewish, and , as you know, white bread is very goyish. Instant potatoes--goyish. Black cherry soda's very Jewish...Trailer parks are so goyish that Jews won't go near them. Balls are goyish. Titties are Jewish. Mouths are Jewish. All Italians are Jewish...19

     

    Here, Bruce loads Jewishness with connotations of (ethnic) soulfulness, femininity, earthiness and hipness. Refusing genetic, religious or even cultural essentialism, he nonetheless incurs a different danger. He self-allegorizes a “Jewishness” so grandiose and omnipresent that it pervades all categories rather than being itself a category. Like carbon or chi (life-energy), Jewishness is, as it were, pre-essentialistic (or pre-taxonomic) in its transcendence, an inchoate prima materia–soul substance–that is nonetheless localized in the minutiae of daily life: music, food, consumer products, living arrangements, body parts. The delicate process of locating any human(e) universality in this kind of particularity (in, for example, anecdote, field observation, text or incident) describes the dialectic between the local and the theoretically generalizable which is at the heart of much current academic debate in anthropology (“pro/con ethnography”), feminism (“identity politics”), and cultural studies.20

     

    Self-representation, as distinct from representation by hostile or well-meaning others, is one attempt to avoid laboring under restrictive definitions superimposed on a necessarily fluid subjectivity; to return to the Crenshaw example, the right to self-representation means the right to represent multiple subjectivities–especially those not mandated as legal, racial or institutional categories. Self-representation implies taking the proceedings into the realm of trans- or anti-discursivity, a move threatening enough to warrant censorship either by explicit silencing or by forcing a flamboyant rap (such as Bruce’s performance) into the highly circumscribed courtroom format, limiting wide-ranging verbal potential to legal jargon. Although in the history of his courtroom dramas Bruce was granted the right to representation by others (and hired and fired an amazing number of lawyers, none of whom satisfied his need for total control), he was heavily discouraged–as defendants routinely are–from representing himself as his own “counsel.” Bruce was expected to stay silent while prosecuting and defense attorneys read his decontextualized routines from transcripts; his bodily presence was necessary to the trials but his hyperverbality–arguably his “real” presence–was forcibly and repeatedly banished. The courts’ ambiguous need for his presence put him in absurd legal quandaries sometimes. By scheduling his trials in two different states concurrently, the law prevented him from fulfilling even the basic requirement of physical presence since he could only be in one place at a time; thus he was de facto guilty in the court at which he could not appear.

     

    Lenny Bruce, Leonard Alfred Schneider in Brooklyn in 1926, came from a background of vaudeville (voix de ville, voice of the city, the low culture of Lower East Side Jews) into public fame as a hip, autodidactically intellectual, socially relevant and utterly irreverent standup comic whose routines ranged from “Psychopathia Sexualis” to “How to Relax Your Colored Friends at Parties.” In this sense his biographical data instantiate the (to revise Mohamed Ali’s brilliant phrase) float-like-a-butterfly-sting-like-a-gadfly signifier that is the Jew in the modern Western imagination. He was tried for obscenity and acquitted in March of 1962, following the first of many arrests for obscenity. This initial obscenity arrest took place on October 4, 1961 at the Jazz Workshop in San Francisco’s nightclub strip (San Francisco’s strip strip, conformity to the “community standards” of which might qualify otherwise censorable “obscene speech” for protection). He was arrested for violating the Penal Code, the phallic order represented by the conservative elements in San Francisco’s political make-up, its traditionally Irish-Italian-American police force and political machinery. His violation consisted of three instances of obscenity: use of the word “cocksucker,” use of the term “kiss it” with implicit reference to an exposed penis, and the famous semantics-lecture-cum-religious-chant, “To is a Preposition, Come is a Verb.” All of these transgressions target male sexuality as both subject and object of demystification, unveiling, uncovering, a verbal circumcisive display experienced by representatives of the normative order as an assaultive castration. It is important to see this cultural text, the obscenity trial, as a moment in which gender, sexuality and language are on trial/in process, according to Tel Quel‘s famous pun, capturing in an instance of dramatic confrontation the increasing visibility of San Francisco as a center for transgressive social expression.

     

    Entertaining Anxiety

     

    Lenny Bruce’s 1962 obscenity trial marked a temporal instant in the cultural history of a city that is itself remarkable in American culture. The late 1950s and early 60s witnessed a “Renaissance” in the Gold Rush City; it established itself as the center of several different but overlapping countercultures noted for their flamboyant foregrounding of the aesthetic and their emphasis on alternate social organizing units (the gay relationship, the hippie “tribe,” the Third World arts coalition), which threatened assumptions about the interrelatedness of sexuality, reproduction and traditional family life. The Bay Area developed as a capital of anarcho-socialist activity (and, shortly, the Free Speech Movement), and of avant garde literature and life. It fostered a literary community whose oxymoronic epithet was “Beat” (beatific, wasted, jazz-inspired) and a burgeoning gay community which for the first time in American history would have civic and political as well as cultural visibility as a cohesive unit. By the end of the ’60s, the region had become a center for the culture of altered consciousness and experimental spiritual practice. Language, ethnicity, gender, sexuality, consciousness–identity itself–all became contested terms in a celebratory and experimental atmosphere.

     

    Traces of all the destabilizing elements of the countercultural discourses surfacing in the particularly volatile years of the shift from the McCarthy era to the Civil Rights Era can be found in embryonic form in Bruce’s controversional Jazz Workshop routine and in the trial that ensued. The trial’s subtext concerned, among other things, mainstream discomfort with the emergent gay men’s community (Bruce used the word “cocksucker” in a routine about being asked by his agent to do his gig in a newly gay bar). The trial displayed the town/gown politics of the Bay Area’s own cold war between the police force and the “long beards” at Berkeley, who in Bruce’s defense invoked figures like Rabelais and Swift to legitimize his satirical and ribald “shpritzes.” The trial embodied the tension between the protocol of juridical process and the carnivalesque nature of Bruce’s deterritorialized language–dramatized by the constant disruptive laughter from the courtroom audience. Although he was neither San Franciscan, gay, literary, beat, nor politically active in any conventional sense, the notoriety of Bruce’s arrest and trial enabled, almost by accident, the emergence of these cultures’ national visibility. Specifically, several of the dramatis personae of the trial indicated Bruce’s affiliations with these circles. Lawrence Ferlinghetti, who published and distributed Bruce’s pamphlet Stamp Help Out, was the contact person who supplied the defense attorney; Al Bendich, known to Beat circles as Ginsberg’s successful ACLU defense counsel in the “Howl” obscenity case six years earlier. The presiding judge, Horn, had also presided over the “Howl” case. Bendich hypothesizes that Bruce owed his acquittal to Horn’s having been “educated” about obscenity and the Constitution by the defense in the “Howl” case.21 (The “Howl” obscenity trial, also held in San Francisco, was likewise a bellwether instance of Jewish-male verbal and sexual identity on trial.) Bruce’s own status as an ethnic person, an outsider whose weapon was language–in short, as a Jewish entertainer–marked him for repercussion. He became a lightning rod mediating civic wrath and countercultural flamboyance.

     

    I have discussed elsewhere the survivalist compulsion in Bruce’s Jewish hyerverbalism: if I stop talking they’ll kill me.22 The hairpin turns in logic and association in Bruce’s tragicomic spiel hold out against the closure that means death. Bruce told Bendich “I can see around corners,” evoking images of adrenaline-powered feats of psychic and physical strength.23 The vision is always of disaster; the words are always chasing after the vision, trying to articulate it and to obscure it (you can’t let them know you know), and racing to head it off at the pass. Hence the decentered, brilliantly precise imprecision of Bruce’s rap, the mumbling, desultory delivery that never quite ends. To “entertain” (“entretien,” conversation or negotiation) derives from “entretenir“–literally, to hold in an in-between state. Entertainment means hanging on to a liminal stage where all manner of things are possible because everything is both in suspension and in transition, deterritorialized and resistant, holding disparate elements together, maintaining a state of unsettledness and nomadic consciousness. “Entertainment,” Bruce’s philosophical rambling, enacts verbally a history not of aimless wandering, but rather of a purposive, at times frantic self-displacement. Thus Judge Horn errs when he insists to the packed and unruly courtroom crowd, “You are not here to be entertained.”24 As an attempt to salvage a career, the trial was a negotiation for survival, an entretien. Given the performance imperative of the Jewish American male, Bruce’s “semantics” lectures become “sementics” and finally “see-my-antics” routines as the fight for survival becomes, poignantly, the struggle to please, to be entertaining.25 The scene is shot through with tremendous vulnerability.

     

    Positing Jewish male sexuality as a subversive element in this scenario does not mean celebrating it unambiguously. Male sexuality is, to say the least, a contested terrain, and different ideologies of masculine prowess–here, the Anglo-Christian and the Jewish (the rhetoric of the trial recasts this opposition as straight/decent and gay/obscene)–conflict with such seismographic force that the collision throws off sparks illuminating an historical and cultural transition. Consciously problematizing these masculinities and their interactions can be an emancipatory move toward dismantling a discourse which posits any construction of sexuality as normative or monolithic. The logistics of Bruce’s trial do indeed lend themselves to the quasi-structuralist school of neat differences (viz. the dichotomized title of the trial–“The Plaintiff, aka The People of San Francisco vs. the Defendant, aka Lenny Bruce”), appearing to be a showdown between the forces of the phallus and those of the vulnerable penis, between the symbolic and the imaginary, between the factual and the fanciful, between the straight and the hip, between several different masculine sexualities. However, in following such an analytic pattern, I feel torn between wanting to see the neat dichotomies I’ve just outlined as definitively separate–so I can put myself safely on the side of vulnerable penile imaginary fanciful hipness–and on the other hand wanting to portray the putative opposition as in fact indicating ambiguity: outside is always already inside, the potential disruptions in the hegemony of the Phallus are ultimately recouped anyway. (They’re all men, the terms of their discourse exclusionary and closed to me.)

     

    And, in fact, both the heroes and the villains of this free speech debate, are all men, all ostensibly straight, all white. Both the defense attorney, Albert Bendich, and the prosecuting attorney, Albert Wollenberg, were Jewish, so there goes any untroubled claim for Jewishness as subversive. (However, Bendich, from New York, was a Yiddish speaker who grew up, like Bruce, in an oppositional culture; Wollenberg’s family were multi-generational San Francisco Jews who had not, by and large, experienced the same kind of prejudice as their East Coast counterparts, and having arrived at a more central civic position had arguably more at stake in upholding the status quo). Mary Brown, an audience member of the Jazz Workshop routine and the only woman called to testify on the comedian’s behalf, is not permitted to answer the question, otherwise routine in an obscenity case, whether or not her prurient interest was stimulated by the show (the Constitutional protection of obscene speech stipulates that the utterance “not arouse the prurient interest” of the listener/reader); that is, she may not define her own sexuality, even to deny it. Despite her status as an eye witness rather than an expert witness, Wollenberg challenges her competence to answer such a question because her “expertise” on this matter has not been established.26 Nonetheless, though it is staged and reads very smoothly as a showdown of diametrically opposing sensibilities and values, permeated with anxiety over gender and sexuality as it is, the trial is exclusively dominated by male voices and male interests. Though the men read long passages from Lysistrata, the Wife of Bath’s tale, and Molly Bloom’s soliloquy, no female academics or authors are given the floor; Mary Brown, as we have seen, was thwarted in her efforts to speak on behalf of Bruce and her own subject position. This male entretien, I think, revolves around the dual discourses of male homophobia and homosociality, in which Jewishness plays a transitional though implicit role.

     

    Entertaining Homophobia

     

     

    A Pretty Bizarre Show
    
    --the Hungry i  [a club in San Francisco; "i" = intellectual,
    eye, "I"...].  The Hungry i has a Gray Line tour and American
    Legion Convention.  They took all the bricks out and put in
    saran wrap.  That's it.  And Ferlinghetti is going to the Fairmont.
    You know this was a little too snobby for me to work; I just
    wanted to go back to Ann's.  You don't know about that, do you?
    Do you share that recall with me?  It's the first gig I ever
    worked up here, is a place called Ann's 440, which was across
    the street [from the Jazz Workshop].  And I got a call and I
    was working a burlesque gig with Paul Moer, in the Valley.
    That's the cat on the piano here, which is really strange,
    seeing him after all these years, and working together.
    And the guy says, "There's a place in San Francisco but they've
    changed the policy."
    "Well, what's the policy?"
    "Well, they're not there any more, that's the main thing."
    "Well, what kind of a show is it, man?"
    "It's not a show.  It's a bunch of cocksuckers, that's all.  A
    damned fag show."
    "Oh.  Well, that is a pretty bizarre show  I don't know what I
    can do in that kind of a show."
    "Well, no.  It's--we want you to change all that."
    "Well--I don't--that's a big gig.  I can[t?] just tell them to
    stop doing it.."

    27

     

    John D’Emilio has documented the emergence of the gay men’s community in post-War America, and devotes considerable energy toward detailing the historical dynamics by which San Francisco became “Mecca.” The confluence of a number of progressive literary, political and spiritual countercultures with the Bay Area’s military centrality enabled a richly unorthodox milieu of marginalized men: creative artists, beatniks, anarchists, academics and military men discharged after the war.28 Some men, such as Allen Ginsberg (a gay man and a beatnik poet), Peter Orlovsy (a Naval dischargee and Bohemian demi-mondain), Gary Snyder (poet and Berkeley student), and Kenneth Rexroth (poet and anarchist), and other “outcats” whose names will never be known, formed bonds that crossed over from one subculture to the others. The nightclub/entertainment scene contributed to and reflected this culturally potent mix; gay bars operated next to straight strip joints, jazz clubs that featured a new “intellectual” breed of comedy, and coffeehouses that specialized in poetry readings. The Bruce skit that introduces this section addresses this emergent network of countercultural communities and resultant ambivalence on the part of the traditional entertainment business (which already had only a tenuous relationship to mainstream respectability). The rough narrative outline here is that Bruce is in hypothetical conversation with an agent who wants to book him at Ann’s 440, a club he used to work at (across the street from the Jazz Workshop, so he could expect that his audience would be somewhat familiar with it). In the meantime, since he used to work there, Ann’s 440 has become a gay bar. His agent wants to book him there in order to “change all that”–to restore it to straightness. Bruce’s routine documents the increasing visibility of the gay men’s community, even as his arrest for mentioning it attests to its ongoing–perhaps proportionally increasing–vulnerability. He asserts his own straightness even as he questions the impossible task of altering, ignoring or denying the historical development of a solid alternative sexual community. “Well–I don’t–that’s a big gig.”

     

    At the moment of Bruce’s arrest, the arresting officer Solden asked him, “Why do you feel that you have to use the word ‘cocksuckers’ to entertain people in a public night spot?” Bruce replies, “Well, there’s a lot of cocksuckers around, aren’t there? What’s wrong with talking about them?” This moment is complicated. It is possible that Bruce is using the term here simply as an insult, implying that the policeman is a “cocksucker” in the generalized sense of “jerk.” But given the saturated moment–Bruce has just come off the stage from his routine–it is more likely that he is engaging the more specific sense of the term as “gay men.” The case is still complicated, however. On the one hand, Bruce, repeating uncritically and for “authentic” effect the homophobic term he attributed to the show-biz manager in his performance, complies with a larger social homophobia. On the other hand, the flippant answer foreshadows, if not the pro-active sentiment, the logic of the slogan so crucial to contemporary cultural survival in San Francisco and elsewhere: Silence = Death. (It bears reminding that Bruce’s subsequent silence was materially related to his death.29) While his commitment to free speech and to unmasking hypocrisy necessitated his occasional attacks on homophobia, nowhere more than in his routines on gay men does he conform to the ineptly self-revealing liberal who is the usual butt of his vitriolic humor. In this particular routine, though, it is not liberal homophobia that is the target of his humor, but gay men themselves, used as “bizarre” objects. The meaning of the routine is further complicated by its respective transcriptions as “I can just tell them to stop doing it” and I can’t just tell them…” in response to his agent’s desire that he intervene in the bar’s gayness. The first instance implies that the “bizarre show” is itself comprised of men performing fellatio–by telling them to stop, he would put an end to their objectionability. “They” are “cocksuckers” only when they are sucking cock. In the second instance, “I can’t just tell them to stop doing it,” Bruce suggests that simply telling people not to be gay (in public) will not work–sexuality is an inclination, rather than a set of actions. He calls attention to the disparity between the literal/descriptive and figurative/derogatory meanings of the term “cocksucker,” even as he gets mileage out of his presumed-straight audience by suggesting an inherent funniness in fellatio (though in “The Bust,” he also proclaims its pleasures).

     

    The police officers testifying against Bruce were witnesses for “The People” of the State of California, capital P, with a relationship of illusory grandiosity to people analogous to the Phallus’s relationship to physical penises. Who are the people? Who gets to decide who is human? The right to talk about “them”/us because there are a lot of them/us implicates talk itself as a deciding factor in the constitution of personhood. Al Bendich said to me that language is what makes us human, it’s a medium for getting our basic human needs met; the pragmatist would have it that the word be spoken beforehand, in the absence of the thing, to indicate lack, desire, need.30 But it’s also a medium for celebrating: the wild boy of Aveyron delightedly repeats “lait, lait,” after the milk has been served, acknowledging its wonder.31 Is Bruce calling “cocksuckers” into existence by naming them, or is he acknowledging their emergent visibility in San Francisco’s public life? Clearly the People were not happy with the possibility of alternative sexuality or the articulation of that sexuality. Truth is what is, Bruce insisted in his moments upon the witness stand. If there are gay people, why not talk about them? The People’s fear is that talking about “it” will create “it;” conversely the hope is that not talking about it will keep it invisible.

     

    Another twist to simple homophobia comes into play in this scenario to exacerbate the issue of what specifically constitutes “obscenity”–legally construed as a “morbid interest in nudity, sex or excretion.” During cross-examination, the defense witnesses were asked, “Why did he have to use the word ‘cocksucker?’ Wouldn’t ‘faggot’ or ‘fairy’ have done as well?”32 The state objects, not to derogatory epithets for gay men, but to the explicit penile reference, which evinces morbid interest. The term “cocksucker” refers to an act; the terms “fairy” and “faggot” indicate a type of person that might engage in such an act. As Foucault has taught us, this is an important historical distinction. The discomfort engendered by the term “cocksucker” indicates that the People’s true fear is of the homoerotic possibilities embedded in conventional homosociality–a fear implicitly suggested by Bendich when he elicited testimony about the frequency with which the word is in fact used in the police station, a public place.33 The Jewish male is implicated in this mainstream fear by embodying for them that middle space, neither fully “homosexual” or demonstrably homoerotic, nor conforming to the laws of Gentile male-bonding through physical activity; as Daniel Boyarin has observed, the “Jewish sissy” occupies a place that conforms to neither mainstream hetero-masculinity nor unambiguous homosexuality. Bruce understood this mainstream fear that the line between homosexuality and homosociality collapse: his subsequent skit “Blah Blah Blah” insisted on the People’s proclivity for using the word covertly–and exposed Their secret love of excess and celebration in language, which love implicated them as phatic fags, spewing Jews, redundant, secreting and feminized–his semblables:

     

    The Bust
    
    What I got arrested for in San Francisco... I got arrested
    for...uh...I'm not going to repeat the word because I want
    to finish  the gig here tonight.  It's...uh...all right.
    They said it was vernacular for a favorite homosexual practice.
    A ten-letter word.  Uh...It's really chic. That's two four-letter
    words and a preposition.  I can't...uh...I wish I could tell
    you the word.  It starts with a "c"...Well, you know what the
    word is.  Now it's weird how they manifested that word as
    homosexual, 'cause I don't .  That relates to any contemporary
    chick I know, or would know, or would love or marry.
    You know.  When I took the bust, I finished the show. And I said
    that word, you know, ... the ten-letter word and the heat comes
    over and says, "Uh, Lenny, my name is Sgt.  B...You know the
    word you said?"
    "I said a lot of words out there, man."
    "Well, that -that--that word."
    "Oh, yeah."
    "Well Lenny, that's against the law.  I'm gonna have to take you down."
    "Ok, that's cool."
    "It's against the law to say it and to do it."
    "I didn't do it, man."
    "I know but, uh, I just have to tell you that all the time."
    ...I get into the wagon. And the one heat is cool.  'Cause he said,
    "You broke the law."  Now the other guy: "Look I gotta wife and kids."
    "I don't wanna hear that crap at all, man.  I don't want to get
    emotionally involved in this."
    "Waddya mean you don't want to hear that crap?"
    "Did your wife ever do that to you?"
    Bang.  Then it got pretty sticky.
    "NO!"
    "You ever say the word?"
    "NO!"
    "Never said it, honest to God, never said it?"
    "NEVER!"
    ...
    Now we really got into it, into it. Now we get into court. The
    chambers.  The judge--Aram Avermitz, a red headed junkyard Jew,
    a real ferbissiner with thick fingers and a homemade glass eye.
    Tough-o, right?  He comes in.  Swear the heat in , honk, honk.
    "What'd he say?"
    "Ya Hona. He said 'blah-blah-blah.'"
    "He said blah-blah-blah?!"
    Then the guy really yenta-ed it up: "That's right,  I didn't
    believe it.  There's a guy up on the stage, in front of women
    and a mixed audience, saying blah-blah blah."
    "This I never heard, blah-blah-blah.  He said blah-blah-blah?"
    "He said blah-blah-blah.  I'm not gonna lie to ya." It's in the
    minutes: "I'm not gonna lie to ya."...
    The DA: "The guy said blah blah blah.  Look at him.  He's smug.
    He's not going to repent."
    Then I dug something.  They sorta liked saying blah blah blah.
    'Cause they said it a few extra times.  ... it really got so
    involved , the bailiff is yelling,"What'd he say?"
    "Shut up, you blah-blah-blah."
    They were yelling it in all the courts: "What 'd he say?"  "He
    said blah blah blah."
    Goddam, it's good to say blah blah blah.
    That blah blah blah.
    That blah blah blah
    That blah blah blah.

    34

     

    Entertaining Homer-phobia

     

    A schematic take on the trial also reveals a glaring opposition between the strategies of the prosecution, The People, and the defense, Lenny Bruce and/or his counsel, which speaks to epistemological differences: what constitutes knowing, and what is the status of interpretation? The prosecuting attorney called only two eye witnesses: the two arresting officers. They testified to the facts: they had indeed heard Mr. Bruce use the words “cocksucker,” “kiss it,” “I’m coming,” and “Don’t come in me.” The defense, by contrast, was concerned not with facts, but with the Constitution’s protection clause for obscene speech: all but one (Mary Brown) were expert witnesses. Albert Bendich had called in a constellation of cultural critics, university professors, poets, musicians and teachers, including Ralph Gleason, Grover Sales, Lou Gottlieb, and Don Geiger, then Chair of the Rhetoric Department at Berkeley. Rather than disputing the facts, this stellar lineup of cultural interpreters mediated Bruce to the jury by dwelling on his semantic brilliance as witnessed by his lecture on grammar in “To is a Preposition, Come is a Verb,” on his redeeming social significance through his pedagogical discussions of “human problems,” on his artistic merit through associating his name with those of the Western greats, and on his conformity to “community standards” in that he performed on the same street as drag shows and strip joints. According to this strategy, Bruce’s legitimacy rested on his being translated by expert interpreters who compared him to the heavy hitters in the most conservative Western Civ. major league. In one of the more astounding sequences of the trial, Kenneth Brown and Albert Bendich offer their respective plot summaries of Lysistrata (invoked for its overt references to penises) to Judge Horn, who rejects the former (“I know that is not the theme of Lysistrata“) and approves the latter (“…what you just stated is the correct answer”) as if he were administering an oral exam for a Great Books course.35 However, even though the judge gets caught up in this all-male intellectual revue, cultural capital is both a requisite and a liability in this trial. It is a requisite and a liability for the defense witnesses, whose professional credentials protect them (they routinely assign passages from Swift, Joyce and Rabelais with no fear of reprisal) even while the prosecution attempts to discredit expertise as effete. Wollenberg, appealing to the jury rather than the judge, deploys a predictable anti-intellectualism: what does the “average citizen” know or care about Aristophanes, Rabelais and Swift? The acquittal reflected the division of labor; when interviewed afterwards, the jury avowed that it had desperately wanted to find Bruce guilty but couldn’t, given the judge’s carefully Constitutional instructions.

     

    And cultural capital was a liability for Bruce, the high-school drop-out court jester to the intelligensia, who although well-read and self-taught, lacked the insider knowledge–a function of class and training–to understand the complicity between juridical and high-cultural discourses (throughout the trial, he kibbitzes so disruptively that the Judge threatens to have him removed).

     

    Regardless of his defense’s courtroom attempts to present him as a Great Master, Al Bendich stressed to me twenty-seven years later that Lenny Bruce was a human being speaking to other human beings.36 Therein lay the “disturbing” and “esthetically painful” quality of his performance.37 Bruce’s humanness underscores the absurdity of summoning expert witnesses–experts in literature and language, in comedy, in cultural critique, in “semantics”–to qualify him as someone entitled to use the words “cocksucker,” “don’t come in me,” and “kiss it.” Disciplinarity falls aside in conversation; in entertainment it becomes ridiculous. I suggested to Al Bendich that Lenny pushed language to its limits. He demurred. “Lenny was no Homer, no Whitman. He wasn’t a poet. He was no Kant or Hegel, he wasn’t a philosopher.”38 But a human being in conversation can push language to its limits as well or better than anyone–that’s what a rapper, a raconteur, a comedian does. Because the organic intellectual can transgress the arbitrary boundaries of disciplinarity and of expertise, she or he gives the lie to the concept of a bounded field of knowledge. Bruce is not particularly avant garde in the literal sense–the integrated thinking and talking person in performance predates the Western educational system of disciplinarity and expertise. Just as the Bacchanalian poetry readings in North Beach, greeted as cutting-edge, rowdy, revolutionary poetic praxis, reenacted a much earlier tradition of poetry as ritual, Bruce’s performances enacted philosophical and moral inquiry in the vein of street raps such as Socrates’ before they were domesticated and transcribed by his students. Bendich’s strategy–establishing the expertise of his various witnesses to prove Bruce’s right to First Amendment protection–worked. But the acquittal (the only one in Bruce’s long trial career) was a Pyrrhic victory.

     

    The question of expertise–suspect to those of us whose expertise lies in the area of cultural critique–becomes an embattled one for very different reasons when the subject comes under attack from the prosecution, particularly with regard to “community standards.” For the district attorney representing The People, “expertise,” a necessary qualification for “expert witnesses,” is suspect as de facto elitism–experts by definition are outside the “community” to whose standards Bruce must conform. However, he appeals to the concept in order to disqualify Mary Brown from commenting on the putative prurience of her interest in Bruce’s performance; she is not part of the People’s community either. Furthermore, the elitism of high culture and the academy and the low culture of vaudeville vulgarity are played as both ends against what is represented as the mainstream populist interest; no denizens of the “strip strip” are called to the stand by the prosecution or by the defense–except Bruce himself, stymied by the discourse of both his allies and his foes. In the closing argument, the People–Wollenberg–appeals to the jury’s sense of civic self-representation:

     

    When you describe San Francisco to somebody, ladies and gentlemen...do you talk about our sewers? That's what we heard a performance of, the sewer; and that's comedy? ... Now, the question isn't what the University of California professors or the high school teachers from Daly City feel is literature or comedy; the question is what the community feels--not the top of the community educationally, those people over in the ivory towers that say this is a literary work; it is what the people on the street, the conglomerate average, feel--not just the high and mighty or the self-appointed high and mighty.

     

    On the one hand, Bruce’s language belongs to the realm of the “high and mighty” (academic literati/ sexually suspect men) rather than the “conglomerate average” (middleclass family men); on the other hand, his language is low and vulgar, that of:

     

    ...stevedores down on the wharf loading a ship, ..., and the stevedores ... aren't saying ("cocksucker") in a place crowded with people in an auditorium.

     

    On the one hand, Wollenberg questions and impugns the “origins” of Bruce (Jew as paradigmatic “white Negro”)’s bastard rap:

     

    What scurvy hole did it come from?

     

    On the other,

     

    We would have a long beard up on the stage explaining the act of love and explaining the shortcomings... We're ...not called on to judge other than the community standard itself; not the standard of the University of California in a cultural environment under direction and control of a professor teaching in the school...

     

    …none of us are dealing with [either the top at the professors’ level, or the bottom at the sewer]; we’re dealing at the common level.

     

     

    [Lenny Bruce] is a man who believes that he can go out amongst us in society, not just at the academic level in a class of speech or literature at the University of California, not down at the other end of the rainbow--out with the boys, maybe, let's say, doing a laborer's job, using vile and profane language; no, this is a man that is going out into the public and believes he has a license to use this language.39

     

    Bruce’s crime is spelled out, albeit redundantly and incoherently: he mixed up high, low and center; he de-centered culture by bringing to hypothetically mass audiences content that should be tightly constrained within academic contexts or all-male worksites. Wollenberg’s closing speech implicitly associates high and low cultures with counterculture, and he casts the retrogressive populism represented by the People–the “authentic” American people’s culture–as the beleaguered victim of attack from the effete above and vulgar below. The representative of this attack is the Jewish chameleon, inauthenticity personified, who infiltrates the high and the low (whose corrupting influence blurs the boundaries between high and low), but can never quite achieve the respectable invisibility of the middle. In the name of the People of the State of California, Wollenberg seizes public culture as the domain of a mythical middle America, which sometimes is “the man on the street” and sometimes is decidedly not the man on the street (especially if that man is a laborer or “out with the boys”); sometimes is “women and children” and sometimes is decidedly not (especially if the women volunteer to testify for Bruce). In contrapuntal relation to contemporaneous Black-Jewish relations (in which Jewish lawyers often defended Black victims framed by racist courts, and Jews in general were a visible force in the civil rights movement), here the figure of the silenced Jewish entertainer stands in for the figure of the gay man, who has as yet no public discourse for self-legitimation, no political voice to silence.

     

    Coda: Inside’r’Out

     

    People call me a sick comic, but it's society that's sick, and I'm the doctor.
     

    --Lenny Bruce

     

    Like the origins of the title “Marquis,” Euro-Jews40 are “sort of” white but not really. Being a Jew of any gender is like being a middle class white woman: oppression is privilege and vice versa. It’s not a quantitative issue–it’s not that you’re “in-between” the most privileged and the most oppressed on some scale of comparative outsiderhood; rather, your insiderhood is simultaneously your outsiderhood; you occupy a particular subject-position that has its own logic and exacts its own dues. The white middle class housewife is oppressed in that her privilege is conditional on her man’s status. Though Euro-Jews share the privileges of whiteness in the sense of skin-color, they are nonetheless by definition excluded from central participation in the groups that guarantee white privilege. They are oppressed in that (among other things) their safety still depends on the beneficent goodwill of non-Jewish power centers. But “inside/out” strikes in another way as well, as a pun: insight out. It points to the ostracizing of the person with increased social insight, who brings out of the closet the secret shame of the social body; and the converse and corollary position of insight afforded those who have traditionally been termed outsiders. In the words of Bob Kaufman, African-American Beat poet and Bruce fan, “way out people know the way out.”41 If we think of the hyperverbal stranger who tells stories, the one who mediates heaven and earth, who mediates Beatitude and stolid populism, who enables a cultural and historical shift, the Jewish entertainer who may not represent himself but who must represent what is projected onto him by the various constituencies in this historical drama, we would have to consider the possibility that Christianity is the paradigmatic scene for this pageant. And lest anyone find obscene the suggestion of Jesus as Jewish phallus whose frictive movement engenders history, here are some alternative obscenities: Infant mortality, starvation in a land of dollars. Child abuse, sexual violence and the death penalty. Cross-burnings, castrations, lynchings, queer-bashing. The routine plundering of Native American burial grounds and the episodic defacement of Jewish cemeteries. The inability to respond to pain or to honor beauty. The institutional ravaging of our bodies. Attempts to silence our creative and erotic powers, our powers to change the conditions of our lives, our powers to represent ourselves however we want.

     

    Notes

     

    1. I want to acknowledge the research help of Carolyn Krasnow, Rachel Buff, and Frieda Knobloch, especially the latter’s editorial skills. I learned much also from Albert Bendich, Rebecca Mark, Riv-Ellen Prell, Robert Danberg, Judith Halberstam, and David Antin.

     

    2. Lenny Bruce, “To is a Preposition, Come is a Verb,” What I Got Arrested For, Fantasy Records, 1971.

     

    3. For several recent works on the cultural meaning of Jewish language use, see Sander Gilman, The Jew’s Body (New York: Routledge, 1992), especially Chapter 1, “The Jewish Voice;” and Jewish Self-hatred: Anti-Semitism and the Hidden Language of the Jews (Baltimore: Johns Hopkins University Press, 1986); Benjamin Harshav, The Meaning of Yiddish (Berkeley: University of California Press, 1990; Max Weinreich, The History of the Yiddish Language (Chicago: University of Chicago Press, 1980); Maria Damon, “Talking Yiddish at the Boundaries,” Cultural Studies (5:1) 1991, pp. 14-29; and “Gertrude Stein’s Doggerel ‘Yiddish’: Women, Dogs and Jews,” in The Dark End of the Street: Margins in American Vanguard Poetry (Minneapolis: University of Minnesota Press, 1993), pp. 202-235.

     

    4. Lenny Bruce, How to Talk Dirty and Influence People, (Chicago: Playboy Press, 1972), p. 6.

     

    5. For a useful summary of censorship cases involving artists and entertainers in twentieth-century United States, see Edward de Grazia, Girls Lean Back Everywhere: The Law of Obscenity and the Assault on Genius (New York: Random House, 1992).

     

    6. Michael Fischer, “Ethnicity and the Post-Modern Arts of Memory,” Writing Culture, James Clifford and George Marcus, eds. (Berkeley: University of California Press, 1986), pp. 194-233; Clifford, The Predicament of Culture (Berkeley: University of California Press, 1988); Houston A. Baker, Blues, Ideology, and Afro-American Literature (Chicago: University of Chicago Press, 1984); Renato Rosaldo, Culture and Truth (Boston: Beacon Press, 1988), pp. 190-193; Riv-Ellen Prell, “Why Jewish Princesses Don’t Sweat: Desire and Consumption in Post-war American Jewish Life,” People of the Body, Howard Eilberg-Schwartz, ed. (New York: SUNY Press, 1992); for an instance of hero-worship, see Frank Kofsky, Lenny Bruce: the Comedian as Social Critic and Secular Moralist (New York: Monad Press, 1974).

     

    Serious recent work on Bruce includes Ioan Davies, “Lenny Bruce: Hyperrealism and the Death of Jewish Tragic Humor,” Social Text 22, Spring 1989, pp. 92-114; and an abbreviated but interesting discussion of Bruce in social context in Andrew Ross, No Respect: Intellectuals and Popular Culture (New York: Routledge, 1989), pp. 89-92.

     

    7. “Inside/Outside: Jewish Cultural Signification,” American Studies Association, New Orleans LA, 1990.

     

    8. Honey Bruce, Honey: The Life and Loves of Lenny’s Shady Lady (Chicago: Playboy Press, 1974); Lenny Bruce’s letter to Judge Horn, trial transcript, p. 2.

     

    9. On Bruce’s use of Yiddish to mark a boundary of inclusion/exclusion, see my “Talking Yiddish at the Boundaries,” Cultural Studies 5:1 (1991), pp.14-29.

     

    10. Henry Louis Gates, Jr., “Writing ‘Race’ and the Difference It Makes,” “Race,” Writing and Difference, Henry Louis Gates, Jr., ed. (Oxford University Press, 1985), pp. 1-19.

     

    11. David Antin, letter to author, November 15, 1990, responding to an essay I’d written in which I argued that Antin’s simultaneous assertion of and self-distancing from Jewishness indicated his “ethnic anxiety.”

     

    12. The poignant ambiguity of titles, nobility and class status among Jews is nowhere better illustrated than in Proust’s Remembrance of Things Past, which could be profitably reconstrued as Remembrances of Folks Passing.

     

    13. Bruce, How to Talk, (Chicago: Playboy Press, 1972), no page number given.

     

    14. W.E.B. Du Bois, The Souls of Black Folk (New York: Signet, 1969), p. 45; Fischer, p. 196.

     

    15. And/or clinical schizophrenia.

     

    16. Kimberle Crenshaw, “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics,” The University of Chicago Legal Forum, Summer 1989, pp. 139-167.

     

    17. The Essential Lenny Bruce, p. 65.

     

    18. Ibid., p. 36.

     

    19. Ibid., pp. 41-42.

     

    20. See, for example, two back-to-back articles that advocate “experience-near” anthropology and generalized theory respectively, each implying that the approach favored by the other is more imperialistic: Unni Wikan, “Toward an Experience-Near Anthropology,” and Nicholas Thomas, “Against Ethnography,” Cultural Anthropology, 6:3, August 1991, pp. 285-305; pp. 306-322.

     

    21. Author’s notes, July 1989.

     

    22. “Talking Yiddish at the Boundaries,” pp. 21-22.

     

    23. Author’s notes, July 1989.

     

    24. Trial transcript, p. 134.

     

    25. Bruce is explicit about the relationship between dependence and performance anxiety, or, conversely, mastery as the right to command performances. See, for example, his “Look at Me, Ma!” routine, The Essential Lenny Bruce, pp. 110-1, in which he quite plainly ascribes the performer’s desperation to Oedipal power relations, just as elsewhere he acribes the Jewish performer’s desperation to the Egyptian captivity (“How Jews Got into Show Business,” Ibid., p. 50).

     

    26. Trial transcript, p. 276-277.

     

    27. Bruce, “A Pretty Bizarre Show,” What I Got Arrested For.

     

    28. John D’Emilio, Sexual Politics, Sexual Communities: The Making of a Homosexual Minority in the United States, 1940-1970 (Chicago: University of Chicago Press, 1983). See especially pp. 176-195.

     

    29. As a result of his many obscenity and drug trials and convictions, Bruce was eventually unable to get a cabaret card and was driven out of work; on the day he died from a drug overdose, he had received a foreclosure notice on his home.

     

    30. Author’s notes, July 1989.

     

    31. Susan Griffin, author’s notes, August 1990. Daniel Boyarin brought my attention to a relevant joke: A Jew is sleeping in the upper bunk of a train; a Hungarian officer sleeps below him. Every five minutes, the Jew sighs, “Oy am I thirsty.” Finally the officer can’t stand it any more and brings him a glass of water. After five minutes of blessed silence, the voice rings out, “Oy was I thirsty.”

     

    32. Trial transcript, p. 141.

     

    33. Ibid., pp. 50, 62.

     

    34. Bruce, “Blah Blah Blah,” What I Got Arrested For.

     

    35. Trial transcript, pp. 190-191.

     

    36. Author’s notes, July 1989.

     

    37. Trial transcript, pp. 188-189.

     

    38. Author’s notes, July 1989.

     

    39. Trial transcript, pp. 305-314

     

    40. I use this term to distinguish these Jews from Asian, African, and Middle Eastern Jews.

     

    41. Bob Kaufman, “Abomunist Manifesto,” Solitudes Crowded with Loneliness (New York: New Directions, 1965), p. 80. Many African-American hipsters of the jazz milieu, including Kaufman, Philly Jo Jones, and Eric Miller (a bassist who played the “Colored Friend” in “How to Relax Your Colored Friends at Parites) appreciated Bruce’s artistry. Kaufman glosses Bruce’s fortunes pithily in his “[The Traveling Circus]”: “There are too many unfunny things happening to the comedians.” The Ancient Rain, Poems 1958-1978 (New York: New Directions, 1981), p. 25.

     

  • “But It Is Above All Not True”: Derrida, Relativity, and the “Science Wars”

    Arkady Plotnitsky

    The Literature Program and
    The Center for Interdisciplinary Studies
    in Science and Cultural Theory
    Duke University
    aplotnit@acpub.duke.edu

     

    Und darum: Hoch die Physik! Und höher noch das, was uns zu ihr zwingt,–unsre Redlichkeit!

     

    –Nietzsche

     

    The Einsteinian constant is not a constant, is not a center. It is the very concept of variability--it is, finally, the concept of the game [jeu]. In other words, it is not the concept of something--of a center starting from which an observer could master the field--but the very concept of the game which, after all, I was trying to elaborate.1

     

    This statement by Jacques Derrida has been endlessly circulated in recent discussions around the so-called “Science Wars,” in the wake of Paul R. Gross and Norman Levitt’s Higher Superstition, and then Alan Sokal’s “hoax article,” both of which comment on it.2 This circulation, I shall argue here, is a symptom of a broader problem affecting the current cultural landscape and shaping the opinions of a significant portion of the scientific community. Arguments analogous to the one to be offered here concerning Derrida’s work can be made for other figures prominent in recent debates, such as Gilles Deleuze, Jean-François Lyotard, and Michel Serres. My choice of Derrida is due mainly to the extraordinary prominence of the statement cited above and of his work or rather name in general in these discussions. Even given Derrida’s status as an icon of intellectual controversy on the Anglo-American cultural scene, it is remarkable that out of thousands of pages of Derrida’s published works, a single extemporaneous remark on relativity made in 1966 (before Derrida was “the Derrida” and, in a certain sense, even before “deconstruction”) in response to a question by another French philosopher, Jean Hyppolite, is made to stand for nearly all of deconstructive or even postmodernist (not a term easily, if at all, applicable to Derrida) treatments of science. Derrida has commented more extensively and in more grounded ways on mathematics and science, and on the philosophical grounding of both.3 He also makes use of mathematical and scientific theories, concepts, metaphors, and so forth (most famously, Gödel’s concept of undecidability) in his work. In addition, his work is fundamentally linked to the question of technology via the question of writing, which defines his work throughout. Both in his actual claims concerning mathematics and science he refers to and in reflecting on the relationships between his work and mathematics and science, Derrida himself is cautious and circumspect, and offers a number of disclaimers. He emphasizes instead the centrality of his engagement with philosophical and literary texts for his work.4 One might argue that mathematics and science play a more significant role in his work than Derrida is willing to claim, or perhaps than he perceives. He certainly acknowledges the possibility and indeed unavoidability of intersections between the problematics of his own work and mathematics and science, and even says that “science is absolutely indispensable for deconstruction.”5 Neither Derrida’s more substantive discussions of mathematics and science, however, nor his caution in this respect, are considered by his recent critics in the scientific community. These critics instead appear to base their views of Derrida’s ideas, and those of other figures just mentioned, on indiscriminately extracted, isolated references to science or on snippets of his texts, without placing such statements in the context of his work.

     

    The problems at issue may, then, be seen as problems of reading. At stake here are, first of all, the most elementary and the most traditional norms of reading. Such norms would be routinely applied by scientists in reading scientific texts but are massively disregarded by most scientists who commented on Derrida and other authors mentioned above.6 I shall, therefore, consider the circumstances, contexts, and meanings of Derrida’s remark on relativity more carefully than has been done previously, although more recently some among these circumstances and contexts have been pointed out and partly (re)considered, including by some scientists. Secondly, and more significantly, at stake is the question of reading non-scientific texts, such as Derrida’s, when these texts engage or relate to science (or mathematics), especially when they reflect fundamental conceptual conjunctions of scientific and nonscientific fields. Accordingly, I shall suggest a reading of Derrida’s statement on relativity that might help to develop more balanced and productive forms of interaction between science and the work of Derrida and other authors discussed in recent debates. I would like, however, to begin elsewhere and to return to Derrida’s statement via two incursions–exploratory surgeries, as it were–into recent responses to this work on the part of the scientific community.

     

    Charm and Harm

     

    I begin with comments on a different statement by Derrida made in 1993 by Arthur Wightman, a brilliant theoretical physicist, in his “post-banquet” talk at a conference at the Oak Ridge National Laboratory. He said:

     

    What I offer this evening is a truly revolutionary interdisciplinary proposal. What I really mean is that it isn't any crazier than what is served up in Washington these days. My proposal is an application of a method of modern literary criticism to high energy physics.

     

    To appreciate what I am about to describe, you have to know a little something about modern literary criticism. The first basic fact is that, just as in women’s fashions, the fads in English language literary criticism originate in Paris. The second basic fact is that a very big fad, called deconstruction, originated there about 30 years ago and its chief is a man named Jacques Derrida. You should not confuse him with another different Derrida a physicist who works in dynamical systems. The third basic fact is that deconstructivists are self proclaimed revolutionaries, iconoclasts, and liberators, who undermine, subvert, expose, undo, transgress, and demystify traditional ideas, traditional logic, authoritative readings, illusions of objectivity etc. The fourth basic fact is that the style in which Derrida chooses to carry out these operations is deliberately paradoxical. Here is an exemplary piece of Derrida’s prose:

     

    “It is thus simply [sic] false to say that Mallarmé is a Platorist [sic] or a Hegelian. But it is above all not true. And vice verse.”

     

    Maybe you didn’t quite follow that so I will read it again. … So try it this way:

     

    “Senator, it is simply false to say that funding the SSC [the superconducting supercollider] will interfere with support for research on high temperature superconductivity. But it is above all not true. And vice versa.”

     

    Now you’ve got it.

     

    The fifth basic fact is the great simplification deconstruction has brought to literature, by abolishing the author. You thought that authors wrote books, poems and plays? Wrong–literature is what the reader reads into the text.

     

     

    After all this preparation, I shall state my idea in a few words: I propose that we apply this powerful literary method to the superconducting supercollider. What Derrida did to literature we can do to the SSC: deconstruct it. I propose that we begin with a typically bold deconstructive stroke: abolishing the state of Texas. To the inevitable question: What are we going to do with that hole in the ground near Waxahatchie? The answer will then be clear: What hole in the ground?7

     

    It is tempting to argue that there is more charm than harm, in these remarks, given their tone and context, and the significance of such circumstances is indeed significant for my overall argument here. And yet, even if these remarks were made humorously, rather than critically, and without professing any knowledge of or making a serious judgement upon Derrida and deconstruction (and I am willing to give Wightman the benefit of the doubt), Wightman’s charm is, I shall argue, not without harm. Along with others (much more harmful ones), his remarks are also symptomatic of the problem– the problem of reading–that is my main concern here. In order to argue this case I shall examine Derrida’s statement (as) cited by Wightman. I leave aside an inconsequential typo–Platorist instead of Platonist. There is another error, however, a more consequential one, and then still another (not a typo), the most consequential one. I would now like to compare the text as cited by Wightman with the original French and the English translation of it (by Barbara Johnson):

     

    Par rapport l'idéalisme platonicien and hegelien, le déplacement que nous nommons ici par convention "mallarméen", est plus subtil et patient, discret et efficient. C'est un simulacre de platonisme ou de hegelianisme qui n'est séparé de ce qu'il simule que par un voile peine perceptible, dont on peut tout aussi bien dire qu'il passe déjà-- inaperçu--entre le platonisme et lui-même, entre le hegelianisme et lui-même. Entre le texte de Mallarmé et lui-même. Il n'est donc pas simplement faux de dire que Mallarmé est platonicien ou hegelien. Mais ce n'est surtout pas vrai.

     

    Et réciproquement.

     

     

    Nous intéressent moins ici ces propositions de forme philosophique que le mode de leur réinscription dans la texte de Mimique.

     

    (In comparison with Platonic or Hegelian Idealism, the displacement we are here for the sake of convenience calling “Mallarméan” is more subtle and patient, more discrete and efficient. It is a simulacrum of Platonism or Hegelianism, which is separated from what it simulates only by a barely perceptible veil, about which one can just as well say that it already runs–unnoticed–between Platonism and itself, between Hegelianism and itself. Between Mallarmé’s text and itself. It is thus not simply false to say that Mallarmé is a Platonist or a Hegelian. But it is above all not true.

     

    And vice versa.

     

     

    What interests us here is less these propositions of a philosophical type than the mode of their inscription in the text of Mimique [Mallarmé's work under discussion].)8

     

    Wightman changes Derrida’s negative sentence into a positive one, since Derrida’s statement is, “It is thus not simply false to say that Mallarmé is a Platonist or Hegelian. But it is above all not true.” I shall comment on “And vice versa” presently. It is clear, however, that Derrida’s formulation becomes something quite different, once cited accurately. Obviously, one also needs an extension of the text in order to understand this statement, as Derrida’s “thus” indicates. Derrida’s writing here is entirely lucid, although it may require a slow reading–which may well be the definition of philosophy. The English translation incorrectly, and unnecessarily, renders Derrida’s “Et réciproquement” as “And vice versa,” rather than as “And reciprocally.” The paragraph break is even more crucial, as must be obvious if one looks at the passage, either in French or in English. It is, however, ignored by Wightman and by John Ellis in Against Deconstruction, from which (rather than from Derrida’s Dissemination) Wightman quotes or misquotes, since Ellis does not omit the negative. In spite of Ellis’s “faithful” reproduction, another misquotation, more subtle but more significant, remains in Ellis’s book as well, and is transferred to Wightman’s citation. Ellis cites this formulation only as part of Johnson’s commentary on certain of Derrida’s ideas and practices, which this passage (supposedly) illustrates.9 Unfortunately, contrary to Ellis’s assertion–“Johnson is certainly abstracting from Derrida’s writings in a way that does not distort them” (Against Deconstruction, 6)–Johnson’s elaboration also disregards Derrida’s paragraph break and, as a result, misconstrues the passage as well, albeit with the best intentions. She reads it as an example of Derrida’s “practice” of philosophical undecidability. This “practice” is sometimes used by Derrida, including, at certain points, in Dissemination. In general, however, it has been over-attributed to him, especially at certain (earlier) stages of the reception of his work in the United States, to which period Johnson’s article belongs. Her reading may also have been the source of her (mis)translation of Derrida’s “Et réciproquement” as “And vice versa.” The concept itself (analogous but not identical to Gödel’s undecidability) does play a prominent role in Derrida’s work, specifically in his reading of Mallarmé. There is, however, nothing undecidable in Derrida’s propositions here concerning Mallarmé’s relationships to Hegelianism or Platonism. These have decidable, determined meanings, and Derrida’s elaboration itself is accessible, even if one does not have extensive knowledge of his work.

     

    Most crucially, the juncture established by “And reciprocally” would read more or less as follows. Mallarmé’s text may look like an instance of Platonic or Hegelian idealism, but it is not. It has both subtle proximities to and subtle differences from idealism. As such, it also suggests certain complexities within Platonism and Hegelianism themselves, especially as concerns reading Plato’s and Hegel’s texts by these two respective traditions. Therefore, “it is not simply false to say that Mallarmé is a Platonist or a Hegelian.” That is, it is not enough to make this point alone–much more is at stake, including possibly major rereadings of Plato and Hegel. However, and indeed “above all,” such a statement (a statement that would identify his text with either Platonism or Hegelianism) would not be true. There is no undecidability to Derrida’s assertion. This argument is reinforced by a long footnote, proceeding via Hyppolite’s reading of Mallarmé. Derrida’s “and reciprocally” connects this whole elaboration (including the footnote) with the first sentence of the next paragraph, rather than with the sentence “But it is above all not true.” There is no undecidable reversal here. This reading is further supported by the fact that the footnote just mentioned occurs after “vrai,” rather than after “Et réciproquement,” and thus further indicates that the text breaks in the way argued here. The statement, then, reads as follows: “And reciprocally [with the argument that Mallarmé’s text enacts a displacement that must be distinguished from Platonist or Hegelian idealism], what interests us here is less these propositions of a philosophical type than the mode of their reinscription in the text of Mimique.”

     

    Derrida’s statement is, thus, something very different from what Wightman appears to think it is, especially in view of his misquotation. I suspect that correcting the latter would not affect his sense of Derrida’s writing, and he makes clear that he has not read any of Derrida’s work himself and instead relied on Ellis’s book. Ellis’s analysis is deeply problematic, amounting to a massive misunderstanding of Derrida’s work, and it is unfortunate that it happened to be Wightman’s (only) source. In any event, neither Derrida’s statement itself, nor Wightman’s commentary on it can be seen, or (I assume) is offered, as meaningfully representing Derrida’s work or deconstruction.

     

    One might, as I said, be hesitant to criticize Wightman too much, since his comments were presented in a humorous context–as a joke, a parody, a spoof–at a “post-banquet talk” and were made in this spirit (I am, again, willing to give Wightman the benefit of the doubt), without professing any knowledge of or serious judgments upon Derrida and deconstruction. His charming remarks can, however, have harmful consequences as well. Physicists who were present and many more who will have read the book where these remarks are published may well form a “serious” opinion about Derrida, deconstruction, contemporary French philosophy, literary criticism, and so forth on the basis of these remarks, especially in conjunction with other recent events. The “tone” alone, without explicit qualifications, may not be enough to diminish these harmful effects. The reference to Ellis’s book as the only scholarly source and, it appears, the only authority on the subject, is especially unfortunate here, even if one were to leave aside (which is not possible in all rigor) its title, “against deconstruction.” That said, however, one must take into account the context of the occasion–a courtesy not extended to Derrida by most scientists in recent discussions. For, if this type of treatment of Derrida’s or others’ text may be (seen as) permissible or, at least, excusable in the context of Wightman’s talk, the context of other recent commentaries is a different matter. Their extraordinary harm would not be diminished, even if such critics had Wightman’s charm–or his wit and style–which most of them do not. At least they do not display them in their encounters with deconstruction, postmodernism, and so forth, although some among these encounters are not without comedy. As Derrida commented on a different occasion, “this is also extremely funny.” He added, however: “The fact that this is also extremely funny doesn’t detract from the seriousness of the symptom.10

     

    Harm and Harm

     

    Among the many accusations and complaints made in Gross and Levitt’s Higher Superstition, those against Derrida and his “idle” usage of modern science take center stage. This is of some interest, given their actual account of Derrida’s engagement with mathematics and science, factually restricted to two isolated instances. One is the Hyppolite-Derrida exchange, and the other an egregious misstatement of Derrida. On that reading, and on that type of “reading”–restricted to crude attempts to “catch” direct references to scientific terms without even minimally considering Derrida’s text–Derrida’s engagement with science would have to be seen as negligible, although Gross and Levitt claim it, without any textual support, to be extensive. A reading in which the relationship between Derrida’s work and science would become meaningful is definitionally unavailable to the strategies and attitudes of Gross and Levitt’s book. They do not even comment in any meaningful way on Derrida’s usage of Gödel’s theorem, arguably the most explicit and the most famous reference of that type in Derrida. They only speak of its general abuse by postmodernists (78). They do comment with relish, however, on two references (three, if one counts a sneer at Derrida’s comments on algebra in the Hyppolite-Derrida exchange [265, n.10]). First is the remark on relativity, cited not altogether accurately and, it appears, from a secondary source (265, n.10), but famous ever since:

     

    A further sense of Derrida's eagerness to claim familiarity with deep scientific matters can be obtained from the following quotation, which also gives one some sense of how seriously to take such claims: "The Einsteinian constant is not a constant, [is] not a center. It is the very concept of variability--it is, finally, the concept of the game. In other words, it is not the concept of some[thing]--of a center starting from which an observer could master the field--but the very concept of the game." The "Einsteinian constant" is, of course, c, the speed of light in vacuo, roughly 300 million meters per second. Physicists, we can say with confidence, are not likely to be impressed by such verbiage, and are hardly apt to revise their thinking about the constancy of c. Rather, it is more probable that they will develop a certain disdain for scholars, however eminent, who talk this way, and a corresponding disdain for other scholars who propose to take such stuff seriously. Fortunately for Derrida, few scientists trouble to read him, while those academics who do are, for the most part, so poorly versed in science that they have a hard time telling the real thing from the sheer bluff. (79; corrections mine)

     

    Since I will discuss Derrida’s comment on relativity below, I shall only say here that nothing can be further from the truth than the assertion of that Derrida is eager “to claim familiarity with deep scientific matters.” As we have seen, the contrary is in fact true. In truth, all of Gross and Levitt’s assertions about Derrida are quite simply not true. Much else may be said about their “representation” of Derrida in their book. But it is above all not true. “Mais ce n’est surtout pas vrai.” Gross and Levitt are, obviously, not among those “fewscientists [who] trouble to read” Derrida. Why, then, go to such extraordinary trouble to comment on his work at such length? Some answers, I am afraid, are all too obvious here. One cannot also help smiling at the naivete of their warning to scholars in the humanities of the impending danger of disdain on the part the scientific community. For the moment, however, I would like to consider Gross and Levitt’s second main example of Derrida’s “idle” use or abuse of science. They write:

     

    This [Derrida's remark on relativity] is not, we assure the reader, an isolated case. In various other Derridean writings there are to be found, for example, portentous references to mathematical terms such as "differential topology," used without definition and without any contextual justification. Clearly, the intention is to assure readers who recognize vaguely that the language derives from contemporary science that Derrida is very much at home with its mysteries. (79)

     

    Once again, none of these assertions is true. Indeed, their claims notwithstanding, no other examples of such “portentous references” are given.11As I said, understanding the relationships between Derrida’s work and mathematics and science requires a very different type of reading. Certainly, at least some familiarity with his work would be necessary in any event, as opposed to the monumental ignorance of Gross and Levitt’s book. Using scientific terms “without definition and without any contextual justification,” however, is something to which one can respond seriously. It is of course also the kind of charge that I am making against the usages of Derrida by some scientists, including, naturally, Gross and Levitt. Let us see, then.

     

    Gross and Levitt make much of their observation in a long footnote:

     

    We cannot resist the impulse to point out that in Derrida's usage the word topology seems to be virtually synonymous with topography--at least the index regards them as identical. This recollects an experience of one of us (N.L.) at the age of eighteen. When being interviewed by an insurance executive for a summer actuarial job he was asked: "What kind of mathematics are you interested in?" "Topology," he replied. "Well, we don't have too much interest in topography," said the insurance man. Obviously a deconstructionist avant la lettre.

     

     

    Defenders of deconstruction and other poststructuralist critical modalities will no doubt wish to point out that topos (pl.: topoi) is a recognized term within literary theory for a rhetorical or narrative theme, figure, gesture, or archetype, and that therefore it is permissible, without asking leave of the mathematical community, to deploy topology to designate the analysis of textual topoi. One's suspicions are reignited, however, when the term differential topology suddenly appears. (In mathematics, differential topology is used to denote the study of the topological aspects of objects called "differential (or smooth) manifolds," which are, roughly speaking, higher-dimensional analogies of surfaces in three-dimensional space [)]. (265-66, n. 11)

     

    I leave aside the stale topology vs. topography joke and the inappropriate and unproductive tone of this footnote. It is more difficult to leave aside the fact that The Acts of Literature consists of translations of Derrida’s various writings on literature, which were edited, and the index compiled, by someone else. Moreover, the references in the index have clearly not been checked by Gross and Levitt. The statement that “in Derrida’s usage the word topology seems to be virtually synonymous with topography–at least the index regards them as identical,” is, at best, a bizarre non-sequitur. The references in the index–“topology (atopology, topography, topoi)” (The Acts of Literature, 455)–indicate that these terms are related or used in similar contexts, rather than that they are identical. Following Gross and Levitt’s logic, “topology” and “atopology” would be seen as identical too. In the text all these terms refer to a general sense of “topos” as spatiality, which, as even Gross and Levitt admit, need not entail a reference to topology as a mathematical discipline. Gross and Levitt have obviously not read the volume, nor do they appear to have checked the index against the text. Indeed it is difficult to say what they have read when they found “differential topology.” Here is Derrida’s statement itself, from his essay on Kafka, “Before the Law” [Devant la Loi]:

     

    This differential topology [topique différantielle] adjourns, guardian after guardian, within the polarity of high and low, far and near (fort/da), now and later. The same topology without its own place, the same atopology [atopique], the same madness defers the law as the nothing that forbids itself and the neuter that annuls oppositions. (The Acts of Literature, 208-9)

     

    Obviously, one needs to know both Kafka’s and Derrida’s texts to make sense of this passage, even if Derrida’s had in fact appealed to differential topology here. One can easily see, however, that Derrida says differantial [différantielle]–and not differential [différentielle]–topology. That is, he speaks of “topology” relating to his famous neologism or rather neographism “différance,” rather than to differential topology. This difference is of course not audible in the spoken French. It can only be made apparent in a written text. This was one of the reasons why Derrida introduced his neographism. In this sense Gross and Levitt’s mistake is deeply ironic. When Derrida uses topography a bit earlier in the same essay on Kafka, it refers to an “inscription” (in Derrida’s sense) of the “space” or/as “non-space” of the law in Kafka. This is why the editors list topography in the index. There is, of course, no simple identity of topology and atopology here, but only the concept of différantial topology as atopology–a topology without its own place–which may be a complex concept but entails no claim on Derrida’s part concerning mathematical differential topology. In fact, Derrida does not even say topology here, although he sometimes uses terms “topology” and “topological” elsewhere, including on other occasions in The Acts of Literature. It is true that the English translation says topology here–obviously (it should be clear by now) in the general, rather than mathematical, sense. However, the French provided in parenthesis, for that very reason, says “topique différantielle“–a differantial space or place, a certain topos or atopos, or atopos-ness. The French for differential topology is, of course, “topologie différentielle.” Given that his field is topology and that the French is provided here, it is inexplicable that Levitt (a topologist) did not pay attention to or did not bother to check this point–especially since his aim was to attack Derrida’s misuse of scientific terms.

     

    We recall that Gross and Levitt accuse Derrida of “using” the term differential topology “without definition and without any contextual justification.” The description appears to be far more appropriate as a characterization of their own treatment of Derrida’s work and, it can be similarly shown, of their treatment of the work of quite a number of others whom they criticize in their book. In general, scholarly problems of monumental proportions are, to use the language of topology, found in the immediate vicinity of just about every point of Higher Superstition. It is not so much embarrassing errors, even as egregious as that of the misreading of “topique differantielle” as differential topology, that are most crucial (we all make mistakes, sometimes absurd mistakes), but the intellectually and scholarly inadmissible practices and attitudes that pervade–and define–this sadly irresponsible book. Gross and Levitt’s warning concerning “threats to the essential grace and comity of scholarship and the academic life” (ix) becomes, in one of many bizarre ironies of the book, its self-description. To be sure–we must acknowledge this–some of the “postmodernist” work on science is indeed bad. There is, however, always some bad work in any field, including mathematics and science. The comedy of the book is that it says the worst things about some of the best work and accepts and sometimes praises–and draws on–some of the worst. The tragedy is that so many scientists, including some among the best scientists, have taken it seriously and accepted its arguments, and even adopted its unacceptable attitudes.12

     

    The significance of reading Derrida and others “without definition and without any contextual justification” extends well beyond the protocols of intellectual and scholarly exchange. Following these protocols is essential. As I have stressed from the outset, nothing in Derrida’s theory or practice, more specifically deconstructive or other, contradicts them–and much reinforces them. Derrida himself and other “dangerous deconstructionists” are more scrupulous and more classical–and, one might even say, more scientific–than most of their critics. Even more significant, however, is that once one provides the proper “definition” and “contextual justification” for Derrida’s terms–or those of other authors discussed in recent debates–there begins to emerge a very different sense of both these texts themselves and their relationships to mathematics and science.

     

    “The Einsteinian Constant”

     

    To (re)cite Derrida’s comment one more time:

     

    The Einsteinian constant is not a constant, is not a center. It is the very concept of variability--it is, finally, the concept of the game [jeu]. In other words, it is not the concept of something--of a center starting from which an observer could master the field--but the very concept of the game which, after all, I was trying to elaborate.

     

    I begin by observing that the final clause of Derrida’s last sentence “which, after all, I was trying to elaborate [in the lecture]” is omitted by most if not all commentators involved. This clause, however, is crucial because it indicates that the term “game” or “play” (in this context a better translation of the French “jeu,” which carries both meanings) has a very specific meaning here. This meaning, I shall argue, is consistent with the philosophical content of relativity, which, in brief, is the core point of the Hyppolite-Derrida exchange on the subject. In other words, conceptually, relativity entails a certain decentered play in Derrida’s sense of the term. The concept of play is central to Derrida’s essay “Structure, Sign, and Play in the Discourse of the Human Sciences,” an oral presentation of which at a conference at Johns Hopkins in 1966 occasioned the exchange.13 Understanding how Derrida uses the term “play” in his essay and understanding what Hyppolite and Derrida mean by “the Einsteinian constant” are, therefore, both essential for a meaningful reading of Derrida’s statement. Most scientists who commented in print on this statement have not carefully considered this concept, at best they barely mentioned it.14

     

    The accuracy of quotations from Derrida and others by their critics in the scientific community, such as Sokal or Gross and Levitt, has been stressed by many scientists involved in the debates at issue, and they are right to do so. As we have seen, not all of these quotations proved to be as accurate as these scientists believed. However, even assuming that such quotations are accurate, their literal accuracy is meaningless if the reader is not provided with the meanings of the terms involved (such as “play/game” or “the Einsteinian constant”), is deprived of the possibility of establishing them from the quotation itself, or is free to construe them on the basis of other sources–say, one’s general knowledge of physics, as opposed to the meaning given to these terms by Derrida’s essay or by Hyppolite’s question. Thus, what would be the meaning of one’s accurate quotation when “the Einsteinian constant” is made to be the gravitational constant as it figures in general relativity (as suggested by Sokal’s hoax) or the famous c, the speed of light in a vacuum (as Gross and Levitt claim), if, as I shall suggest, Hyppolite meant something else by it?15 Indeed, if Derrida’s statement is given without any further explanation of the terms of his essay, one can hardly be surprised at a reaction such as Steven Weinberg’s “I have no idea what this is intended to mean” (“Sokal’s Hoax,” 11), or any number of similarly dismissive responses that we have encountered recently (leaving aside for the moment “responses” of the kind one finds in Gross and Levitt’s book, unacceptable under all conditions). A different picture emerges only if one considers carefully Derrida’s and Hyppolite’s statements themselves and their context, especially Derrida’s work itself. Derrida’s statement, however, has been commented upon without any consideration of its textual and circumstantial context, and without even minimal attention to the meaning of its terms–even, sadly, by scholars and scientists of extraordinary achievement, such as Weinberg, a Nobel Prize laureate, at least in his New York Review of Books article “Sokal’s Hoax.”

     

    In his contribution to the exchange on his article, Weinberg, to his credit, acknowledges that he did not initially pay much attention to the meaning of Derrida’s key terms and gives some consideration to the context of Derrida’s statement, specifically to Hyppolite’s remarks. He says in particular that in his initial reaction to Derrida’s comment in “Sokal’s Hoax,” he “was bothered not so much by the obscurity of Derrida’s terms ‘center’ and ‘game.’ I was willing to suppose that these were terms of art, defined elsewhere by Derrida” (“Steven Weinberg Replies,” 56). In his subsequent reply to his critics in “Steven Weinberg Replies,” Weinberg says: “What bothered me was his phrase ‘the Einsteinian constant,’ which I have never met in my work as a physicist” (56). He proceeds, first, to suggest a possible meaning for the phrase and then to offer some comments on Derrida’s essay and the Hyppolite-Derrida exchange. He does not, however, consider Hyppolite’s own description of the [Einsteinian] “constant.” Nor does he offer a substantive commentary on or interpretation of the concept of play, which is, again, decisive here. Weinberg’s quotation from Derrida’s essay on the term “center” is hardly adequate to explain Derrida’s idea of decentering and play, and it is not surprising that this quotation was “not much help” to him (56). The passage that Weinberg cites occurs in the introductory portion of the essay, as part of the discussion of the joint historical functioning of the concepts of “structure” and “center:” “Nevertheless, … structure–or rather, the structurality of structure–although it has always been involved, has always been neutralized or reduced, and this by a process of giving it a center or referring it to a point of presence, a fixed origin.” Derrida’s phrase, omitted by Weinberg, “up to the event which I wish to mark and to define [in “Structure, Sign, Play”], indicates that Derrida is making primarily an introductory historical point here. His concept of decentered play emerges later in the essay, although a few sentences following the one cited by Weinberg may already give one a better sense of Derrida’s ideas concerning “structure,” “center,” and “play”:

     

    The function of this center was not only to orient, balance, and organize the structure--one cannot in fact conceive of unorganized structure--but above all to make sure that the organizing principle of the structure would limit what we might call the play of the structure. By orienting and organizing the coherence of the system, the center of a structure permits the play of its elements inside the total form. And even today the notion of structure lacking any center represents the unthinkable itself. (Writing and Difference, 278-79)

     

    In short, those unfamiliar with Derrida’s ideas would need a more extensive reading of Derrida’s essay and a more comprehensive explication of its terms, and more patience and caution may be necessary before one is ready to agree, or disagree, with Weinberg’s conclusion: “It seemed to me Derrida in context is even worse than Derrida out of context” (“Steven Weinberg Replies,” 56). The contexts and concepts at issue, however, may well not be sufficiently familiar to most scientists for them to be able to offer the kind of reading of Derrida’s statement that is suggested here. Nor should they be expected to be familiar with these ideas and contexts, or have any obligation to engage them in any way. It is not a question of blaming Weinberg, a great physicist and (which not irrelevant here) one of the most open to radical and innovative theories in physics itself, or most other scientists involved. One might regret a certain lack of intellectual curiosity on the part of those scientists or their unwillingness to consult the experts on Derrida, or indeed–Why not?–Derrida himself, something that, in more general terms, Weinberg appears to endorse as well (“Sokal’s Hoax,” 14). Reciprocally, scientists can be exceptionally helpful to scholars in the humanities, and they have been throughout intellectual history, in clarifying both science itself and philosophical concepts emerging in science. This is why I describe the present situation as sad rather than in terms of blame.

     

    Hyppolite’s and Derrida’s critics in the scientific community not only cite their comments out of context but virtually disregard the minimal relevant norms of intellectual and, especially, scholarly exchange. Derrida’s statement appears in the transcript of an improvised response to Hyppolite’s question following an oral presentation of his essay. The essay does not mention relativity and the statement itself makes no substantive scientific claims. Relativity and “the [Einsteinian] constant” are brought in by Hyppolite, not Derrida, who responds to Hyppolite extemporaneously, in the context of his just-delivered paper. Given these circumstances, a responsible commentator–scholar, scientist, journalist, or other–unfamiliar with Derrida would be hesitant to judge Derrida’s statement without undertaking a further investigation of his work, beginning with “Structure, Sign and Play.” The conclusions may of course be different from those reached by the present analysis, but no conclusion would be ethically, intellectually, or scholarly responsible short of such an investigation.

     

    There is nothing exceptional in the circumstances themselves. Such complexities of improvisation, transcription, translation, and interpretation often arise at conferences, and the circumstances that lead to them remain significant when such exchanges are subsequently reproduced in conference volumes, as is the case here and as is made clear by the editors of the volume (Languages of Criticism, xi-xiii). It is true that such statements are sometimes edited by the authors before publication and technically require their permission to be reproduced. Such is not always the case, however, and it is doubtful that it was done here, indeed it is virtually certain that it was not. Hyppolite, however, died before the volume at issue went into production and did not even have a chance to edit his own contribution, let alone his exchange with Derrida. However, in spite and sometimes because of the interpretive problems that they pose, such statements and exchanges are significant, historically and conceptually. My argument, therefore, is that the circumstances of these statements must be given special consideration in interpreting and evaluating them, rather than serving as a reason for dismissing them, as some have argued in the case of the Hyppolite-Derrida exchange.

     

    Some (very few) scientists, such as Weinberg, as considered earlier, have admitted, grudgingly, that the circumstances of Derrida’s remark may require additional consideration. Such admissions in themselves are hardly sufficient, however. First of all, they are far “too little, too late”–after two years of relentless abuse, beginning with Gross and Levitt’s book. Secondly, more distressingly, they do not appear to signal much change in the overall hostile and unprofessional–and, one might indeed say, unscientific–attitude towards the work of Derrida and other figures on the part of the scientists involved (although there begin to appear some more encouraging signs here and there). Finally, most significantly, they are accompanied neither by meaningful (re)readings of Derrida’s statement itself (still considered as, at best, inept) nor by meaningful (re)considerations of the relationships between his ideas and the philosophical content of modern science. These relationships give Derrida’s and Hyppolite’s statements their meaning and significance in spite of their improvised character. It is with these relationships in mind that I now turn to Hyppolite’s remark, introducing the famous “constant.” Hyppolite said, according to the transcript of the exchange:

     

    With Einstein, for example, we see the end of a kind of privilege of empiric evidence. And in that connection we see a constant appears, a constant which is a combination of space-time, which does not belong to any of the experimenters who live the experience, but which, in a way, dominates the whole construct; and this notion of the constant--is this the center [i.e. would it be, according to Derrida's argument]? (Languages of Criticism, 266, emphasis added.)

     

    Hyppolite’s first sentence is somewhat obscure, which, again, is not surprising given the improvised and tentative, probing nature of his comments. It can, however, be read as compatible with special relativity, in particular the idea that the distinction between space and time depends on the observer. Certain statements, which would have objective (universal) “empirical” value according to classical physics–say, as concerns a sequence of two given events (A before B)–can no longer be seen as valid universally but instead as depending on a specific reference frame, since the sequence can be reversed if seen from the perspective of another frame (in which B will precede A).16

     

    More important here is the question of “the Einsteinian constant” itself, although it is related to the preceding consideration, as Hyppolite says. Hyppolite does not actually use the phrase “the Einsteinian constant,” which is introduced by Derrida. It thus clearly refers to Hyppolite’s remark, rather than to any accepted scientific term, and is, in this sense, a local contextual reference. As used by Hyppolite, the “constant” here may not mean–and does not appear to mean–a numerical constant, as virtually all the physicists who commented on it appear to assume. Instead it appears to mean the Einsteinian (or Einsteinian-Minkowskian) concept of space-time itself, since Hyppolite speaks of “a constant which is a combination of space-time” (emphasis added), or the so-called spatio-temporal interval, invariant (“constant”) under Lorentz transformations of special relativity. This interval is also both “a combination of space-time” and something that “does not belong to any of the experimenters who live the experience,” and can be seen as “dominat[ing] the whole construct” (i.e. the conceptual framework of relativity in this Minkowskian formulation). Indeed, it is possible that Hyppolite has in mind this latter (more elegant) interpretation, while Derrida understood the “constant” as referring to the Einsteinian concept of space-time itself. This difference is ultimately not that crucial, since both these notions are correlative (and both are correlative to the constancy of the speed of light c in a vacuum and its independence of the state of motion of the source) and both reflect key features–decentering, variability, play (in Derrida’s sense), and so forth–at stake in Hyppolite’s and Derrida’s statements. In any event, given the text, these interpretations are more plausible than seeing the phrase as referring to a numerical constant.

     

    This alternative interpretation is not definitive, and no definitive interpretation may be possible, given the status of the text as considered earlier. At the same time, interpretations of these statements are possible and may be necessary–for many reasons, for example, the interpretations that occasion this article. For these statements have been interpreted without any consideration of these complexities or any serious attempt to make sense of them. It is more productive, however, to take these complexities into account, to sort them out to the degree possible, and to give these statements the most sensible rather than the most senseless interpretation.

     

    In view of those aspects of Hyppolite’s and Derrida’s meanings that can be established with more certainty from broader contexts (such as that of Derrida’s essay), the above interpretation(s) of the Einsteinian constant are both possible and plausible, or at least allowable by their statements. The moment one accepts this interpretation, Derrida’s statement begins to sound quite a bit less strange. It acquires an even greater congruence with relativity once one understands the term “play/game” as connoting, in this context (it is a more radical and richer concept overall), the impossibility within Einstein’s framework of space-time of a uniquely privileged frame of reference–a center from which an observer could master the field (i.e. the whole of space-time). Even if my reading of “the Einsteinian constant” is tentative, the meaning I suggest for Derrida’s term “play” [jeu] is easily supportable on the basis of his essay and related works. So is, it follows, the understanding of this concept as congruent with (I do not say equivalent to) certain philosophical ideas and implications of relativity, and it may be in part indebted to these ideas, however indirectly.

     

    One might, then, see Derrida’s statement reflecting the fact that, in contrast to classical–Newtonian–physics, the space-time of special, and even more so of general, relativity disallows a Newtonian universal background with its (separate) absolute space and absolute time, or a uniquely privileged frame of reference for physical events. The Einsteinian or Einsteinian-Minkowskian concept of space-time may be seen as correlative to the assumption that the speed of light is independent of the state of motion of either the source or the observer, and, in this sense, these “two Einsteinian constants” may be seen as conceptually equivalent.17 The “constancy” or, better, invariance, in special relativity, of the so-called spatio-temporal interval under Lorentz transformations arises from the same considerations and was introduced in this form by Minkowski, and eventually led him to the concept of space-time. (I bypass the explanation of these, more technical, terms themselves, since this is not essential for my main point–the decentered structure of the space-time of relativity.) As I said, I find it plausible that Hyppolite had in mind precisely this concept. The Einsteinian (concept of) space-time, however, can be more immediately linked to Derrida’s concepts of decentering, variability, and play, and this is why, as I suggested earlier, it is possible that Derrida and Hyppolite have two different “constants” in mind here. Both “constants,” however, or c, derive from the same theory, Einstein’s (special) relativity, and this theory entails a certain general philosophical conceptuality, such as that of “play” in Derrida’s sense. Derrida sometimes speaks, via Nietzsche and Heidegger, of “the play of the world” itself, as opposed to play in the world. He posits a certain irreducible variability of the world itself and/as our construction of it, as opposed to the concept of the world as a (“flat”) background of events given once and for all, such as Newton’s absolute space in classical physics. From this perspective, “the Einsteinian constant,” understood as the concept of Einsteinian space-time, could indeed be seen, at least metaphorically, as “the very concept of variability” and, at the limit, as the concept of play/game [jeu] developed by Derrida.18

     

    One might, thus, see Hyppolite’s and Derrida’s remarks as relating to certain standard philosophical features of Einstein’s relativity–presented, admittedly, in a nonstandard idiom, especially for physicists. At the very least, these remarks can be read as consistent or, again, congruent with the philosophical ideas and implications of relativity, as they have been elaborated in the scientific and philosophical literature on the subject. What Hyppolite suggests is that part of the conceptual content of Einstein’s relativity with its space-time may serve as a kind of model for the Derridean concept of decentered play and related ideas. This suggestion is neither surprising nor especially difficult for anyone who has read Derrida’s essay and has some knowledge of certain key ideas of relativity. Derrida responds more or less positively, but suggests that one needs a more decentered view of “the Einsteinian constant”–which is to say of the physical world according to Einstein’s relativity or, as will be seen, of scientific theories themselves–than Hyppolite appears (to Derrida) to suggest. This may well be more or less as far as one can go with reasonable certainty regarding what Hyppolite and Derrida could mean. The remainder of the reading offered here is an exploration of certain possibilities and implications of these connections between relativity and Derrida’s ideas. Not much else might be possible under the circumstances of the exchange. However, at least as much as investigation as was undertaken here may be necessary in order to produce a reading of it like that suggested here–a reading connecting, historically and conceptually, Derrida’s work and the philosophical implications of Einstein’s relativity. As I have stressed throughout, these are philosophical questions, rather than questions of physics, that are at stake, and both Hyppolite’s and Derrida’s remarks must be read and evaluated accordingly.

     

    Such philosophical questions and implications are significant, however, and their significance is in no way diminished by the circumstances of the exchange, such as the improvised nature of these remarks. This exchange reflects concepts, including those of Hyppolite and Derrida, which are anything but improvised–quite the contrary; these concepts, such as “play,” are thought through in Derrida in the most rigorous way. Even more significantly, they reflect and (at least in part) derive from the philosophical questions arising in modern science itself. This is in part why in introducing his question Hyppolite says that “we have a great deal to learn from modern science” (Languages of Criticism, 266). This is also why I would be hesitant to treat these remarks as merely “casual,” “offhand,” and so forth, and dismiss them on these grounds. As I have indicated, the latter argument was advanced by some in defending Derrida against recent criticism on the part of the scientific community, and even have been to a degree accepted by some critics as well. This, however, is a weak defense, and at stake in my argument here is not a defence of Derrida. The question may well be whether Derrida’s or other contemporary philosophical thought, however rigorous and radical, is yet rigorous and radical enough for what it is at stake at the philosophical limits of relativity (especially general relativity) or elsewhere in modern physics, in particular in quantum theory. Throughout its history, physics has been an extraordinarily fertile ground for questioning our philosophical assumptions. This is in part why Nietzsche said: “Und darum: Hoch die Physik! Und höher noch das, was uns zu ihr zwingt,–unsre Redlichkeit!” [And this is why: long live physics! And even more so that which forces us to turn to it–our integrity]19 If there is a rigorous, meaningful, and productive criticism to be offered here–for example, based on physics–it should be offered. We have not, however, seen such criticism in recent exchanges. The very question of how casual such “casual” remarks are, or can be, would have to be reconsidered from this perspective. Some of the most significant ideas in science and philosophy alike were introduced by way of “casual” remarks, footnotes, and so forth. As Derrida says, “it is always better, and its is always more scientific, to read” (Points…, 414; emphasis added).

     

    Hyppolite invokes next still more radical conceptual possibilities suggested by modern science, referring, first, implicitly (at least, it can be read in this way) to quantum physics and then, overtly, to biology. These references, their connections to Derrida’s ideas, and Derrida’s response to them require a separate discussion, as does the remainder of the exchange, which raises questions concerning the relationships between (post)structuralism and the philosophical aspects of mathematics (in particular algebra or, more accurately, “algebraization”) and science. Some of these questions have an interesting history in the context of “structuralist controversy” (and of course a still longer history, extending to/from Greek and Babylonian mathematics). Michel Serres even argues that we might need to rethink structuralism from the perspective of its connections to twentieth-century mathematics, specifically the Bourbaki project.20 André Weil, one of the great mathematicians of this century and a founding member of the Bourbaki group (and the brother of Simone Weil), wrote an appendix to Lévi-Strauss’s The Elementary Structures of Kinship.21 Both Derrida and Hyppolite (or Serres) must have been aware of Weil’s article and might have been familiar with it. Derrida’s “Structure, Sign, and Play” is, we recall, primarily an analysis and a deconstruction of Claude Lévi-Strauss and structuralism.22 The essay does not consider this mathematical or, again, mathematico-philosophical problematic and its relationships with structuralism. However, it can hardly be simply disconnected from them, and some of these connections emerge more explicitly in other essays in Writing and Difference and elsewhere in Derrida (especially in his earlier work). At the very least, Derrida’s philosophical ideas can be meaningfully engaged in exploring these relationships, as Hyppolite indeed suggests.

     

    There are further nuances concerning relativity as well, especially those relating to the difference between the centering of “the whole [theoretical] construct”–that is, as I read it, the overall conceptual framework of relativity–around the concept of space-time and the centering of the space-time of special or general relativity itself.23 Concentrating here on “the Einsteinian constant,” Derrida does not appear to address the first question as such (or conceivably, and, again, under the circumstances understandably, conflates both questions). It may well be, however, that he intimates a negative answer here as well. For from the Derridean perspective it would be difficult, perhaps impossible, to claim any central or unique concept–the “constant”–defining the Einsteinian framework. It is, therefore, possible that Derrida has this point in mind. Invariance or stability of a conceptual center of a theoretical structure, such as relativity, is, of course, quite different from invariance of a physical constant. One might suggest, however, that in the case of the Hyppolite-Derrida exchange a certain concept of decentering defining the space and time of relativity coincides with the idea of decentering of the overall conceptual structure of the theory itself. No concept belonging to the latter, not even that of the decentered space-time, may be seen as an absolute center of relativity theory–a center invariant under all theoretical and historical transformations of this theory. That is, such conceptual centering may change from one version of relativity to another (this centering is relative in this sense), and some forms of relativity may be constructed as conceptually decentered in themselves. Indeed, there have been considerable debates among historians of science as to the relative centrality of key experimental facts and theoretical ideas of special relativity, either as originally introduced by Einstein or in its subsequent, such as Minkowskian, forms. All these nuances would have to be considered in order to make a full-fledged argument of the type suggested here, as against unscholarly recent treatments of Derrida and Hyppolite which are unacceptable regardless of potential problems one might have with their comments on relativity or their ideas in general.

     

    The possibility of such an argument should not be surprising. Neither Hyppolite nor Derrida claims to have expertise in physics itself. However, leaving aside their general erudition, both have been the readers and (especially Hyppolite) colleagues of such world-famous philosophers and scholars of science as Alexandre Koyré, Gaston Bachelard, and others, and of a number of major mathematicians and scientists. These authors, including mathematicians and scientists, commented extensively on philosophical issues in and implications of relativity, and are cited by many experts in the history and philosophy of science. Many discussions of the Leibniz-Clarke debate in philosophical literature, known to Hyppolite (or Derrida), consider Einstein’s relativity, both specific and general theory, as a culmination or at least a crucial point in the history opened by this debate. Moreover, as the director of the École Normale, the center of French philosophy, mathematics and science, which he headed for ten years (1954-63), Hyppolite had access to the most sophisticated scientific and philosophical information on the subject. He was previously a chair at the Sorbonne and a professor at the Collège de France thereafter, where he also had ample opportunities to discuss modern mathematics and science, in which he had considerable interest throughout his life. It is worth mentioning in this context that Hyppolite was granted admission to the École Normale on the basis of his ability in philosophy and mathematics. Derrida, too, spent years of his career at the École Normale, first as a student (of, among others, Hyppolite) and then as a professor, and had similar access to key ideas of modern mathematics and science in general. It cannot therefore be surprising that both Hyppolite and Derrida would know enough about relativity to make philosophically sensible or even suggestive remarks about it. Moreover, there are considerable independent philosophical affinities between relativity and Derrida’s ideas–that is, if these affinities are indeed independent given the intellectual history just indicated.

     

    One could argue that the connections between Derrida’s work and relativity are not restricted to those indicated so far and involve deeper epistemological questions, crucial to the continuing debate concerning the philosophical interpretation and implications of relativity. Conversely, one can question how productive a Derridean framework could be as an approach to (the philosophy of) relativity. Whichever way one’s argument may proceed here, however, it must be conducted very differently from reading Derrida’s statement in a deliberately distorted or parody-like manner, as in Sokal’s hoax; or from offering “criticism” of it that is clearly uninformed, as in Gross and Levitt’s book; or from other non-treatments of it on both sides of the recent “science wars.” Such an argument would also be different from what one finds in Sokal’s article in Lingua Franca (disclosing his hoax) and his other “serious” commentaries on the subject: a manifest philosophical naivete and ignorance of philosophical literature, including that on relativity and quantum physics, let alone of the work of Derrida and other figures on whom he comments (which latter ignorance Sokal indeed acknowledges).24 The question is not whether Derrida’s comments on relativity or other areas of mathematics and science, or his work in general should be criticized, but at what level of intellectual engagement, knowledge, and scholarship such criticism of Derrida and others should take place.

     

    Scholars in the humanities should, of course, exercise due caution as to the claims they make about mathematics and science, and respect the areas of their specificity. Reciprocally, however, scientists and other non-humanist scholars should exercise due care and similar caution in their characterization of the humanities, especially when they are dealing with innovative and complex work, such as that of Derrida, and all the more so if they want to be critical about it. Derrida would be willing and indeed eager to accept any open-minded criticism of his comment on relativity or his ideas about science in general, especially by scientists. So far, however, no such criticism–not even a dismissal that can be taken seriously–has been offered, at least not yet. In order for this to happen, reading, in Maurice Blanchot’s words, must become a serious task for all of us, scientists and nonscientists alike. On another occasion (in conjunction with the controversy surrounding his honorary degree from Cambridge), Derrida offered the following comment on the negative sentiments of certain scientists towards his work, expressed, it appears, without reading it:

     

    I would be content here with a classical answer, the most faithful to what I respect the most in the university: it is better, and it is always more scientific, to read and to make a pronouncement on what has been read and understood. The most competent scientists and those most committed to research, inventors and discoverers, are in general, on the contrary, very sensitive to history and to processes which modify the frontiers and established norms of their own discipline, in this way prompting them to ask other questions, other types of question. I have never seen scientists reject in advance what seemed to come from other areas of research or inquiry, other disciplines, even if that encouraged them to modify their grounds and to question the fundamental axioms of their discipline. I could quote here the numerous testimonies of scientists in the most diverse disciplines which flatly contradict what the scientists you mention [in conjunction with the Cambridge incident] are saying. (Points..., 414)

     

    One can find many such testimonies in the works of Einstein, Bohr, Heisenberg, and other founding figures of modern physics, or in the works of many major mathematicians and scientists in other fields. A more serious engagement with Derrida’s and other recent philosophical work on the part of scientists is possible, too, and we might yet see it. Then, perhaps, we will also have a better understanding of why “the Einsteinian constant is not a constant, is not a center,” why “it is the very concept of variability,” and why “it is, finally, the concept of the game”– or, if that is the case, why it is none of the above.

     

    Notes

     

    1. The Languages of Criticism and the Sciences of Man: The Structuralist Controversy, eds. Richard Macksey and Eugenio Donato (Baltimore and London: Johns Hopkins UP, 1970), 267.

     

    2. Paul R. Gross and Norman Levitt, Higher Superstition: The Academic Left and its Quarrels with Science (Baltimore: Johns Hopkins UP, 1994); Alan D. Sokal, “Transgressing the Boundaries–Towards a Transformative Hermeneutics of Quantum Gravity,” Social Text (Spring/Summer, 1996), 217-252. The continuing proliferation of subsequent commentaries and discussions on and around, as it became known, “Sokal’s hoax” is staggering, even leaving the innumerable exchanges on the Internet aside. No end is unfortunately in sight. Derrida’s comment figures most prominently and, again, nearly uniquely throughout these discussions. In particular, it was discussed in Steven Weinberg, “Sokal’s Hoax,” New York Review of Books (August 8, 1996), 11-15, and “Sokal’s Hoax: An Exchange” New York Review of Books (October 3, 1996), 54-56.

     

    3. His very first book was a translation of and an introduction to Husserl’s essay “The Origin of Geometry.” Beyond a number of substantive commentaries throughout his works, one can especially mention here as yet unpublished seminar “La vie la mort,” concerned in Derrida’s own words, “with ‘modern’ problematic of biology, genetics, epistemology, or the history of life sciences (reading of Jacob, Canguilhem, etc.)” (The Post Card, tr. Alan Bass [Chicago: U of Chicago P, 1987], 259, n.1).

     

    4. See his remarks in Florian Rötzer, Conversations with French Philosophers, tr. Gary E. Aylesworth (Atlantic Highlands, N. J.: Humanities Press, 1995), 5.

     

    5. See, again, Conversations with French Philosophers, 5.

     

    6. On these issues in a more general context, see Derrida’s analysis in “Limited Inc a b c …” and, especially, “Afterword: Toward an Ethic of Discussion,” in Limited Inc (Evanston, IL.: Northwestern UP, 1988). Of course, as Derrida’s analysis, including in Dissemination, exhaustively demonstrates, it is not possible to control (the dissemination of) the meaning of Derrida’s statements, such as those under discussion here, any more than of any other statement. The overall case here considered offers a powerful, if distressing, illustration of this point. Nor is it possible to claim that any given reading (for example, the one offered here) is definitive. That does not mean, however, that one should not read with utmost care, rigor and respect the context under which a given statement is made, or that one cannot argue about such readings, or that one can simply disregard traditional norms of interpretation or scholarship– quite the contrary. This view is fully in accord with both deconstructive theory and deconstructive practice, at least the best theory and the best practice of deconstruction, such as those of Derrida himself, quite in contrast with many of his readers, such as those discussed here. Derrida’s readings and those of other responsible practitioners of deconstruction scrupulously follow such classical protocols. Deconstruction does argue that such protocols, even if scrupulously adhered to, cannot guarantee determinate results. The present case is an obvious example of this situation, too. Deconstruction would aim to explain what happens here and why, and Derrida and others offer many deep and subtle explanations of such cases. But this is quite different from endorsing these kinds of practices.

     

    7. Coherent States: Past, Present, and Future, eds. D. H. Feng, J. R. Klauder, and M. R. Strayer (Singapore: World Scientific, 1994).

     

    8. Jacques Derrida, La dissémination (Paris: Seuil, 1972), 235; Dissemination, tr. Barbara Johnson (Chicago: U of Chicago P, 1981), 207.

     

    9. John Ellis, Against Deconstruction (Princeton, NJ.: Princeton UP, 1989), 6; Barbara Johnson, “Nothing Fails Like Success,” SCE Reports 8 (Fall 1980):9.

     

    10. Jacques Derrida, Points… (Stanford, Ca.: Stanford UP, 1995), 404.

     

    11. Had it taken place, an “abuse” or misrepresentation of differential topology would, of course, be unfortunate. It is an extraordinary discipline, a grand achievement of the human mind. The contribution of the French mathematicians to the founding and development of this field was extraordinary, from such founding figures as Henri Poincaré to the extraordinary contributions, throughout the first half of this century, of such figures as Elie Cartan, Jean Leray, Henri Cartan, Jean-Pierre Serre, René Thom, and many others, and then by their younger followers up to the present. I happen to have studied differential topology at the University of Leningrad with Vladimir Rokhlin and Mikhail Gromov. Mathematicians would know these names and those of other figures just mentioned, and it is a pity that non-mathematicians do not know them (a subject that would require a separate consideration). I mention these French names (mathematicians from other countries also made major contributions to the field) because key developments to which they contributed took place when Hyppolite, a key figure for my discussion, was first a student (at the École Normale) and then a professor at the Sorbonne, the École Normal, and the Collège de France, where many of these figures were Hyppolite’s fellow students and then colleagues. Derrida was a student at the École Normal (where he studied with Hyppolite) around the time of major breakthroughs in the field, which were widely discussed in the intellectual community to which he, Hyppolite, and other major philosophical figures mentioned here belonged. This community also included major historians and philosophers of science. I shall further consider the significance of these facts later. The point I want to make here is that the irresponsible attitude on Derrida’s part imagined or fantasized (with no basis whatsoever) by Gross and Levitt is inconceivable for anyone even remotely familiar with the intellectual environment just indicated and with Hyppolite’s and Derrida’s work and attitudes.

     

    12. Given the egregious nature of some of its mistakes, it is surprising that they were not discussed by reviewers immediately upon the publication of the book. It is also unfortunate, since it could diminish some harm done by the book. Some of them should, of course, have been noticed before the book was published, assuming that it should have been published, to begin with, given its flaws, which are unredeemable regardless of the problems one might have with the authors discussed in the book. Nor has it (or Sokal’s hoax) much value in terms of provoking debate, as some have contended. There are better ways to engender debates–and better debates. By now some of these problems have by been pointed out by some reviewers and commentators. Even Sokal acknowledges, in his more recent commentaries, that Gross and Levitt’s book contains “errors,” including as concerns their “topology” quotation from Derrida and the circumstances of his comment on relativity. While this article was being considered for publication, an extensive survey of such problems has been published by Roger Hart in “The Flight from Reason: Higher Superstition and the Refutation of Science Studies,” Science Wars, ed. Andrew Ross (Durham, NC.: Duke UP, 1996), 259-92. As I shall discuss, these recognitions do not change the situation much. In contrast to my argument here, in most cases both critics and even defenders (such as Hart) of Derrida still think that Derrida’s (or Hyppolite’s) comments should at best be discounted (at worst they are seen as inept or senseless), rather than understood in the context of the relationships between philosophy and science. The very critique of Gross and Levitt’s book often amounts to “yes, they got a few (or even not so few) things wrong, but …”–not the kind of change of attitude that is, I think, necessary here.

     

    13. Both the essay and the discussion are in The Languages of Criticism and the Sciences of Man: The Structuralist Controversy. The essay is also included in Derrida’s Writing and Difference, trans. Alan Bass (Chicago: U of Chicago P, 1978).

     

    14. This point of the necessity of understanding both terms is clearly brought into the foreground by Steven Weinberg in “Steven Weinberg Replies” (The New York Review of Books, October 3, 1996, 56), where Weinberg also qualifies his original remarks on Derrida somewhat (without changing his view) and comments on the context of Derrida’s statement in response to the letters published in “Sokal’s Hoax: An Exchange.” As will be seen, however, these qualifications are hardly sufficient to change my argument here. I also leave aside for the moment the problem of translation, even though it is significant. Thus, the translation of Derrida’s essay published in the conference volume has several problems, and one is better off reading the version published in Writing and Difference. In particular, the version in the conference volume translates Derrida’s jeu as “freeplay”–which may lead to a misunderstanding of Derrida’s idea of play. Translation is a crucial concern in considering the circumstantial context of the statements at issue. This context may make any claim concerning these statements, including any claim to be offered here, irreducibly tentative. On the circumstances themselves, see The Languages of Criticism, xi-xiii.

     

    15. The very disagreement between Sokal’s and Gross and Levitt’s interpretations suggests that a more careful reading may be necessary. Of course, Sokal’s article, being a hoax, cannot be considered as offering a meaningful interpretation of anything, and it can be shown that it misrepresents (deliberately or not) virtually all the significant ideas that it invokes, certainly Derrida’s. Sokal’s interpretation of Derrida’s remark makes no sense whatsoever given Hyppolite’s question and Derrida’s essay. It is strange that several scientists appear to have accepted this interpretation on the basis of a hoax–an admitted hoax–especially since, as Weinberg points out, this is not a standard term in physics. This makes him, too, (in this case more understandably) puzzle about the phrase and suggest the meaning of the phrase as, again, referring to a numerical constant, that of Newton’s constant figuring in Einstein’s theory (“Steven Weinberg Replies,” 56). He does not appear to attribute this meaning to Derrida, which indeed would not make any sense. Yet another reading proposed by some scientists, that of the so-called cosmological constant appearing in certain versions of relativistic cosmology, makes even less sense, historically or conceptually. Such a constant was indeed introduced by Einstein in his early cosmological investigations, but was quickly abandoned by him. (He even spoke of its introduction as the greatest scientific mistake of his life.) It was resurrected by recent cosmological theories and has had considerable prominence in recent discussions. It would, however, be very unlikely for it to be invoked at the time of the Hyppolite-Derrida exchange in 1966. Nor does it appear to make much sense as Hyppolite’s reference, given what he says here, or given Derrida’s discussion in “Structure, Sign, and Play” itself.

     

    16. I am grateful to Joshua Socolar, from the Physics Department at Duke, for his suggestions in clarifying this particular point and for productive discussions in general. It must be kept in mind that, in Niels Bohr’s formulation, “the space-time coordination of different observers never implies reversal of what may be termed the causal sequence of events” (The Philosophical Writings of Niels Bohr, 3 vols. (Woodbridge, Conn.: Ox Bow Press, 1987) 3:2. More generally, in contrast to quantum physics, Einstein’s relativity remains a causal and otherwise classical physical theory, at least special relativity (since all these questions–causality, reality, and so forth–become more complex in the case of Einstein’s general relativity, his theory of gravitation). This point is intimated by Hyppolite in his remarks, when he invokes a more radical dislocation of classical thinking emerging in modern science (Languages of Criticism, 266).

     

    17. According to Einstein’s original paper on relativity “Zur Elektrodynamik bewegter Körper” [On the Electrodynamics of Moving Bodies],” one may firmly conjecture the following on the basis of the available experimental evidence: “[T]he same laws of electrodynamics and optics will be valid for all frames of reference for which the equations of mechanics hold good. We will raise this conjecture (the purport of which will thereafter be called the “Principle of Relativity”) to the status of a postulate, and also introduce another postulate, which is only apparently irreconcilable with the former, namely that the light is always propagated in empty space with a definite speed c which is independent of the state of motion of the emitting body” (Einstein: A Centenary Volume, ed. E. P. French [Cambridge, Mass.: Harvard UP, 1979], 281-82). Einstein’s “reconciliation” of these two apparently irreconcilable postulates within the framework of special relativity was his great achievement.

     

    18. This link would be even more pronounced in general relativity, which connects gravitation to the geometry, here non-Euclidean (Riemannian) geometry, of space-time. In this case, the Lorentz invariance can no longer be maintained globally but only locally, correlatively to the fact that in general relativity space can be seen as flat–Euclidean or, more accurately, Lorentzian–only locally. Globally space is curved. The variability and “the play of the world” (in the present sense) is, however, not only retained but is enhanced as a result. Deleuze’s interest in Riemannian geometry (in turn much maligned but little understood by his critics in the scientific community) is motivated by similar considerations of decentering variability.

     

    19. Friedrich Nietzsche, Sämtliche Werke: Kritische Studienausgabe, eds. Giorgio Colli and Mazzino Montinari (Munich: Deutscher Taschenbuch Verlag; Berlin and New York: Walter de Gruyter, 1988) 3: 564; The Gay Science, trans. Walter Kaufmann (New York: Vintage, 1974), 256 (translation modified).

    20. Michel Serres and Bruno Latour, Conversations on Science, Culture, and Time, trans. Roxanne Lapidus (Ann Arbor, Mich.: U of Michigan P, 1995), 35.

     

    21. Claude Lévi-Strauss, The Elementary Structures of Kinship, trans. Hames H. Bell, John R. von Sturmer, and Rodney Needham (Boston, Beacon Press, 1969), 221-27. I am grateful to David Reed, from the Mathematics Department at Duke, for reminding me about this fact and for most helpful discussions.

     

    22. I here use this, by now complicated, term “deconstruction” in a more limited and more rigorous sense of the analytical practice of Derrida’s own (mostly earlier) work, such as “Structure, Sign, and Play.” This is not the place to consider the “continuities” and “discontinuities” in Derrida’s work over last thirty years, nor the differences in the ways this work is received on different sides of the Atlantic. These factors are relevant to recent debates, but they would not affect my argument here.

     

    23. Differences of that type–those between the centering of a given theoretical framework, say, around a given concept, and the centering of the structure(s) constructed or investigated within this framework–appear to be on Hyppolite’s mind from the outset of and throughout his remarks, beginning with his invocation of algebra.

     

    24. Alan D. Sokal, “A Physicist Experiments with Cultural Studies,” Lingua Franca (May/June 1996), 62-64. My limits here do not permit me to discuss relevant specific portions of these works, which one might consider appropriate, given my strong criticism here. While I would stand by my assessments of the particular authors just mentioned, the reader is invited to read my elaboration as a general appeal to a more serious engagement, however critical it may be, with the work of Derrida and other contemporary thinkers that may be invoked here.

     

  • Selected Letters from Readers

     
     

    Editors’ note:

     

    We received many letters addressing our move to Johns Hopkins University Press and to a subscription-based model of recovering our costs. That model in brief: with the January 1997 issue, PMC is published as part of Project Muse of Johns Hopkins University Press. The most current issue of PMC remains freely available on the Web; back issues, however, are now restricted to individual and institutional subscribers.

     

    Many readers wrote to lament the move to a subscription plan of any kind, citing PMC’s accessibility as its single most powerful asset. We also received several letters from contributing authors who felt that restricting access to their work changed, in fundamental and disturbing ways, the terms under which they initially published their work in this journal. Several letters pointed out that, under this model, contributing authors lose access to their own work once the issue in which it appears is no longer current.

     

    Rather than simply represent these letters in this column, the editors sought to foster discussion of the crucial issues these letters raised, issues central not only to the continued health of PMC but also to electronic scholarly publication more generally. In March, we began an electronic mailing list discussion and invited readers, authors, Board reviewers and representatives from John Hopkins University Press to join the discussion. The full archive of the discussion to date is available here.

     

    The discussion has already had one immediate result: the publishers have decided to provide free text-only access to the journal and its back issues. Further details about this plan will be made available on the discussion list and in the September issue. We invite those interested in joining the discussion to send mail to pmc@jefferson.village.virginia.edu. We plan to include an edited version of the discussion in our September issue.

     


     

    Reader’s Report on David Golumbia’s “Hypercapital,” PMC 7.1

     

    Golumbia’s “Hypercapital”, while an excellently written article full of deliciously interesting links, is clearly hoist of its own petard. How can he claim that “The world of corporate capitalism is dominated by actors who do not truly see the play of which they are a part, and dicta whose consequences are themselves beyond the ken of all but the most foresighted of capitalists” with such elitist, self-congratulatory insouciance?

     

    A touch more humility would go a long way to enhancing the credibility of such far-reaching articles. The brightest minds are not all cloistered in academia, and visions of truth are not all granted to the lucky few.

     

    These comments are from: Donald Summers
    dsummers@metrolink.net

     


     

    Reader’s Report on Arkady Plotnitsky’s “‘But It Is Above All Not True’: Derrida, Relativity, and the ‘Science Wars,’” PMC 7.2

     

    Granted, Gross & Leavitt, Sokal, Weinberg, et al may not have properly translated or understood Derrida. Does the same apply to many of the other authors of articles in the issue of Social Textthat published the Sokal hoax? Or do we scientists misunderstand as well what they are saying about science?

     

    These comments are from: Gordon Banks
    geb@cadre.dsl.pitt.edu

     


     

    Arkady Plotnitsky replies:

     

    These are important questions in the context of the current debate concerning the relationships between science and the humanities or the social sciences (the debate that has acquired the rather misleading name of the “Science Wars”), and I am glad to have an opportunity to comment on these questions here. The main question here is double: on the one hand, that of the discrimination between lesser and better work, and, on the other, that of the “ethics of reading” and/as public criticism.

     

    First of all, as I have said in my article, we in the humanities must acknowledge without hesitation that some of the “postmodernist” (using this, often in turn misleading, term for the sake of convenience here) work on science is indeed based on woefully inadequate knowledge and lack of careful thought. It is true, however, that discriminating between what is sense and what is nonsense on science in the current humanities is not always easy, especially because of the unfamiliar (to most scientists) critical idiom accompanying such arguments. Nor, in part for the same reason, is it easy to discriminate among the secondary commentaries on Derrida and other key postmodernist authors, commentaries on which scientists often rely in forming their views and which they have often used in their critical arguments in the current debates. Some of these commentaries are at best confused. Indeed, problematic commentaries on science and on postmodernist figures and ideas are sometimes found in the same works. The discrimination between good and bad work, on all sides, may well be the greatest problem here, and the confusion (and bewilderment) on the part of scientists is understandable and, to a degree (but only to a degree), justified.

     

    It would be difficult for me, in part for the reasons just indicated, to comment here on the articles in the “Science Wars” issue of Social Text. These articles should, however, be evaluated with the factors just indicated in mind. Certainly specific problems found there, however severe (and some are), cannot be extrapolated so as to attack or dismiss any given areas of the humanities or the social sciences–whether cultural studies, deconstruction, gender studies, science studies, or whatever.

     

    That said, scientists (or other readers) are entitled to have a negative or indeed dismissive opinion about any work, however such work is regarded in its own field or elsewhere. It is a different matter, however, when a public criticism is at stake, especially in print. The ethics of public criticism demands that, if one wants to argue against lesser or even outright “junk” work, one has the obligation to read this work carefully and to support one’s argument accordingly. This is, unfortunately, not what we have seen in most recent commentaries by scientists in the wake of Gross and Levitt’s book (and in the book itself). The best work is often dismissed or attacked without a careful reading, or by egregious misreading, and without paying any attention to the context or the meaning of basic terms involved. The problem of discrimination, discussed above, cannot therefore serve as an excuse here.

     

    That is not to say that there are no exceptions in recent criticism of the humanities by scientists, nor, of course, that certain points concerning the lack of adequate knowledge and thinking on science in the humanities are not justified. It may be pointed out, however, that the humanists, while they should not be absolved of all responsibility, are not always entirely to blame. On the other hand, some popular, and sometimes even specialized, literature on science is not without some blame, or at least some responsibility. Quite a few misconceived or misleading statements on science in literary and cultural studies come directly from such literature. Unfortunately, too, the borderlines between radical views and bad thinking (and both occur in statements by scientists and humanists alike) are not always easy for nonspecialists to recognize.

     

    For ethical and conceptual reasons alike, then, much caution is required on all sides–and with respect to all sides. This caution is perhaps what has been most lacking thus far. This is one of the reasons for my conclusion in the article: “Scholars in the humanities should, of course, exercise due caution as to the claims they make about mathematics and science, and respect the areas of their specificity. Reciprocally, however, scientists and other non-humanist scholars should exercise due care and similar caution in their characterization of the humanities, especially when they are dealing with innovative and complex work, such as that of Derrida, and all the more so if they want to be critical about it.” By taking this approach, we may also develop a better sense of the meaning and quality of whatever we read, whether we do it for ourselves or, especially, when we want to communicate this sense to others.

     

  • Dry Leatherette: Cronenberg’s Crash

    Terry Harpold

    School of Literature, Communication, and Culture
    Georgia Institute of Technology

    terry.harpold@lcc.gatech.edu

     

    David Cronenberg, Crash. Dir. David Cronenberg. Perf. James Spader, Holly Hunter, Elias Koteas, Deborah Unger, Rosanna Arquette. Fine Line Features, 1996.

     


    The unfamiliar planes of her hips and legs steered me into unique culs-de-sac, strange declensions of skin and musculature.1


     

    Crash begins with a brilliant visual and aural segué. The title credits, dented chrome letterforms, pull out of a vanishing point into the glare of oncoming h eadlights. (Those of an automobile driven by the viewer? These first frames establish the film’s equivalence of cinema screen and windscreen, driver and audience; any reflective field in the visual landscapes of Crash–chrome, glass, vinyl, p ainted steel, and flesh–may be a projective screen.) Behind the credits, Howard Shore’s spare soundtrack repeats this tropology of approach, echo, reflection, abstraction. Cut to a floating POV shot that repeats the swerving movements of the credits: an airplane hangar, parked, partially disassembled private planes, gleaming surfaces of steel and glass. Catherine Ballard (Deborah Unger) is bent over a plane wing, caressing her bared breast (she holds an erect nipple against the wing’s rivets); her skirt is raised over her hips, presenting the curve of her buttocks to her lover’s face.

     

    The opening scene leads immediately to two further couplings. James Ballard (James Spader), a producer of television commercials, grapples vigorously in a darkened supply room with his camera assistant (his face and then thrusting groin buried in her buttocks), as his assistant director calls from outside for his approval of a tracking shot. Cut to James and Catherine, standing on their apartment balcony, describing to each other the day’s earlier infidelities. Her back is turned to him. She quietly raises her skirt to reveal the cleft of her buttocks, and he enters her from behind as they continue talking in low tones. Her white-knuckled hands grasp the balcony rails, as the camera roves over her shoulder to a panoramic shot of the urgent, perpetual traffic jams on the flyovers below.

     

    This opening triptych is noteworthy for its audacity–only a porn flick, says conventional wisdom, should begin with three uninterrupted sex scenes–and for its cool, detached anality. Since its controversial debut at Cannes in 1996 2 critics have complained of the film’s deadening, counter-erotic repetitions; the sex-scenes disconcert by both their frequency (nearly always occurring in sequences of two or three) and peculiar, inhuman grace: “Crash makes you nostalgic for the ersatz heartiness of porno performers,” writes Anthony Lane,

     

    at least they're pretending, for the viewer's sake, to have a good time, whereas the characters in Crash are so unsmiling--so driven, in every sense--that they make you ashamed of ever having enjoyed yourself. ("Off the Road" 107)

     

    This formalist sexual monotony is obviously intentional. Like much of Cronenberg’s work, Crash‘s narrative structure is determined more by the conventions of cinematic form than by its subject matter (this is one of its weaknesses, but for re asons other than monotony). Why not, Cronenberg proposes in a 1997 interview with Gavin Smith, construct a plot on the basis of a series of sex scenes? Why must film have a progressive narrative that gets anywhere? Why should the characters elicit sympath y, or evolve between the first and last scenes? (“Mind Over Matter” 20) Crash is obviously not unique in travelling a narrative route of uncertain shape or destination. It may be that the early repetition of sex scenes in the film makes it di fficult to resist comparing them to the enthusiasm and blatancy of porn. In that regard, the cerebrality, disconnectedness, and abstraction of the sex in Crashare likely to disappoint.

     

    The principle of disconnection and abstraction accounts for the film’s determined rear-endedness: nearly every act of intercourse shown in the movie is anal or rear-entry, Cronenberg’s trope for a disjunction at the center of his characters’ intimate embraces:

     

    It's been suggested that I'm obsessed with asses, but I like everything, you know. I don't think that I'm too overly obsessed with asses. It's more, "How do you have sex when you're not quite having sex with each other?" That kind of thing. (Cronenberg on Cronenberg 198)

     

    In the longest sex scene in the movie, Catherine and James make love after her first meeting with Vaughan (Elias Koteas), the “nightmare angel of the expressways,” toward whose cadre of accident victims James has gravitated, following his collision with Helen Remington (Holly Hunter), and through whom he has discovered the sexual possibilities of the automobile crash. James penetrates Catherine from behind, as she urges him on with questions about Vaughan’s body:

     

    Is he circumcised? Can you imagine what his anus is like? Describe it to me. Would you like to sodomize him? Would you like to put your penis right into his anus, thrust it up his anus?... Have you ever sucked a penis? Do you know what semen tastes like? Have you ever tasted semen? Some semen is saltier than others. Vaughan's semen must be very salty... (Cronenberg, Crash 37)

     

    Despite its verbal directness (never raunchy: sex-talk in the film and book is always clinical), this scene is among the coolest of the film–Catherine’s monologue aims at evokin g an image of an absent object of desire (Vaughan’s penis and anus), but the evocation is not sustained outside of the scene. Vaughan’s penis is never shown in Cronenberg’s Crash, though it is repeatedly remarked upon in the novel, in various stages of tumescence and detumescence, in and out of Vaughan’s jeans, pissing and crusted with dried semen, and so on. Although the film shows James and Vaughan’s eventual sex–James sodomizes Vaughan in the front seat of Vaughan’s ’63 Lincoln–Vaughan’s anus is obviously not depicted, not accorded Ballard’s exacting description (“…as I moved in and out of his rectum the lightborne vehicles soaring along the motorway drew the semen from my testicles…” [Ballard, Crash 202]).

     

    I say, “obviously” because it is precisely in this limit of the showable that Cronenberg’s movie differs most from Ballard’s novel. Crash was released in t he U.S. with an MPAA rating of NC-17, the hardest rating short of the “X” reserved for pornography. (The film was assigned a similar “18” BBFC certificate in the U.K.) The film’s U.S. release, originally slated for October, 1996, was delayed until March, 1997, reportedly following the personal intervention of Ted Turner, Vice Chairman of Time-Warner, Inc. (parent company of Fine Line Features), who described Crash as “appalling” and “depraved.” Release dates in the U.K. and Italy were similar ly delayed, following excoriating editorials in the conservative press. That a film of Crash should provoke censorial apprehension and retribution will surprise no one who has read the novel. But the surrogate strategies and directorial gambi ts required of a commercial film made of a novel like Crash determine the filmmakers’s product in ways that necessarily exceed his esthetic or technical aims. Whereas Ballard’s novel catalogs in frank and extended detail the shape, s mell, taste, and tactility of erectile and invaginated flesh, the varieties of matter within and expelled by the body, and elaborate grotesqueries of skin, steel and concrete, Cronenberg’s representational palette is more circumscribed, limited by the dic tates of the censor’s blade and the financial concerns of commercial theatrical release.

     

    The unshowable is filmable, of course, through indirection. That possibility accounts in large part for the stagy talkiness of much of Crash 3; the cinematic erection of the viewer’s gaze (reaffirmed, as I’ve noted, by the film’s many plays with reflective surfaces) is a substitute for the missing object of which cinematic convention prohibits direct exhibition. Bu t Cronenberg’s project since Shivers, “to show the unshowable, to speak the unspeakable” (Cronenberg on Cronenberg 43), runs up in Crash against a guiderail of sexual abjection that it never quite crosses.

     


    Each of her deformities became a potent metaphor for the excitements of a new violence.


     

    Missing from the film are the novel’s extended repertories of accident positions, real and imagined configurations of broken car parts, concrete, flesh, and viscera that can go on for paragraphs and whole pages. The film includes only a few players, and fewer accidents, restrictions dictated by a small budget, but perhaps also markers of a deeper incommensurability. Cronenberg’s screenplay for Naked Lunch suggests t he problem. The film of Burroughs’s novel is an extraordinary exercise in reduction and translation from a textual to a visual mode. The film avoids any attempt to linearize Burroughs’s expressly counter-narrative textuality, electing instead to follow a hallucinatory but mostly coherent storyline that sutures William Lee’s peregrinations in the Interzone to excerpts of more legible narratives from other Burroughs works. Burroughs’s 1951 accidental shooting of his wife Joan, an event central to Burroughs ‘s career as a writer but nearly indiscernable in the novel, becomes in Cronenberg’s version a defining frame, the openly biographical border of its counterfeit territories. The film repeats the counter-narrative provocations of the text in the resistant , stark unreality of its scenery and effects, the flatness of the characters’ performances, and the explicit awkwardness of its transitions. Naked Lunch is a film very conscious of its materiality; its obvious facticity repeats on a visual re gister the irreducible textuality of Burroughs’s writing.

     

    The visual landscapes of Crash recall the detached unreality of Cronenberg’s earlier films (Shivers, Rabid, The Dead Zone)–in this regard Crash cannily recasts the scopic dereliction of much of Ballard’s fiction. Whereas Ballard’s novel is a first-person narrative, most of the film is shot from a point of view that matches closely the objectifying eye framing the opening credits and the aureole of Catherine’s breast, pressed against the plane wing. This reinforces the viewer’s identification with that supervening voyeur, but it excludes from the film consciousness of the textual resistances of Ballard’s w riting, without substituting for them the explicit unreality that worked in Naked Lunch as the trace of Burroughs’s compositional methods. The novel is framed by a retrospective narrative (it begins and ends after Vaughan’s death); several chapters describe events that are out of sequence, or separated from one another by gaps of time that might be equal to hours or weeks. The elaborate multiple profiles of wounds, victims, and victim-positions are written in a bland prose modeled on the clinical voice of the hospital file or the coroner’s report, and staged in a sort of neo-Sadean grammar of excess: the characters imaginatively rehearse accident positions; they study and re-present the bodily postures of crises before they enact them.

     

    The film captures some of this temporal disjunction in implied delays, evidenced indirectly by healed bruises or scars. But the verbal excesses of Ballard’s novel translate less effectively to the screen. There, the literalness of the visual favors more denotative representations, or at best, perspectivalist re-presentations that are very different from the audacious similes of Ballard’s writing:

     

    The carapace of the instrument binnacle, the inclined planes of the dashboard panel, the metal sills of the radio and ashtrays gleamed around me like altarpieces, their geometries reaching towards my body like the stylized embraces of some hyper-cerebral machine. (Crash 200)

     

    Cronenberg’s decision to structure the film in essentially sequential episodes closes off the possibility of showing multiple, inconsistent points of view. Whereas Ballard’s novel is told in the first person, the film is shot from the same objectifying eye that frames the opening credits and the aureole of Catherine’s breast, pressed against the plane wing. This approach foregrounds the viewer’s identification with the presumed subjectivity of that supervening eye, but it excludes from the film any consciousness of the textual resistances of Ballard’s writing, without substituting in their place the explicit unreality that worked in Naked Lunchas the trace of Burroughs’s compositional methods.

     

    The clinical character of Ballard’s narrative voice is to some degree carried over into the spareness of the script (only 77 pages for 100 minutes of running time) and the subdued, at times affectless, performances of the actors. Lacking the baroque intensity of Ballard’s prose-style, their lines are divided by long silences that appear meditative at first, but over the course of the film come to signify nothing at all. (In this respect, Crash recalls The Dead Zone and Dead Ringers, in which a similar eccentric quietness frames much of the dialogue.) The rare exceptions to this principle are reserved chiefly for Vaughan, when he is called on to speak as thaumaturge or philosopher of the auto-erotic. Those moments are, as I’ve noted, the most Ballardian of the film, but they seem for that reason expressly prosaic, and out of place with the rest of the dialogue.

     

    The result is that the neo-Sadean theatricality of the novel–deeply rationalist, explicitly artificial–is traced in the film only in abiding and disconcerting absences. One has the uncanny feeling that something–some thing–is missing, and that this lack accounts, paradoxically, for both the film’s success in representing the perverseness of the collision, and for its failure to translate the novel’s audacious extremity and perpetual crisis.

     


    Her body, with its angular contours, its unexpected junctions of mucous membrane and hairline


     

    The first caresses of Crash set the tempo and esthetic of the film: a new geometry of the libido sprung from the intimate contact and resistance of flesh and steel. This geometry is figured in the opening scene by the explicit comparison of Catherine’s raised nipple to the hard roundness of the wing rivets. Her breast is doubly-valanced here: presented to the steel surface (and, indirectly, to the viewer) as both an erectile organ and an focal point of primary orality, an invitation to both anaclisis and perversion. This doubled valence is one of the film’s anchoring tropes. When Helen struggles to free herself from her seatbelt after her head-on collision with James, she tears open her blouse and exposes her breast to him, as they stare at each other over the crushed hoods of their cars and the mangled body of her husband, thrown into James’s windshield. When James and Helen drive to a carpark for their first sexual encounter, she directs his hand to the same breast, his first contact with her flesh. When Catherine submits to Vaughan’s depredations in the car wash (as James looks on in the rear view mirror), she first bares a single breast to Vaughan; he caresses the nipple intently with an oil-dirtied finger, as she looks down “with rapt eyes, as if seeing it for the first time, fascinated by its unique geometry” (Cronenberg, Crash 49; Ballard, Crash 160). Later, as James comforts a bruised Catherine in their bed, his hand is drawn to the abrasions on her breast left by Vaughan’s hand and mouth.

     

    The nipple is the only organ that may be openly shown in a state of erection in mainstream cinema, and this accounts for its tendency to often stand in for the erect penis. In Crash (the novel and the film), breasts may be the focal point of oral (as well as phallic) desire, but they are never maternal; there is never fluid expressed from these nipples, except as a result of mechanical injury. This may in part account for their effectiveness as substitutes for the penis, within the restrained erotic economy of Cronenberg’s film. The sexual organs shown in the film–and this includes the depraved orifices opened by the crash injury–are remarkably clean: debrided and drained, sutured and sterilized. Crash is almost entirely free of the organic mess that spills out of the cerebrality of Ballard’s prose.

     

    The novel is a catalog of crisis fluids: blood, vomit, urine, rectal and vaginal mucus, gasoline, oil, engine coolant. And most of all: semen; in dried, caked signatures on car seats, dashboards, stiffening the crotch of Vaughan’s fouled jeans; drooling across the gradients of seat covers, streaking instrument binnacles, hanging from steering columns and mirrors. Vaughan’s seminal glands seem infinitely capacious: their ebb and flow trace the tidal rhythms of the new sexuality awakened by the automobile: “As I looked at the evening sky,” James muses after observing one of many assignations between Vaughan and a prostitute in the back seat of the Lincoln, “it seemed as if Vaughan’s semen bathed the entire landscape, powering these thousands of engines, electric circuits and private destinies, irrigating the smallest gestures of our lives” (Ballard, Crash 191).

     

    In Powers of Horror Julia Kristeva excludes semen from her inventory of the abject substances expelled from the body and unrepresentable to the cultural psyche. (She classifies it with tears: “although they belong to the borders of the body, [neither has] any polluting value” [71]. 4) The ubiquity of that substance in Ballard’s novel, and its explicit, intimate connection to the violence and desubjectification of the auto-erotic, suggests, however, that seminal fluid belongs among the privileged forms of the abject, along with excrement and menstrual blood. Semen is, I would contend, the patently abject trace of phallic desire: a nugatory leftover of erotic satisfaction, obscene in its counter-utility, messy, smelly and sticky, unrecuperable in its organic extremity.

     

    Outside of the porn film, semen is the filmic epitome of the unshowable, the unwatchable.5 It is nearly always unseen, a secret substance deposited in rage or passion, demonstrated only by indirection: a sigh, a grimace, a woman’s hands held fast to the small of her lover’s back. Shown directly, it is the among the identifying marks of the contemporary pornographic film, where it appears chiefly in the “money shot:” in cascading pulses tracing the abdomen, rump, breast or face of the partner, proof of the “reality” of the male actor’s pleasure and the abjectness of his partner (who in her or his open-mouthed desire literally swallows up the abject, internalizing and identifying with it.) What counts in the money shot is the controlling effect of the emission, a gesture of mastery over the field (the body) against which it is cast. What is missing is the disorder of pleasure’s aftermath, the sticky mess it leaves behind. The wet spot has no place in a regime of phallic privilege, unless it is recuperated as a trait of the other over whom the phallus presides.

     

    The essential abjection of semen accounts, I think, for its omnipresence in Ballard’s novel. There, it marks a sly subversion of the novel’s insistent phallic construction of desire–the new organs of the automotive body are always invaginations; the renovated act of sexual congress is always one of penetration by a male organ, and usually of a vent in the female body; the novel seems deeply male and heterosexual in this regard–if only because there is too much of it. Its excess dribbles out, stains, the dispassion of the prose; it marks a material sign of male (Vaughan’s, James’s, perhaps Ballard’s) resignation to the essential deviance of desire and the impossibility of absolute, efficient satisfaction.

     

    There is no money shot in Cronenberg’s film–as there is none in Ballard’s novel–but there is one remarkable depiction of the seminal abject. James, Catherine, and Vaughan have left the scene of a multiple-car collision, in which Seagrave, a member of Vaughan’s troupe of crash enthusiasts (he is Vaughan’s chief stunt-driver) has killed himself in a remake of Jayne Mansfield’s fatal crash (complete with wig, false breasts, and pet Chihuahua.) The accident scene is the most classically, cruelly gorgeous of the film: steam and smoke rise from the overturned cars, merging with the dense fog; sparks arcing from the rescue workers’ chainsaws fragment the beams thrown by jammed traffic, flares, and flashing emergency lights; the accident victims (living and dead) stare numbly into space, as spectators gape, and police and fire fighters methodically reposition their crushed limbs, as though they were broken dolls or crash-test dummies. James sits off to the side of the accident, watching Vaughan and Catherine, who move through the scene in a state of increasing sexual arousal. Vaughan photographs her sitting in the front seat of one of the crashed cars, leaning against a crumpled panel–the fact that he is shooting her as a crash victim is emphasized by a long shot that places her profile (for our eyes) directly in line with that of a woman who slightly resembles her, except that her face is shattered on the side we can barely see by something horrific protruding from her cheek.

     

    Blood has spattered on the door and tires of Vaughan’s car, and the threesome drive to a nearby automatic car-wash. As the car is drawn into the brushes and spray, James, who has been driving, watches quietly in the rear-view mirror as Vaughan and Catherine have violent sex in the back seat. During their struggle, her hand is thrown across the top of the front seat, and James sees in it what he has been straining to locate in the mirror: her palm glistens, dripping with semen, casting back the light refracted through the trailing soap suds and streams of water running down the outside of the closed windows. The moment is remarkable–I can think of none other like it in recent mainstream films–but it is isolated, Cronenberg’s one tip of the hat, as it were, to the centrality of this abject substance in Ballard’s novel. What moisture there is elsewhere in the film comes largely from outside the body–fog, rain, soapy water, oil, gasoline, and engine coolant–but these fluids are seldom mixed with the organic fluids.

     

    By comparison, the sex scene with which this coupling is paired–James’s sex with Gabrielle (Rosanna Arquette)–is curiously dry. There is little trace of an organic disarray in the well-lit interior of her car, as they maneuver among the forest of machinery that she uses to steer and control it. (Gabrielle was the victim of a near-fatal crash before Crash begins. She hobbles through the film wearing an e xtensive body brace, her thighs and torso enclosed in a leather and steel apparatus that resembles the product of an Erector set from Fredericks of Hollywood.) Her flesh is barely exposed–one nipple is shown briefly, the scarred outline of the other brea st is hinted at. The object of James’s heated fumblings is the “neo-sex” organ (Cronenberg’s term, Crash 52) on the back of her thigh: a deep, invaginated scar that he tears open her fishnet stockings to reveal, and which he penetrates with h is penis. For all the breathless heat of the players, the new erogenous opening is revealed as something dry and cool, looking nothing like, for example, the ragged mess of Max Renn’s abdominal tape slot in Videodrome, or the dripping bodily openings/excrescences of Rabid and The Brood. The scene, one of the most arresting in the novel, seems awkward and hurried in the film–its potential subversiveness stems almost entirely from its near-comic clumsiness; the only e rections in the car are the among the mass of cables, knobs and controls protruding from under the dash, and these appear mostly to get in the way.

     


    detrusor muscle and erectile tissue, was a ripening anthology of perverse possibilities


     

    Cronenberg’s Crash aspires to a kind of fleshy, abject raggedness, but never quite makes it. It is perhaps undone in the end by the abstractness of the bodily vents that its collisions open. Near the conclusion of the film, Vaughan and James are tattooed with stylized imprints of automobile parts, Vaughan with the fluted lower edge of a steering wheel (on his abdomen), and James with the lines of the hood ornament of Vaughan’s car (on his inner thigh). Vaughan complains to the tattooist that the marks she is etching into his flesh are too clean.

     

    Tattooist: Medical tattoos are supposed to be clean.

    Vaughan: This isn't a medical tattoo. This is a prophetic tattoo. Prophesy is dirty and ragged. Make it dirty and ragged. (Crash 54-55)

     

    Afterwards, James and Vaughan drive to an abandoned auto-wrecker’s yard. In the shadows of piled, rusted automobile hulks, bumpers, and wheel covers, they complete the erotic series that has been building from their first meeting. Each exposes his tattoos and scars to the other, and guides the other’s flesh

     

    to the beckoning injury sites on the interior of the car, to the pointed sills of the chromium ashtrays, to the curtain of wheel covers hanging on a web of twisted wire just outside the car window. (Cronenberg, Crash 55-56)

     

    They embrace, kiss (the first open-mouthed kiss of the film) and Vaughan lies face down the car seat, presenting his rear to James, an obvious mirror of Catherine’s position at the start of the film.

     

    The tattoos are Cronenberg’s invention. In the novel, the sex between James and Vaughan is the culmination of an extended LSD trip, during which the two drive over an industrial landscape that transforms into towering concrete cliffs and racing waves of golden light. The cars on the highway swim the thick air, “delighted as dolphins” (Ballard: 196). James feels that he is fusing with the automobile:

     

    The bones of my forearms formed a solid coupling with the shift of the steering column, and I felt the smallest tremors of the roadwheels magnified a hundred times, so that we traversed each grain of gravel or cement like the surface of a small asteroid. The murmur of the transmission system reverberated through my legs and spine, echoing off the plates of my skull as if I myself were lying in the transmission tunnel of the car, my hands taking the torque of the crankshaft, my legs spinning to propel the vehicle forwards. (Ballard 196-97)

     

    The acid trip completes the novel’s neuronic odyssey, sanctioning the characters’ final embrace automotive desubjectification. Vaughan submits himself to James because the latter’s imaginary fusion with the automobile completes the deepest secret of Vaughan’s fantasies of the crash: through James, Vaughan is finally fucked by his car.

     

    In the book, the sodomy is described in detail, and culminates in the image of James’s semen leaking from Vaughan’s anus onto the vinyl upholstery of the seat. The film, of course, shows none of this (arguably, the camera pulls away from their embrace more quickly than it in fact needs to in order to stay within its rating.) The filmed scene captures some of the frankness, but little of the exhilaration and affection of Ballard version:

     

    In our wounds, we celebrated the re-birth of the traffic-slain dead, the deaths and injuries of those we had seen dying by the roadside and the imaginary wounds and postures of the millions yet to die. (Ballard 203)

     

    When James climbs out of the car and into a nearby junker to rest, he seems to leaving the site of a crime, not one of disorienting intimacy. Vaughan’s effort to crash the Lincoln into the junker seems in the film oddly like an act of revenge for sexual humiliation, rather than the gesture of reciprocation that it clearly represents in the book.

     

    At this point, the film rushes to its conclusion: Vaughan leaves his mark on Catherine’s car with his own, in the form of a vaginal tear in her door; James and Catherine go out driving, looking for him; he dies in a hurried attempt to crash into them; Helen and Gabrielle are shown embracing in the back seat of Vaughan’s junked car; James and Catherine retrieve the car from the pound, fix it up, and begin rehearsing their own crashing games, he in Vaughan’s Lincoln, she in her car. The film ends with their embrace beside her overturned car (he has driven her from the highway). He asks if she is hurt; she replies through tears that she thinks she is all right. He caresses her bruised and mud-streaked thighs, promising, “Maybe the next one, darling… Maybe the next one”–the same words that Catherine says to James in the third sex scene of the film, as he complained of being interrupted with his “camera girl” before she could come.

     

    Though James’s last thoughts in the novel are of “the elements of my own car-crash” (224), it is unclear in Ballard’s version that he will repeat Vaughan’s collisions in so exact a form as Cronenberg shows. The literalness of the film’s depiction of James and Catherine’s embarcation on the route to the perfect crash is, I think, another sign of Cronenberg’s compromises in moving Ballard’s text to the screen. On the last pages of the novel, James and Catherine visit the police junkyard and make brief, ritual love in the back seat of the wrecked Lincoln. (In the novel, Vaughan leaves his Lincoln at their apartment building and steals James’s car, eventually driving it off a flyover in an attempt to crash into a limo carrying Elizabeth Taylor.6) James gathers up his semen in one hand, and walks with Catherine among the cars, anointing their binnacles and instrument panels with his come. They stop at the wreck of James’s car, and James deposits the remaining fluid on the bloody imprint of Vaughan’s buttocks on the deformed seat, and on the “bloodied lance” of the broken steering column (224).

     

    This final gesture in the novel binds the two men to the violence and abjection of the perpetually-erect automotive phallus–to precisely the gory extremity of the phallus that Cronenberg cannot show on film. The cultural impossibility–and here, I mean an intersection of the “cultures” of the commercial film industry and of the filmgoing public–the impossibility of showing both the extent of the embrace of the film’s male characters and its nugatory residues, is the boundary against which the film finally stops. The tattoos, the wrecked Lincoln–these are Cronenberg’s recastings of the unrepresentable abject, across which James and Vaughan achieve a degree of transitivity; within the limited erotic economy of the film, they function perfectly well toward that end. Cronenberg’s Crash disappoints because its translation of Ballard’s inventories of the abject is necessarily imperfect, but that imperfection is itself the hallmark of the film’s specific abjection. Like much of Cronenberg’s work, the film is a mixed product, its successes paradoxically traced in its open intimations of its limits, its inability to figure Ballard’s perpetual crisis of the auto-erotic except by indirection. The unshowable and the unfilmable are not identical, and the unshowable may leave its stain at the edges of the filmable–a fact long ago observed by critics of cinematic subjections of the gaze. Cronenberg’s most audacious work labors at the margins of what can be made to appear on the screen. Crash exhausts, and collides against its own limits, depositing something unmentionable by the way.

     

    Notes

     

    1 Ballard, Crash175-76.

     

    2 The film was awarded a Special Jury Prize “For Originality, For Daring, and For Audacity” at a ceremony at which several of the prize judges were conspicuously absent, or departed prematurely.

     

    3 Vaughan describes the car crash to James as a “fertilizing rather than destructive event–a liberation of sexual energy that mediates the sexuality of those who have died with an intensity impossible in any other form” (Cronenberg, Crash 42). This strikes me as one of the most Ballardian moments of the film, as no one but a Ballard character would talk that way in an informal conversation.

     

    4 Calvin Thomas’s Male Matters includes a rare analysis of semen-as-abject. His focus is on the “shameful visibility” of spilled semen: “When the penis lapses and allows its productions to become visible, it does not assert but rather collapses the rigid distinction between the essential and the excremental, the beyond and the beneath. This collapse provides the very contradiction that phallologocentrism must efface or displace to go about its powerful business of generating, reproducing not only itself but the conditions of production that prevail and predominate at the historical moment” (54).

     

    5 And not, as is often proposed, an erect penis–or, to be more precise, the dry-and-erect penis. Movies of all stripes are run through with obvious hard-ons. It matters little that viewers rarely see “actual” penises in partial or full engorgement–they are always present, in the erectile structures of architecture, the phallic profiles of combat weaponry and all manner of machinery (especially in the projectile forms of speeding cars), in the body language and verbal inflection of nearly every character in the presence of an object of her or his desire. The erect phallus is marked out in the penetrative logic of the camera’s point of view, its prosthetic extension of our eye into the field of the screen.

     

    6 Vaughan dreams of dying in a head-on crash with Taylor that will join their torsos and crushed genitals with the collapsing bulkheads of their cars. He is first drawn to James because the producer is working on a film in which Taylor appears in a wrecked automobile. The abstracted torso and visage of the film actress is a perpetual presence in Ballard’s fiction of the 1960s and ’70s, especially in works like Crash and The Atrocity Exhibition. Cronenberg’s decision to excise the entire Elizabeth Taylor narrative from the novel was probably motivated by her decreasing role in 1990s popular culture as a figure of erotic mystery and satisfaction.

     

    Works Cited

     

    • Ballard, J.G. Crash. New York: Farrar, Straus and Giroux, 1994.
    • Cronenberg, David. Crash. London: Faber and Faber, 1996.
    • Kristeva, Julia. Powers of Horror: An Essay on Abjection. Trans. Leon S. Roudiez. New York: Columbia UP, 1982.
    • Lane, Anthony. “Off the Road.” The New Yorker, March 31 1997: 106-107. Rodley, Chris, ed. Cronenberg on Cronenberg. Rev. ed. Boston: Faber and Faber, 1997.
    • Smith, Gavin. “Cronenberg: Mind Over Matter.” Film Comment 33.2 (1997): 14-29.
    • Thomas, Calvin. Male Matters: Masculinity, Anxiety and the Male Body on the Line. Chicago: University of Illinois, 1996.

     

  • Play the Blues, Punk

    Bill Freind

    Department of English
    University of Washington

    williamf@u.washington.edu

     

    R.L. Burnside, A Ass Pocket Full of Whiskey, Matador, 1996.

    Jon Spenser Blues Explosion, Now I Got Worry, Matador/Capitol, 1997.

     

    Unlike almost every other form of contemporary music, blues thrives on tradition. While old school hip-hop, for example, refers to a style just over a decade old, in blues the I-IV-V chord progression remains as pertinent today as it was in Blind Lemon Jefferson’s day. Inextricably tied up in that is the question of who “owns” the tradition. Primarily developed by African-Americans, the blues provided inspiration to two generations of white rock musicians, and in some cases, offered them a convenient supply of riffs (and occasionally, entire songs) to steal.

     

    But most rock musicians were after more than riffs. They were searching for what for lack of a better word we might call authenticity. In the 1960s, when the power of rock and roll was its newness, its oppositional stance, most bands still had a few blues covers in their repertoire, which allowed them to augment that oppositional stance with a claim to a much longer tradition. Band names are far from incidental, and it’s interesting to note how many bands turned to the blues as a way of suggesting a connection with that origin. The Rolling Stones picked their name from Muddy Waters’ “Mannish Boy,” Pink Floyd was assembled from the first names of two bluesmen, and the Jefferson Airplane got their title from a fictitious blues singer, Blind Thomas Jefferson Airplane. Even the Lovin’ Spoonful, a band whose specialty was Top 40 pop, got their name from a line in Mississippi John Hurt’s “Coffee Blues.”

     

    So it’s not just critical fussing to note that for most of their career the Jon Spencer Blues Explosion avoided any connection with the blues, never covering a blues standard and shunning totally the staple riffs. That’s especially striking given the Blues Explosion’s approach to the rock, soul and R&B tradition: they’ve appropriated, alluded to, and parodied everyone from Elvis Presley and Jerry Lee Lewis to Led Zeppelin, Public Enemy, and George Clinton. None of that stopped Spencer from asserting his prominence as a blues howler. Toward the end of “Flavor,” from the Blues Explosion’s 1994 album, Orange, Spencer introduces the band members, and when it comes time to introduce himself, he says “And the number one blues singer in the country…” Apparently seeing no need to give his name, Spencer instead offers his trademark shout of “Blues Explosion!” But suddenly Spencer adds, “Yeah, that’s right, we’re number one… Number one in Philadelphia, Number one in DC, Number one in Chicago…” and continues to rattle off the names of most cities in the country.

     

    What’s interesting is that Spencer is playing on Public Enemy’s “Public Enemy No. 1” from their debut album Yo! Bum Rush the Show, in which Flavor Flav comes in with “That’s right, we’re public enemy number one in New York, public enemy number one in DC…” But Spencer’s saying something entirely different from Flavor Flav, not sampling PE, not responding to them, maybe not even making a serious claim, since he follows it with a high pitched “Sooooouuuullll,” a reference to the opening of the old “Soul Train” shows. At that point, the beat abruptly slows and neo-folkie turned alternative hip-hop star Beck comes in with a rap recorded during a phone conversation with Spencer. Whatever you might say about that pastiche of sources, one thing is clear: it’s not blues.

     

    If the Blues Explosion hold a less than reverent attitude toward “the tradition” and have essentially ignored the blues, why did they team up with R.L. Burnside? If you believe the press releases, Burnside is one of the last remaining bluesmen with any claim to “authenticity.” Son of a Mississippi sharecropper, himself a former sharecropper and juke joint proprietor, he learned guitar from Muddy Waters, who married Burnside’s first cousin. He also played with Mississippi Fred MacDowell in the country supper circuit, and was nominated last year for two W.C. Handy awards, including “Best Traditional Blues Singer.”

     

    After enlisting Burnside as an opening act on their last tour, the Blues Explosion backed up Burnside on his last album, A Ass Pocket Full of Whiskey (Matador). Burnside certainly wasn’t drawn to the Blues Explosion because of their feel for the blues: he notes, “when I first heard ’em, I thought they were into some other kind of country-western style.”[1] The idea was the Blues Explosion’s: Spencer has said that part of his intention in picking Burnside as an opener was to introduce Burnside, and the blues as a whole, to a new generation of listeners, and Ass Pocket clearly operates on the same principle. It’s nothing new for white, blues-influenced rock bands to search out older black blues musicians. Both Canned Heat and Bonnie Raitt sought out John Lee Hooker, Keith Richards has worked with Chuck Berry, and U2 (!) did an odd collaboration with B.B. King. Those meetings served a dual purpose, affording the bluesmen exposure to a much larger audience, while offering the younger musicians an opportunity to prove that they too “had the blues.” The bluesmen always had the advantage, since the younger musicians were trying to play the music of their idols.

     

    But Ass Pocket differs fundamentally from those collaborations. Because explicit blues influence is almost completely absent from contemporary rock, the Burnside-Blues Explosion meeting occurs on more neutral territory. At times it succeeds wonderfully. “Goin’ Down South” combines Burnside’s hypnotic groove with the Blues Explosion’s driving rhythms, and the cover of John Lee Hooker’s “Boogie Chillen” is a strong uptempo rocker in which Burnside takes the lead vocals and Spencer follows each verse with “You got to boogie.” Throughout the album Spencer and Burnside show an exceptional chemistry, developing call and response pairings in which neither overwhelms the other.

     

    But the album sometimes repeats the same problems previously seen with attempts to introduce the blues to a new audience. One problem is stylistic. Burnside favors a bassless trio of two guitars and drums with the emphasis on vocals and lead guitar; the drums and rhythm guitar are clearly there for support. While the Blues Explosion also are a trio without a bass guitar, the drums and second guitar are much more prominent, while the vocals are slightly lower in the mix. That difference is evident on “Shake ’em On Down,” which Burnside first released on his 1994 album Too Bad Jim (Fat Possum). The original version is spare, repeating musical phrases until the song acquires an almost trance-like quality. With the Blues Explosion, Burnside’s guitar fades behind Russell Simins’ drums. (Fans of psychoanalysis might be interested to note that Simins was replacing Burnside’s usual drummers: son Calvin and grandson Cedric.) The combination of the heavy percussion and harmonica–which Burnside usually avoids on his albums–introduces an unmistakable resemblance to Led Zeppelin’s cover of the blues standard “When the Levee Breaks.” While the Blues Explosion thrives on self-reflexive musical allusions, this resemblance seems unintentional. It’s a powerful version, but there’s a striking irony when a meeting between a Mississippi bluesman and one of the most original bands on the indie scene wind up sounding like a 25-year-old hard rock version of the blues.

     

    At times, a certain stageyness creeps in that seems to play on the worst stereotypes of the blues. The cover of the album features a drawing which depicts two blonde women wearing Daisy Duke cutoffs with bottles of whiskey secured in the pockets of their shorts. Burnside crouches between and in front of them, a leather belt looped in his hand. The cover was reportedly the idea of Matthew Johnson from Fat Possum Records (Burnside’s label), and Burnside, his guitarist Kenny Brown, and the Blues Explosion are said to hate it. But a similarly stagey moment comes up in “The Criminal Inside Me” when in the middle of the song Spencer asks Burnside for “forty nickels for a bag of potato chips.” Burnside replies “You don’t get outta my face quick, I’m gonna kick your ass you son of a bitch.” Spencer asks again and Burnside says “I’ll tell you what, you don’t get outta here and make it fast, I’m gonna put my foot right up your ass.” The exchange sounds like a canned version of “the dozens,” which is particularly disappointing since both Spencer and Burnside have both avoided that kind of theatrical mugging throughout their careers.

     

    * * *
     

    It’s no accident that the first song on each of the last three Blues Explosion albums opens with a false start. The band seems bent on questioning the boundaries of the song, interrupting riffs, incorporating unexpected stops and abrupt endings. When the unity of the song is called into question, other elements can enter. One of those elements is chance. Spencer says many Blues Explosion songs come out of accidents in the studio: “If something was fucking up, or something weird happened, or something suggested itself, Jim [Waters, producer of Now I Got Worry] and I usually just went with it. Accidents play a big role in the making of Blues Explosion records.”

     

    What also enters is a brief and selective history of rock, soul, and R&B. Their approach is not the same as hip-hop sampling, although it certainly comes out of it. More often than not, hip-hop samples are not easily identifiable, but Spencer’s vocal references are usually fairly obvious.[2] It’s worth emphasizing that most (though not all) of his borrowings come from the musicians he cites as influences. In “Water Main,” from their self-titled album (Caroline), Spencer takes advantage of a break in the song to say “Thank yuh.” It’s an unmistakable nod to Elvis (as is his black hair combed back into the beginnings of a pompadour and his low, slurred vocals). But why is he thanking us in the middle of a song recorded in a studio where there is no audience who could have applauded? It’s clearly satire, but the Blues Explosion aren’t a novelty band and, strangely, the Elvis reference seems appropriate, even coherent: it fits in the song. That’s why the Blues Explosion aren’t merely reducible to irony. Their music is simply too electrifying; somehow their driving guitars and relentless percussion keep the disparate elements from flying apart.

     

    What might be at work is the logical culmination of the punk attempt to deflate the overblown stature of the self-indulgent, egocentric Rock Star. The difficulty of that project can be seen in frontmen such as Smashing Pumpkins’ Billy Corgan, REM’s Michael Stipe, and Pearl Jam’s Eddie Vedder, all of whom claim to be (and perhaps are) uncomfortable with the trappings of stardom, and yet remain some of the most famous and well-paid singers in the world. Sonic Youth said kill yr. idols, but they never gave any hint of how that’s possible: Morrison, Hendrix, Presley, and Lennon have all been buried for years, but none shows any sign of dying in the near future.

     

    Spencer redirects the punk project, recognizing that there’s already something intrinsically absurd about the narcissistic preening of Elvis, James Brown, and Jerry Lee Lewis. After all, you have to laugh when JB sings “Sometimes I feel so good–Good God!–I wanna jump back, I wanna kiss myself.” But Spencer also understands that James Brown pulls it off, and that the willingness to risk absurdity is the mark of every godhead frontman. He revels in his self-consciously ersatz stardom; in one exemplary moment he says, “This is the part of the record when I want everyone to put their hands in the air and kiss my ass, ’cause your girlfriend still loves me.” Somehow the Blues Explosion manages to combine parody with imitation without sliding exclusively into either camp; they’re both riveting and hysterically funny. That ironic distance also gives them one of the most original sounds in contemporary music.

     

    On each new Blues Explosion release the band expands its list of musical references, and Now I Got Worry is no exception. If A Ass Pocket Full of Whiskey shows R.L. Burnside edging toward the Blues Explosion’s camp, Now I Got Worry (Matador/Capitol) proves that Burnside has also left his mark on the Blues Explosion. “Skunk,” the first song on the album, introduces an element previously absent from Blues Explosion albums: the slide guitar, which recurs on songs such as “Love All of Me” and “Rocketship,” (which with some modifications could be a Burnside song). From its title, “R.L. Got Soul” would seem to be an explicit tribute to Burnside, especially since the band claims it’s based on Burnside’s “Snake Drive.” But the song sounds a lot more like a quasi-hip-hop instrumental than a blues tribute. Maybe that’s because Spencer originally heard “Snake Drive” as covered by Tav Falco’s Panther Burns, an eighties band who had their own idiosyncratic approach to roots music. Maybe that’s just the Blues Explosion saluting Burnside on their own terms.

     

    “Chicken Dog” features the vocals of soul singer Rufus Thomas, a man who symbolizes two of the traditions which have most shaped the Blues Explosion. His song “Bear Cat” was the first hit for the now legendary Sun Records, the label which would later issue recordings by Elvis, Jerry Lee Lewis, Johnny Cash, and Carl Perkins. Later, Thomas recorded for Stax Records, which was arguably the most important soul label throughout the 1960s and ’70s. The Blues Explosion’s debt to Stax is unmistakable: when they signed with Matador Records, the contract stipulated that each member of the band would receive the complete boxed set edition of the Stax singles. The song’s title combines two of his hits: “Funky Chicken” and “Walking the Dog.” The chorus “It’s just as easy as falling off a log/ Everybody’s doing the Chicken Dog” seems like a retro take on the dance craze songs in which Thomas specialized (although, since Thomas, who is now 79, wrote the lyrics, they may be completely free of any intentionally retro qualities). One of the most interesting elements of the song is a break lifted from Lenny Kravitz’s “Are You Gonna Go My Way,” a borrowing which seems especially appropriate since Lenny was clearly parroting Jimi Hendrix when he wrote the song. Will the Blues Explosion succeed in introducing performers like Thomas and Burnside to an entirely new audience? That’s possible, especially since Now I Got Worry is the first album released by Matador since Capitol Records acquired 49 percent of the label, a deal which ensures that Blues Explosion releases will enjoy a much wider distribution. If another generation of suburban kids turns toward Mississippi and Chicago for inspiration, they might be doing it with a healthy dose of irony.

     

    Notes

     

    1 John Lewis, “Bastards of the Blues: Jon Spencer’s Illegitimate Spawn,” Option, September 1996, p. 70.

     

    2 The exception here is in some Top 40 rap, such as MC Hammer’s “U Can’t Touch This,” which borrowed Rick James’ “Super Freak,” and Vanilla Ice’s “Ice Ice Baby,” which sampled Queen’s “Under Pressure.”

     

  • Kerouac: Kicks Joy Darkness

     

    Robert Elliot Fox

    Department of English
    Southern Illinois University

    bfox@siu.edu

     

    Kerouac: Kicks Joy Darkness. Ryko RCD, 1997.

     

    The Beat Generation currently is enjoying what some might call a renaissance and others might think of as a resurrection–designations that could seem apt, given Jack Kerouac’s persistent and powerful sense of death always awaiting us at the end of our road. But, although Kerouac died in 1969 and Allen Ginsberg just passed away (April, 1997), several of the original figures (William Burroughs, Gregory Corso, Lawrence Ferlinghetti, Gary Snyder) are still with us, and the key Beat literary/philosophical principles also remain influential; thus the Beat Generation’s legacy is not dead–never died, in fact (although there certainly was a period of eclipse in which their presence was overshadowed)–so that resurgence might be the best term to describe the upswing of the Beats at this moment in history, so close to the cusp of the millennium. If I can be forgiven what I believe to be an appropriate pun, things are very upbeat now with regard to a wider acknowledgement of the contributions of the Beat Generation to American literature and American culture more generally. Consider, for example, the Whitney Museum of American Art’s exhibition, “Beat Culture and the New America: 1950-65,” or the extensive obituaries for Ginsberg which testify to his status as a trans-generational pop icon. Nostalgia may be a source of this renewed interest for those who remember firsthand the Beats’ original power and sway, while the desire to find a solution to the “X” that has been attached to the current generation of young people may explain the huge interest they appear to have in these “holdovers” from the forties and fifties. Commodity fetishism explains a lot, too–witness the images of Kerouac and Burroughs being used to promote jeans and sneakers. And indeed this marketability of the Beats poses a danger for the proper appreciation of their value. The “cool” image that is foregrounded today as a selling point may render them ultimately as shallow as the stereotyped “beatnik” image which was used by the media in the fifties to make fun of them. Lifestyle is the focus in both instances, and although the Beats certainly influenced the lifestyle of the succeeding counterculture of the sixties, it is their artistic contributions which get overlooked or underplayed in the celebration or condemnation of their lives and personalities.

     

    When I first was turned on to the Beats in my early teens by some college students who put the first issues of Evergreen Review in my hands, I was blown away by the apparent freedom of these writers, their sheer exuberance, their daring (a word that now may have lost its meaning when everything is, so to speak, out of the closet, but I’m referring here to a time when Lenny Bruce was busted for saying “fuck” in a nightclub act and great literary works still had to endure prosecution in order to reach the American public–not just Ginsberg’s Howl or Henry Miller’s Tropic of Cancer but D. H. Lawrence’s Lady Chatterley’s Lover, to mention three celebrated examples). I was already in love with literature but it was mostly a rich ensemble of tradition, a “classical” art form; with the Beat writers, for the first time in my experience, literature was a living thing, an art in progress, informal and engaging. Yet–perhaps because of the formalism I had been reared on–at the same time that I was captivated and caught up in the rush of on-the-road energy and beatific inspiration and insight, I recognized a great unevenness in Beat writing and the collateral avant-garde–for example, abstract painting. (Jazz I didn’t understand at all then, although it intrigued me; and I guess in those days I thought you really weren’t supposed to understand it. I tried to “dig” it because the Beats did, but what really moved me in those days was rock-‘n’-roll.)

     

    My original adulation of the Beats has been tempered a bit over the years, but my respect for them has deepened as well; I’m confirmed in my sense of the weaknesses in their work and the kinks in their characters, and I’m even more convinced of the greatness they achieved, which, to a degree, included a refusal to shrink from those kinks and a furious drive to go on despite all the risks of failure. Kerouac, after all, wrote a dozen works in half as many years with no real expectation that they would be published. This was the period in which he made his breakthrough from the more conventional Romanticism of Thomas Wolfe which characterized his first published novel The Town and the City to the “spontaneous bop prosody” of the original version of On the Road, of Visions of Cody, of The Subterraneans. Kerouac revolutionized American prose, and the fact that he did it in part by incorporating lessons from the expressive culture of an oppressed minority–specifically, borrowing from the improvisational strategies of jazz, a quintessentially African American form–ought to resonate significantly in this “age of multiculturalism.”

     

    If what we might call the Beat Generation, Inc. doesn’t currently constitute big business, it certainly is doing good business. Kerouac’s works sell far better now than they did in his lifetime and there are more of them in print. It’s no surprise, therefore, that although Kerouac’s best-known novel, On the Road, is widely available, a fortieth anniversary edition is going to be released later this year. But if we are going to be in a position to appreciate the full range of Kerouac as a writer, what we really need is access to the work that hasn’t thus far appeared: his Buddhist book Some of the Dharma, for instance (which is supposed to be forthcoming), and more “selected” letters (also supposed to be in progress). In the meantime, a compact disc recently has been released which helps to fill in a few of the blanks. Kerouac: Kicks Joy Darkness (Ryko RCD 10329) is a compilation of lesser-known and previously unpublished material by Jack Kerouac performed by a wide variety of interpreters, including writers (JK himself, Ginsberg, Burroughs, Ferlinghetti), musicians (Michael Stipe, Patti Smith, John Cale), and actors (Johnny Depp, Matt Dillon), among others. There are twenty-five tracks in all, and all of them are interesting, although they inevitably vary in importance and effectiveness of presentation.

     

    At this point it is necessary to state that performance is one of the key elements of the art of the Beat Generation. I am not speaking here of the “drama” of the individual members of the Beat Generation on the roads and in the beat “pads” of America or of the authorial acts inscribed on the pages of their letters and books; rather, I want to emphasize oral performance, the function of voice in rendering palpable otherwise overlooked or misunderstood reaches and subtleties of Beat literary aesthetics. Much Beat writing, in short, demands a sensitive and attentive ear, not just an entranced eye.

     

    This is evident, not only on the disc under review, but going back to the series of recordings Kerouac made following the success of On the Road: Poetry For the Beat Generation (1959), with Steve Allen on piano; Blues and Haikus (1959), featuring Al Cohn and Zoot Sims on saxophones; and Readings by Jack Kerouac on the Beat Generation (1960). Rare and long out of print, these were reissued by Rhino Records in 1990 as The Jack Kerouac Collection, and it’s a set well worth having.

     

    The late fifties, by the way, seems to have been a good time for recordings combining words, voice, and music. Langston Hughes put out Weary Blues in 1958, which featured him reading his poems to the accompaniment of musicians like Charlie Mingus, Milt Hinton, and Horace Parlan. This, too, was reissued in 1990. Hughes, it is important to note, had pioneered poetry readings to jazz in the 1920s, along with Kenneth Rexroth.

     

    Another album that came out in 1958 and which to the best of my knowledge hasn’t been reissued (but should be) is entitled Jazz Canto. It was a compilation clearly intended to capitalize on the recently emergent Beat(nik) phenomenon, but interestingly, of the seven poets represented, only three were arguably Beat: Lawrence Ferlinghetti, Philip Whalen, and Lawrence Lipton (author of The Holy Barbarians [1959], one of the first books to document the Beat experience); the others were Langston Hughes, Dylan Thomas, William Carlos Williams (who influenced Ginsberg early on), and Walt Whitman (a kind of nineteenth century proto-Beat), whose long free verse line, radical inclusiveness, and public bardic stance were all appropriated in our time by Ginsberg. One of the standout tracks on this disc is black actor Roy Glenn’s marvelous reading of Philip Whalen’s “Big High Song for Somebody” (backed by the Gerry Mulligan Quartet), which brings vividly to life a poem that (for me, at least) lies rather inertly on the page. It’s connected with what I said earlier in this piece with regard to the importance of the ear–that a good deal of this material was intended to be heard. (This is equally the case with a good deal of contemporary poetry: see, for example, the anthology Aloud: Voices from the Nuyorican Poets Cafe [1994], ed. Miguel Algarin and Bob Holman. Holman is one of the people behind Mouth Almighty, a company dedicated to spoken word recordings, and the preservation and dissemination of a modern-day oral tradition.)

     

    Kicks Joy Darkness starts off with a piece by the Boston band Morphine that isn’t by Kerouac but about Kerouac. It’s a moody opener, but the title of the disc itself is moody, though it zeroes in on the multivalence of the Beat experience and the Beat ethos, which was far more than simple hedonism or frantic motion for its own sake. “What kicks!” Dean Moriarty, the raw hero of On the Road, exclaims, and getting your kicks was one thing, taking your kicks was another. The Beats felt both. (Remember that “beat” originally meant “beaten down,” “exhausted,” as well as referring to a generation that felt the beat, that sought beatitude, trying to beat a path to salvation through the midcentury American doldrums.) The second index, “joy,” is unalloyed–“a wild yea-saying overburst of American joy” is the way Sal Paradise, narrator of On the Road, puts it, and it’s one of the truest expressions of the driving force behind Kerouac’s own chronicle and of Beat ardor in general. And as far as the third term, “darkness,” is concerned, it, too, is ambiguous: “the nighttime is the right time” (a soul music quote, but applicably beat; in On the Road, it’s “boogie-woogie in the American night”), but it’s also the “sad night,” the dark night of the soul, “the unconditional night of Universal death” that Kerouac refers to in Vanity of Duluoz (1968), the last work he published before his untimely passing.

     

    The second track is an excerpt from “Bowery Blues” done by Lydia Lunch. It’s significant that the first of Kerouac’s own words to be performed on this disc are heard from a woman. If the relative position of the women of the Beat generation was prone or in the chorus, it’s clear that women in the post-Beat era are much more forward in every sense. Lunch’s reading is evocative, but check out performance artist Maggie Estep’s over-the-top presentation of “Skid Row Wine” (track 6). Estep has appeared on MTV, and she brings a hard rock raunchiness to her rendition of Kerouac’s poem. It’s one of the most gripping cuts on the album.

     

    Gerald Nicosia (author of the splendid Kerouac biography Memory Babe [1983]) argues that the “musicality of Kerouac’s art” is best exemplified by the Readings album, which he recorded without any accompaniment (“Kerouac as Musician,” in the companion booklet to The Kerouac Collection, p. 9). And while the associated music on Kicks Joy Darkness often does provide an interesting counterpoint to the spoken text, there are times when the music overwhelms the words or distracts us unnecessarily from the tonalities of voice as an instrument in itself. This is true, for example, on track 9, where Kerouac is reading from Macdougal Street Blues. The dubbed-in rock music by Joe Strummer of the British band The Clash doesn’t add anything to the performance and in fact makes it harder to hear what Kerouac is doing vocally; at the very least, the instrumental track should have been less prominent in the mix. For a much more successful amalgamation, compare the way Aerosmith singer Steve Tyler’s background vocal is handled on his reading of “Dream: ‘Us kids swim off a gray pier . . .’” (track 4), or how Kerouac quietly scats in the background while Grateful Dead lyricist Robert Hunter reads from Visions of Cody (track 16).

     

    Allen Ginsberg prefaces his typically Ginsbergian reading of choruses 1-9 of Kerouac’s “The Brooklyn Bridge Blues” (track 10) with the statement that, at the last minute, they couldn’t find the last chorus. This turns out to be fortuitous, because American troubador Eric Andersen’s reading of “Chorus 10,” which concludes Kicks Joy Darkness, is one of the best pieces on the disc. This piece was recorded on the Brooklyn Bridge, and there’s no music, unless you want to call the sounds of cars and people the natural music of the streets. One gets a powerful evocation of the ambience from which Kerouac’s poem sprang; it’s almost as if we’re transported back to the very site and moment of composition.

     

    Lee Ranaldo’s reading (track 17) of a section from a 1955 letter to John Clellon Holmes (author of Go [1952], the first Beat novel, which, in fact, was originally to have been entitled The Beat Generation) describing Kerouac’s wild ride with a girl in a convertible needs to be compared to the version of this incident to be found in chapter two of The Dharma Bums, which Kerouac later revisited at greater length in the story “Good Blonde,” originally published in Playboy. For my money, the version in the Holmes letter is by far the best–an excellent example of the way Kerouac was able to “blow,” using the American idiom as his instrument, a supercharged spontaneous breathless narrative. Compare this sort of writing, produced in the mid-fifties, with any other storytelling style you can think of from that time, and you’ll have a sense of the power of Kerouac’s contribution. And yet you’ll look for him in vain in the major anthologies. The canon wars involving issues of gender and ethnicity may have caused us to overlook the fact that, when it comes to the acknowledging the full range of achievement in American literature, there are still some important aesthetic scores to settle.

     

  • Enter Virtuosi: Erudition Makes Its Return

    Michael Witmore

    Department of Rhetoric
    University of California, Berkeley

    mwitmore@socrates.berkeley.edu

     

    The New Erudition Ed. Randolph Starn. Spec. issue of Representations56 (1996): 1-143.

     

    The title of the most recent special issue of Representations, “The New Erudition,” seems calculated to intrigue. Editor Randolph Starn recognizes the irony of the title in his introduction to this volume, making a broad case for the emergence of a new, more learned style of scholarship which harks back to the virtuoso learning of the Renaissance. Moving toward the future by way of the past, Starn finds several continuities between the genealogical, speculative mode of inquiry on display in this volume and an older, “erudite” strand of traditional humanities scholarship. Both approaches share an interest in intellectual controversy and specialized debates, a penchant for difficult or obscure details, and a willingness to follow out the ramifications of learned traditions. Of those writing in this volume, several are indeed fearless in their use of recondite sources and their reach across disciplines and historical periods. What seems noteworthy about the collection, however, is not so much the learning that is on display as the uses to which that learning is put.

     

    Motivating this kind of work seems to be a desire to re-engage a more speculative, searching mode of scholarship. Arriving at that speculative margin, however, requires that the familiar objects of study be estranged–made to function in ways that even the specialist can only comprehend indirectly. This process of estrangement is the subject of the first article. In “Making Things Strange: The Prehistory of a Literary Device,” Carlo Ginzburg argues that estrangement is not a generic feature of all art, but rather a literary device with its own peculiar history. Peculiar seems the right word, since the uncertain orbit of this device takes it from the Meditations of Marcus Aurelius to a sixteenth-century forger named Antonio de Guevara, through the Essays of Montaigne and popular riddles into the work of Proust, Tolstoy, and Dostoyevski. What this array of readings and citations produces is a heightened sense of the variable, contingent career of a literary convention over time. With erudition, it would seem, comes disorientation and reappraisal–precisely what Ginzburg argues is important in our engagement with the past.

     

    Two essays by Michel Zink and Robert Chibka locate the source of estrangement in a place: the library. Like Ginzburg, these writers have the genealogist’s eye for contingency in the development and transmission of an idea or text. Zink’s article on Gérard de Nerval’s Angelique, “Nerval in the Library, or The Archives of the Soul” traces the way in which a novelist loses track of the characters he is researching in the library when the historical sources he is using lead him back to his own memories and experience. While Zink focuses on the intersection of archival history and personal memory–moments when a source begins to reflect the altered image of its reader–Chibka is more interested in the recursive potential of such moments. In “The Library of Forking Paths,” Chibka tries to track down a citation from one of the sources referred to in Jorge Luis Borges’s “The Garden of the Forking Paths.” Having taken the bait, Chibka searches through several translations of the story to find that there are multiple versions of both the citation itself (translators varying the page number of the source cited) and of the source, a book about World War I by Captain Liddell Hart. The scholarly passion for detail is turned against itself in this essay so that, as Chibka notes, the professional reader of the story quickly becomes mired in paradox. Erudition is a liability here, one which Borges is credited with exploiting in his hyperbolic tales about the library.

     

    Another essay by Jan Assman, “The Mosaic Distinction: Israel, Egypt, and the Invention of Paganism” attempts to trace the distinction between true and false religion from the Egyptian King Akhenaten (Amenophis IV) to Sigmund Freud. Like Ginzburg, Assman traces the particular problem or device which interests him across a broad range of texts and periods. Treating such diverse figures as Moses, Moses Maimonides, Ralph Cudworth, and Karl Reinhold, Assman shows how Egyptian religious beliefs were variously repudiated and embraced by religious movements that defined themselves as the inversion (or double inversion) of earlier movements. Some of these reversals are quite striking–for example attempts in the late eighteenth century to define the God of the Bible as the Egyptian Supreme Being, Isis. While certain episodes in this history are designed to undermine what Assman refers to as “stereotypes,” the essay seems more valuable for the moving picture it provides, full of disorienting and often unprincipled turns which only a patient student could unravel.

     

    One of the most interesting essays, “Art, Ancestors, and the Origins of Writing in China,” comes from David Keightley. On the face of it, the piece seems an empirical answer to an equally empirical question: why does early Chinese writing remain logographic instead of syllabified or alphabetic? As the essay unfolds, however, it becomes clear that there is an irreducibly speculative margin to the inquiry. Searching the context for archaeological clues, Keightley concludes that early Chinese characters are a form of “aural commemoration,” a visual recording of spoken utterances with which the characters would have been connected in certain contexts. Having decided that early Chinese characters refer to spoken words and not directly to ideas, he reinterprets the logographic character of the language with reference to the ritual practices through which a “code” of correspondence would have evolved. While Keightley’s piece does not scan the Western canon as some of the other essays in the volume do, its speculative intensity and focus on detail link it to the rest of the work presented here.

     

    Two other pieces focus on the limits at which language ceases either to conserve or create meaning. The first, a thoughtful translation of Michel de Certeau’s “Vocal Utopias: Glossalalias” by Daniel Rosenberg, attempts to theorize the possibilities of speech without meaning. Like the other essays, this one tries to answer a difficult question not simply by reading an exemplary situation but by querying notable past attempts to understand it. Taking up Pfister’s and Saussure’s treatment of glossalalia, Certeau illuminates the ways in which these thinkers have tried to find hidden meaning in such utterances. Against this interpretive impulse, he emphasizes the resistance of glossalalic speech to determination; it is more the fact of enunciation in glossalalic speech, outside of whatever meaning it acquires, which Certeau would like to appreciate and build upon. One of the great subtleties of the essay is that instead of simply idealizing an absence of meaning in glossalalia, the author looks for an “other” kind of meaning residing in the enunciative space created by such utterances.

     

    Similar issues are treated in the final essay by Aleida Assman, entitled “Texts, Traces, Trash: The Changing Media of Cultural Memory.” Here Assman examines the metaphorical “life” of a written text, demonstrating how the almost supernatural power of letters to perpetuate the thoughts of the dead erodes after the Renaissance. In the eighteenth century, posterity comes to threaten the longevity of letters, so that later on the past becomes retrievable only through historical erudition or the imagination of the historical novelist. Like Ginzburg, Assman emphasizes the disruptive potential of historical inquiry whenever the past must be apprehended indirectly, through signs or traces that are as fragmentary as they are suggestive. This emphasis on incompleteness is warranted by a view of the past which arrives via Burckhardt and Carlyle: that some of the most important aspects of the past are those which are the least visible in the historical record or which elude the conscious grasp of those who want to preserve them. Both of these views make erudition, in its more searching guise, quite appealing–a means of oscillating between two kinds of constraints, those of empirical evidence and of the precedents of inquiry which govern inferences beyond that evidence.

     

    Many readers will ask, however, what the difference is between the constraints that “erudition” puts on speculation and those of “theory.” These are broad terms, perhaps too broad to support the desired comparison, but the relationship between erudition and theory becomes an issue as soon as names like Nietzsche, Foucault, de Man, and Barthes are mentioned in Starn’s introduction. The rigors of theory, at least in its post-Nietzschean guise, usually force critics to find and then interrogate their most abstract premises, often with other, equally abstract premises. Erudition, if we were to hazard a guess at its difference from theory, seems the means by which those initial premises are altered by an encounter with the particular. (One can ask how such an encounter is possible without a great deal of theoretical work, but for the most part, these essays assume that such work has already been done.) There are probably other hallmarks of erudition as it is presented in this issue–a penchant for obscure detail, interest in intellectual puzzles, a willingness to hear out the “authorities” on a given issue, the desire to follow a distinction over time–but they do not seem as new as this more self-conscious pursuit of particularity.

     

    If the new erudition is not yet fully formed, one might hope for a further innovation. As an antidote to metaphysical or empirical dogmatism, the encounter with the particular and incomplete recommended here seems quite apt. There is no reason, however, why this erudite passion might not also extend to philosophical texts. Although mention is made on these pages of Kant and Marcus Aurelius, on the whole these writers seem less optimistic about the uses of such texts in the project of estrangement. (Surprising, since one could argue that the effect of many philosophies has been to estrange us from our immediate experience by putting that experience into abstract terms.) This reluctance to use philosophical sources is all the more surprising when one sees how effectively someone like Ginzburg can take up a philosopher like Aurelius, absorbing the philosopher’s meditations on the things of this world into the larger history he is attempting to write.

     

    As a collection of essays, the “New Erudition” will no doubt please those who are ready to see the old apprehended as the new. Beyond the ironies of the title, however, readers will find searching, illuminating essays which do not back away from the real complexity of their subjects.

     

  • Penrose’s Triangles: The Large, The Small, and the Human Mind

    Arkady Plotnitsky

    Literature Program
    Duke University

    aplotnit@acpub.duke.edu

     

    Roger Penrose, The Large, the Small, and the Human Mind (with Abner Shimony, Nancy Cartwright, and Steven Hawking), Cambridge: Cambridge University Press, 1997; with a glance back at The Emperor’s New Mind, Shadows of the Mind, and The Nature of Space and Time.

     

    At 4 p.m. on May 11, 1997, “the truly impossible occurred,” as Newsweek reported (May 26, 1997, 84). The computer Deep Blue defeated the world chess champion and one of the greatest chess players of all time, Garry Kasparov. In the process, his confidence, bolstered by his impressive previous victories over computers, was shattered along with the confidence and hopes of much of the chess world. Indeed, the defeat was taken by some, including by Kasparov, as a humiliation. It appears to have been especially humiliating because it was inflicted on a great chess mind, capable of the most complex tactical and strategic thinking, by the raw power of computation. A great chess mind was defeated by crude number-crunching–a much inferior form of thinking or, in this case, not even thinking. Such minds have always been seen as able to circumvent and transcend protracted computational routines, and as entities whose own workings are themselves inaccessible to computational analysis.

     

    In the last installment of his ongoing argument against the possibility of artificial intelligence, The Large, the Small, and the Human Mind, Roger Penrose uses chess to illustrate the difference between the computational approach used by digital computers and non-computational thinking, which, according to him, fundamentally defines the human mind and gives it ultimate superiority over computers or computer-like computational intelligence (103-5). Penrose gives examples of two chess problems that are easily solved by even mediocre human players but have defeated a computer (in this case Deep Thought, the forerunner of Deep Blue). Penrose’s lectures (given in 1995 and published earlier this year) preceded the latest chapter of the story of computer chess just described, and he may even have been inspired in part by Kasparov’s previous decisive victories over computers and by the seemingly unquestionable ultimate superiority of chess players or, one might say, chess thinkers over chess computers.

     

    This latest episode of this, by now long, history does not prove the opposite. Nor does it prove the ultimate superiority of any one form of thinking over another, or of (human) thinking over (computer-like or other) non-thinking. That is, assuming that human thinking is indeed non-computational–a claim that, however appealing or likely, remains hypothetical, as Penrose admits. Everyone acknowledges that Deep Blue cannot think–leaving aside here the complexity, if not impossibility, of the latter concept itself. Nor does the episode prove that artificial intelligence is any more likely now than it was before. What it does prove is that computational thinking or (even more humiliatingly for its opponents) computation without thinking, number-crunching, can be taken to a level high enough to supersede non-computational thinking in certain specific cases. The fact that this is possible in some cases is in part (there are more general conceptual reasons) what drives the idea–which is more or less the idea of artificial intelligence–that it may be possible in any given case. Much else, it is further extrapolated, would be possible as well for computational devices. It may, for example, be possible for machines to perform any given task that human thinking can perform, or conceivably even to think or have consciousness or even to feel, just as humans do. Or–a rarely, if ever, discussed but interesting and radical possibility–it may be possible to perform even the most complex tasks better than humans without thinking and, thus, in a certain sense without intelligence. Or, as I said, it might also be possible to assume that at bottom the human mind is itself only a computational device, a number-crunching machine. These are the types of possibilities that are pursued in the field of artificial intelligence and related endeavors and that are argued against by, among others, Penrose.

     

    At a certain level, at stake here is still the power of creative thinking (seen as ultimately non-computational) against computational or calculating thinking (seen as ultimately uncreative) or against the nonthinking of machines. Along and interactively with other classical oppositions and hierarchies of that type, this opposition and this hierarchy has, from Plato (or even the pre-Socratics) to the present, defined the history of thinking about human thinking and its superiority over other animals, on the one hand, and machines, on the other.

     

    This theme is among several that link Penrose’s books to what have become known as “postmodern” problematics (using this term with caution here), within which the nature and structure, or deconstruction, of both of these oppositions–the human and the animal, and the human and the machine–and their interactions have been explored at great length. The general question of artificial intelligence is, of course, another such theme, although it is indissociable from the oppositions just described. This question is fundamentally connected by Penrose to a number of key questions raised by such revolutionary developments in twentieth century science and technology as Einsteinian relativity and quantum physics, post-Gödelian mathematical logic, modern biology, and computer technology; and these questions have in turn been central to postmodernist thinking. Such issues as the nature of causality and reality of the physical world, of truth and certainty in mathematics and mathematical logic, the nature of scientific explanations necessary for understanding the human brain (or indeed mind), all considered by Penrose, are part of the postmodernist intellectual scene and have been hotly debated recently, or, again, throughout modern (or earlier) intellectual history.

     

    Penrose’s ideas have themselves been the subject of considerable debate. The Large, the Small and the Human Mind is the last installment of his “trilogy” on “computers, minds, and the laws of physics,” initiated by The Emperor’s New Mind: Concerning Computers, Minds and the Laws of Physics (1989), and continued, in part in reply to questions posed and debates provoked by the first volume, with Shadows of the Mind: A Search for the Missing Science of Consciousness (1994). There is, moreover, another companion (technical) volume, containing a debate with Stephen Hawking, The Nature of Space and Time (1996), which is more specialized and concerned more exclusively with physics, but with many echoes of and significant connections to Penrose’s books.

     

    Beyond and as part of an investigation into the question of the human mind and artificial intelligence, Penrose’s trilogy contains major semi-popular or, more accurately, semi-technical expositions of key revolutionary mathematical and scientific theories defining twentieth-century science–post-Gödelian mathematical logic, relativity, and quantum physics–and his controversial forays into the biology of the brain. Derived from a 1995 series of lectures, The Large, the Small, and the Human Mind is a summary presentation (with some updating) of the two previous volumes and a sample of the debate provoked by them. It includes contributions by Abner Shimony, Nancy Cartwright, and Stephen Hawking, and Penrose’s responses to their arguments. Both earlier volumes contain elegant extended expositions of the mathematical and scientific theories just mentioned. While, in principle, these expositions do not require a specialized knowledge of mathematics and science, it is doubtful that, in practice, they are sufficiently accessible to general readers to be read in depth by most of them. By contrast, the latest volume can be read as a more general introduction to Penrose’s main ideas and is more readable for general readers than the two previous volumes or, especially, The Nature of Space and Time. The latter work, however, contains arguably the most interesting discussions of general relativity and cosmology, parts of which can be read and productively assimilated by non-specialists, albeit with considerable (and, in my view, well-deserving) effort. Some of Penrose’s elegant mathematical thinking and presentation is found in the last volume as well, in particular in his discussions of relativity and non-Euclidean geometry in Chapter 1, and the reader will be especially rewarded here. Quantum mechanics, mathematical logic, and biology are, as will be seen, more complex cases in this respect.

     

    Penrose’s overall argument can be summarized as follows. He wants to argue definitively for the impossibility for artificial intelligence (at least that based on computation, such as that carried on by digital computers) to reach the level of human intelligence and, more generally, consciousness (both based, he believes, on non-computational processes and themselves effects of physical systems whose design is non-computable). This definitive argument is to be rigorously grounded in mathematically and scientifically ascertainable facts about (physical) nature and (mathematical) mind. Or, more accurately–and this nuance is crucial–Penrose contends that there is, at this point, enough scientific data to hope that one will be able to offer a definitive, rigorous argument of that type in the future (it is, Penrose acknowledges, speculative at present) from the new physics of the world and/as the new physics of the brain. Penrose also offers a specific argument for, or more accurately, a vision of what kind of physics it would and should be. Penrose’s argument, however, is fundamentally based on his interpretations of these theories and data, in particular quantum physics and post-Gödelian mathematical logic, two crucial ingredients of his overall argument. These interpretations are not uncontestable (and have been contested), as Penrose admits. This point is especially significant precisely because Penrose offers a vision of specific future theories of non-computational physical processes modifying existing theories in physics (and a program for developing such theories), and his case against artificial intelligence is fundamentally tied to the possibility and plausibility of such theories. Most especially at stake is a particular form of “quantum gravity” theory, a theory that joins quantum physics and general relativity, the Einsteinian theory of gravitation. Theories envisioned by Penrose will also account for a non-computable physics of the human brain and the non-computational mathematics of the human mind, and specifically for the phenomenon of consciousness. That is, these will be theories of physics that will lead to the physics of the brain that makes thinking and consciousness possible, along the way bridging the classical (macro) level–“the Large”–and the quantum (micro) level–“the Small”–so far resisting such a bridging in physical theory. In Penrose’s own words,

     

    We look for the non-computability in physics which bridges the quantum and the classical levels. This is quite a tall order. I am saying that not only do we need new physics, but we also need new physics which is relevant to the action of the brain. (103)

     

    One needs the non-computability in physics, which will, first, bridge the hitherto unbridged classical and quantum physics, and then will bridge two other hitherto unbridged territories–the physics and biology of the human brain. A tall order indeed, and Penrose acknowledges that his vision is speculative and that it reflects certain particular “prejudices” of a philosophical nature (97). There are, as will be seen, also “prejudices” that Penrose does not quite see, either by (overtly) seeing some of them as non-prejudicial arguments or by (unconsciously) missing, being blind to, the presence of others in his argument.

     

    Before commenting on the nature or, one might say, the structure of Penrose’s speculation, I would like to discuss Penrose’s presentation of key scientific theories involved. As I have indicated, Chapter 1, “Space-Time and Cosmology,” which deals with “the Large,” may well be the most rewarding chapter of the book. It also offers a discussion of the kind of theory (modelled on and extending Einstein’s general relativity) that conceptually grounds Penrose’s vision of what a physical theory should be, whether as a theory of the large, the small, or of the human brain/mind, or, as is Penrose’s ultimate desideratum, of all three together. One finds in this chapter a beautiful, highly informative, and reasonably accessible exposition of, among other things, special and general relativity, relativistic cosmology, and non-Euclidean geometry (the mathematical basis of general relativity). The overall exposition is itself mostly geometrical, which, as will be seen, also signals a significant philosophical point, as an example of something that is more likely to be non-computable. Penrose’s readers, especially non-scientists, will learn much about the conceptual richness of modern mathematics and science, and might be motivated to read or reread Penrose’s discussion of these subjects in his earlier books, or even in the more technical exposition of The Nature of Space and Time, his debate with Hawking.

     

    While the arguments of that debate may appear only tangential to the main ostensible concern (“the human mind”) of Penrose’s project, these arguments are in fact crucial, as is clear from the extension of this debate in The Large, The Small, and the Human Mind. The Nature of Space and Time provides a more comprehensive and more sustained picture of the experimental evidence (or at least testability) and theoretical argument as to what kind of theory “quantum gravity” could or should be. Penrose and Hawking disagree on that issue, as well as in their overall philosophical positions–the Platonism of Penrose versus the positivism of Hawking, or what they see as such.

     

    The specific shape of the evidence and arguments for (or against) a theory of quantum gravity is, as I said, crucial to Penrose’s argument concerning the human mind as something that, in contrast to computational digital computers, is based on non-computational thinking, mathematical or other. The debate with Hawking shows, however, how deeply speculative and at times problematic (at least at certain points and along certain lines) are Penrose’s ideas concerning quantum gravity even on scientific grounds. These complexities would remain, regardless of whether one agrees or disagrees with Hawking’s own vision of this theory, which is not without some speculation either; or regardless of how one can use currently available theories in approaching some of the problems at issue (Hawking’s primary concern).

     

    Obviously, such complexities in themselves offer no grounds for a criticism of Penrose’s ideas concerning modern physics, especially relativity, which have elicited much admiration, as have Hawking’s ideas. One might want to be more cautious in evaluating certain aspects of Penrose’s presentation of his argument as limiting the scope of the debate in modern physics concerning key scientific and philosophical questions at issue, on which I shall further comment below. My point at the moment is double. First, general readers of Penrose’s work should be aware of the complexities of the scientific (rather than only philosophical) nature of Penrose’s argument concerning relativity and cosmology, and even more so of other scientific theories and questions he considers. Second, The Nature of Space and Time is especially indicative of this situation and is especially significant in exposing such complexities, more than is The Large, the Small, and the Human Mind.

     

    For this and other reasons, of all the books mentioned here, The Nature of Space and Time may well be the most interesting and exciting one for scientists and, I would even argue, for general readers as well. The latter argument can, I think, be made in spite of the more technical and difficult, and at points prohibitive, nature of the book, but, to a degree, also because of that nature. A nonscientist may be unrecoverably frustrated even by such (by the book’s standards) benign elaborations as: “The No-Boundary Proposal (Hartle and Hawking): The path integral for quantum gravity should be taken over all compact Euclidean metrics. One can paraphrase this as ‘The Boundary Condition of the Universe Is That It Has No Boundary’” (The Nature of Space and Time, 79). The primary interest for general readers may be the very scene of the debate between two great scientific minds, rather than the scientific or even philosophical substance at stake, and the book is framed (not altogether justifiably) as a continuation of the Bohr-Einstein debate concerning quantum mechanics. An attempt to penetrate more deeply into the philosophical substance of the debate may, however, bring considerable rewards. Michael Atiyah (a great mathematician in his own right) describes the situation well in his foreword:

     

    Although some of the presentation requires a technical understanding of the mathematics and physics, much of the argument is conducted at a higher (or deeper) level that will interest a broader audience. The reader will at least get an indication of the scope and subtlety of the ideas being discussed and of the enormous challenge of producing a coherent picture of the universe that takes full account of both gravitation and quantum physics. (viii)

     

    First, then, by reading The Nature of Space and Timeone gets an indication of the scope and subtlety of the ideas being discussed, and, I would add, of their conceptual and metaphorical richness. This richness is one of the great philosophical or, one might even say, poetic achievements of modern mathematics and science. Penrose’s and Hawking’s ideas and their ways of thinking offer some superb examples here. I am thinking in particular of Hawking’s ideas concerning the “gluing” of spaces of different non-Euclidean geometries and curvatures in constructing his model or rather theory of the universe, or his ideas concerning more radical (than even in conventional quantum physics) non-causalities in quantum gravity (59-60, 103), or of Penrose’s own rich geometrical ideas, which inform and shape his books, and in many ways define his mathematical imagination.

     

    It is, one could argue, this richness that connects modern science and modern–and postmodern–discourses in the humanities in the most interesting and significant ways. It is easy to understand from this perspective why, for example, Gilles Deleuze appeals to Riemann’s mathematical ideas at key junctures of his work. We are, however, far from having really approached what Riemann’s work and subsequent mathematics and science have to offer us by way of new concepts, metaphors, ways of thinking, and so forth. Arguably the most interesting and important challenge for the interdisciplinary studies involving science is to convey or indeed present this richness, on the one hand, and meaningfully to absorb as much of this richness as possible, on the other. Obviously, this traffic can proceed in both directions, and Penrose’s philosophical arguments could benefit from absorbing certain key recent developments in the humanities. One also could and should, at least at certain points, expect in the theoretical discourses in the humanities a level of complexity and even a certain technical specificity, and hence also difficulty, comparable to those of mathematics and science. Philosophical (rather than mathematical and scientific) complexity is sometimes lacking in Penrose’s books. Their main value in this context is instead in the possibilities they offer for this traffic by their presentation of mathematical and scientific ideas.

     

    Equally important is Atiyah’s remark concerning “the enormous challenge of producing a coherent picture of the universe that takes full account of both gravitation and quantum physics.” First of all, this remark is, again, indicative of the speculative and tentative nature of Penrose’s ideas (and other ideas he considers) even as concerns relativity and, even more so, quantum physics, or, to a still greater degree, those concerning the biology of the brain, even in the scientific context. These scientific ideas, moreover, are the subject of much controversy and debate in these fields themselves. Secondly, equally significantly, not only key scientific but key philosophical ideas–such as those concerning physical reality and its mathematical nature, determinism, the question of truth in mathematics and mathematical logic, and so forth–are as much part of the debate within the scientific community itself as of the debate in the humanities (or the social sciences), or of the debate between both communities.

     

    As we progress with Penrose from the classical world, including relativity, the world of the large (although it is no longer quite clear how classical this world really is), to quantum physics, to Gödel’s theorem, to the biology of the brain, or (all the more so) as we travel between them, the level of complexity, ambiguity, speculation, debate, and so forth increases. This is all the more so because, as I indicated at the outset, Penrose’s arguments, including his ultimate argument for the non-computability of the human mind and against artificial intelligence, depend not only on complex aspects of mathematical and physical theories themselves but on his interpretations of these theories. These interpretations are far from being broadly accepted (which Penrose acknowledges) and some of their aspects are rather idiosyncratic, and sometimes problematic. Penrose’s non-computability argument, however, irreducibly depends on these interpretations. While, to his credit, Penrose acknowledges such complexities and complications and considers some of them in his books, these books, I would argue, do not fully reveal to their readers the extent of these complexities and complications, and of the debates concerning them. There are, that is, levels of complexity surrounding Penrose’s ideas that are hidden (I am not saying deliberately) from an unprepared reader, and the debates incorporated in The Large, the Small, and the Human Mind or even in The Nature of Space and Time help only partially in this regard. Science itself appears to provide no conclusive evidence for most, if any, of Penrose’s key ideas, and indeed certain of his claims concerning scientific theories are questionable. One can argue that modern mathematics and science, especially quantum physics or post-Gödelian mathematical logic, provide more evidence against classical or traditional thinking (based on the concepts of reality, determinism, truth, knowledge, and so forth) than for it. Nor is there indeed any measurable consensus of opinion on these issues among the scientific or philosophical communities themselves. Whether one speaks of mathematics, physics, or biology (or indeed of consciousness and the mind), classical ideas and ideals are put into question by science itself, including even by what is seen as classical science. Modern science questions some of the same ideas as does some of the most radical postmodernist work in the humanities, and questions them just as radically.

     

    To illustrate the argument just offered, I would like to consider one of Penrose’s key comments on quantum mechanics in The Large, the Small, and the Human Mind:

     

    One of the things which people say about quantum mechanics is that it is fuzzy and indeterministic, but this is not true. So long as we remain at this level [of the quantum, small-scale behavior], quantum theory is deterministic and precise. In its most familiar form, quantum mechanics involves use of the equation known as Schrödinger's Equation which governs the behavior of the physical state of a quantum system--called its quantum state--and this is a deterministic equation.... Indeterminacy in quantum mechanics only arises when you perform what is called "making a measurement" and that involves magnifying an event from the quantum level to the classical level. (8)

     

    One can indeed say that there is nothing fuzzy or imprecise about quantum mechanics in the sense that it is as precise and effective as any mathematical theory in the history of physics. The claim that it is deterministic is far more complicated, however, and may indeed be unacceptable, at least in this strong form–“this is not true.” There is certainly more disagreement with the view advocated by Penrose than this statement or Penrose’s overall treatment of the subject would suggest, even though he, again, indicates that his overall view of quantum physics is not widely accepted. One might argue that there is a degree of consensus that Schrödinger’s equation itself is mathematically deterministic. There is, however, hardly any consensus at all as to what, if anything, it is deterministic about. At best it may be deterministic about indeterminism–that is, in gauging the distribution of the randomness in quantum behavior, which behavior, it is true, is manifest only at the macro level of measurement. One cannot, however, infer from this fact, in the way Penrose appears to do, that the micro–quantum–behavior is physically deterministic on the basis of Schrödinger’s equation alone. This is a (metaphysical) assumption, not a logical inference on the basis of the available data of quantum physics. In Max Born’s elegant formulation: “The motion of particles follows the probability law but the probability itself propagates according to the law of causality” (cited in Pais, 258). Probabilities can be gauged in a reasonably deterministic manner, for example, by using Schrödinger’s equation. The process itself, however, is never fully predictable, and is constrained by Heisenberg’s uncertainty relations, which are inherent in Schrödinger’s equation as well. Indeed in any given case just about anything can happen. In this, quantum physics is very much like life, or chess. To cite Hawking’s comments in The Nature of Space and Time: “Einstein was wrong when he said, ‘God does not play dice.’ Consideration of black holes suggests, not only that God does play dice, but that he sometimes confuses us by throwing them where they can’t be seen” (26), and speaking of further indeterminacy that gravity may introduce: “It means the end of the hope of scientific determinism, that we could predict the future with certainty. It seems God still has a few tricks up his sleeve” (60).

     

    A number of other examples of the kind just considered can be given here, in particular (still in his discussion of the quantum world) certain aspects of his interpretation of the Einstein-Podolsky-Rosen argument and Bell’s theorem, or some aspects of his interpretation of Gödel’s and Turing’s findings in mathematical logic. As with Penrose’s claim concerning quantum determinism, these examples are not random. They occur at crucial junctures of his overall argument concerning the human mind and artificial intelligence. I mention these examples even though my space does not allow me to consider them in the detail necessary to offer a fully rigorous critical argument. My aim, however, is not so much to criticize Penrose, but to indicate the broader (than Penrose himself suggests) scope of the hypothetical and the “prejudicial” in the landscape surveyed by his books.

     

    I borrow the characterization “prejudicial” from Penrose himself, but give it a broader philosophical rather than negative meaning, as Penrose perhaps does as well. Penrose organizes his key philosophical “prejudices”–“that the entire physical world can in principle be described in terms of mathematics”; “that there are not mental objects floating around out there that are not based in physicality”; and “that, in our understanding of mathematics, in principle at least, any individual item in the Platonic world is accessible to our mentality, in some sense”–into a Penrose triangle of the Platonic, Physical, and Mental Worlds (96-97, 137-39). The Penrose triangle is arguably the most famous object which can be drawn so as to appear physically possible, but which cannot actually exist, and as such it was an inspiration for Escher’s famous drawings, which are often in turn used by Penrose. One finds a picture of the Penrose triangle in The Large, the Small, and The Human Mind (138). The title itself suggests (I think deliberately) a triangle and a Penrose triangle, similar to that of Platonic, Physical, and Mental Worlds. Both these triangles are in fact multiply connected into a kind of complex and perhaps ultimately impossible network. As I have pointed out, one of the main questions of the book (of all the books at issue here) is that of the possibility of bridging the hitherto unbridgeable; and the Penrose triangle is of course a very fitting figure in this context. While Penrose ultimately aims at, at least, some bridging, the metaphor itself inevitably suggests that at best one can only achieve an illusion of bridging, but can never actually implement it. Penrose is obviously aware of this, but I think that the broader space of the hypothetical and the prejudicial, as here considered, not only makes the figure of the Penrose triangle even more pertinent and poignant here, but also suggests a different implication of its use by Penrose. It suggests that each of the entities Penrose wants to bridge–whether large or small, human or inhuman–are themselves networks of real and Penrose triangles, or of much more complex figures or unfigures and networks of that type. This irreducible multiplicity might give us a better sense of the figures and of the unfigurability of the large, the small, and the human mind, and of the possible or impossible interconnections between them.

     

    By the same token, however, this richer and more complex conceptual geometry also suggests that we may connect things that Penrose (perhaps) wants to separate, for example, the computable and the noncomputable, or the human and the nonhuman. As I have pointed out earlier, the “prejudice” against computational thinking has a very long history which extends from the pre-Socratics to Heidegger and beyond. I can only consider here one early event in this history, in which it is, fittingly, geometry that (as against both arithmetic and logic) appears to have been especially associated with non-computational and/as creative thinking–the thinking of mathematical and perhaps (at least for Plato) all philosophical discovery. It appears that ultimately Penrose takes a similar view as well, although he does, of course, argue for the ultimate non-computability of arithmetic as well in view of Gödel’s findings. My example is all the more fitting here since it has to do with the diagonal of the square. Just as it was the square where numerical computation was defeated by the Greeks, it was the square–now that of the chess board–where the latest defeat of the non-computational, the mind of Garry Kasparov, took place.

     

    The diagonal of the square was both a great glory and a great problem, almost a scandal, in Greek mathematics and philosophy. For the diagonal and the side of a square were proved to be incommensurable, a discovery often attributed to Plato’s student Theaetetus. Their “ratio” is irrational, that is, it cannot be represented as a ratio of two whole numbers, and hence is not a rational number. This was the first example of such a number–what we now call the square root of, for example, two–a number that was proved to be unrepresentable as a ratio of two positive integers. It was an extraordinary and, at the time, shocking discovery, which was in part responsible for a crucial shift from arithmetics to geometry in mathematics and philosophy, since the diagonal is well within the limits of geometrical representation but outside those of arithmetical representation–as the Greeks conceived of it. To cite Maurice Blanchot:

     

    The Greek experience, as we reconstitute it, accords special value to the "limit" and reemphasizes the long-recognized scandalousness of the irrational: the indecency of that which, in measurement, is immeasurable. (He who first discovered the incommensurability of the diagonal of the square perished; he drowned in a shipwreck, for he had met with a strange and utterly foreign death, in the nonplace bounded by absent frontiers). (103)

     

    The Greeks, then, might have been more ambivalent about the relationships between geometrical and arithmetical, or logical, thinking (and their relation to computation and the non-computable) than is commonly thought, even though Plato or Socrates might have seen geometry as the greatest model of mathematical or even philosophical discovery. In closing his book Penrose relates (a bit too loosely) his philosophical triangle to the so-called cohomology theory, which is part of the field of algebraic topology:

     

    You may ask, "Where is the impossibility [of the Penrose triangle]?" Can you locate it?....You cannot say that the impossibility is at any specific place in the picture--the impossibility is a feature of the whole structure. Nevertheless, there are precise mathematical ways in which you can talk about such things. This can be done in terms of breaking it apart, glueing it together and extracting certain abstract mathematical ideas from the detailed total pattern of glueings. The notion of cohomology is the appropriate notion in this case. This notion provides us with a means of calculating the degree of impossibility of this figure. (137-39, emphasis added)

     

    The appeal to calculation in the end of a book that celebrates the incalculable and the non-computable could delight an early deconstructionist a couple of decades ago, and one finds the deconstruction of oppositions of that very type in the works of Derrida and de Man, among others. Penrose’s comment, however, can hardly be conceived as unselfconscious here. We must of course also be aware of the difference between calculation and computability. (Penrose, it should be noted, does not deny the significance of either). My point is that, by associating algebraic structures with topological ones, cohomology theory connects the often incalculable or even inconceivable geometry and topology (or indeed inconceivable algebra) to arithmetical and algebraic calculations and makes it possible to know something about the noncomputable and the (geometrically or otherwise) inconceivable. Mathematics may suggest to us a better model than we might be able to offer to mathematics. This model may be simultaneously both that of computation and that of noncomputability, or even of that which is neither one nor the other, and a sign of intelligence that is neither artificial (or otherwise inhuman) nor human, nor divine.

    Works Cited

     

    • Blanchot, Maurice. The Writing of the Disaster. Trans. Ann Smock. Lincoln: U of Nebraska P, 1983.
    • Hawking, Stephen. A Brief History of Time: From the Big Bang Black Holes. New York: Bantam, 1988.
    • Hawking, Stephen and Roger Penrose. The Nature of Space Time. Princeton, NJ.: Princeton UP, 1996.
    • Pais, Abraham. Inward Bound: Of Matter and Forces in Physical World. Oxford: Oxford UP, 1986.
    • Penrose, Roger. The Emperor’s New Mind: Concerning Minds and the Laws of Physics. Oxford: Oxford UP, 1989.
    • —. The Large, the Small and the Human Mind. Cambridge UP, 1997.
    • —. Shadows of the Mind: A Search for the Science of Consciousness of Consciousness. Oxford: Oxford UP, 1994.

     

  • Reactivating Deleuze: Critical Affects After Cultural Materialism

    Paul Trembath

    Department of English
    Colorado State University

    ptrembath@vines.colostate.edu

     

    Paul Patton, Deleuze: A Critical Reader. Oxford: Blackwell Publishers, 1996.

     

    A thing has as many senses as there are forces capable of taking possession of it.

    –Gilles Deleuze, Nietzsche and Philosophy (4) [emphasis mine]

     

    New “theoretical” horizons are starting to open up on the scene of historicist criticism–or, rather, “old” ones, and it’s about time. If, as Adorno argued, philosophy lives on because the moment of its realization was missed, one can only hope that the same untimely life is not perpetually in store for the astonishing work of Gilles Deleuze. Then again, one might well hope otherwise, for Deleuze’s philosophy has untimely hopes as well as timely ones, even though academic criticism, given its present list of worldly concerns, is insensible to goals other than those that applied theorists can already sense and register, and by now perhaps too well.

     

    Deleuze has the power to change the goals and subjects of criticism as well as serve them–a power, a theoretical capacity, that most critics at present fail absolutely to demonstrate. Such failure of demonstration, in Deleuze’s still unexplored terms, signals an act of de/valuation–a living sign that a certain limit to what criticism can think and do has been “realized” (think Adorno again). Moreover, it is “signs” of this sort, in a way consistent with his larger philosophy of affects, that Deleuze teaches us to read. What is devalued by current criticism (and in no sense deliberately, but rather reactively, implicitly) is any way of reading the world that moves astray from the explicit subject areas and goals that encode current critical rhetoric and its affects (for Deleuze, the two are never distinct)–that is, astray from articles, conference papers, dissertations, and books that foreground gender, race, sexual orientation, etc. as their subjects, and which seek the enhanced cultural enablement of differences of this recognizable sort as their “practical” goals.

     

    These subjects and goals are of unquestionable importance to critical pedagogy and progressive politics. In the estimate of this reader, only an uncritical reactionary of the worst kind would be “against” these subjects and goals, or oppose the practical politics with which they aim to coincide. What Deleuze reminds us, however, is that theory can do other things than transform itself dutifully into common-sensical language and practical alterian politics. Theory can also, in addition to pursuing instrumental goals and perhaps at the same time, invent or pre-form new “sense” altogether, and move at speeds different from those compatible with the going quotidian or academic instrumentation. (All that theory needs to do this is a body capable of doing it, which always implies more than one body, if not the always-to-be-hoped-for critical mass). Theory would be the end and not just the means that untimely sense takes on in senselessly one-dimensional worlds, and not least when this one-dimensionality, even in the admirable and desirable spirit of social alterity, appears of necessity in academe itself. In Deleuze’s terms, theory would be a particular percept–the actual life of sense and values possibly to come, unrealizable within the exigent limits of current sensibility.

     

    If this sounds like Adorno again, it should. As Fredric Jameson suggests, in academic times saturated with orthodox critical moves and counters (to say nothing of the far worse orthodoxies outside academia), Adorno’s appeal to difficulty, rethought beyond order-words such as “avantgardism,” “hermeticism,” and “elitism,” might be good for nineties critics, or at least some of us, to reconsider. Certain critics are beginning to suggest that Deleuze, too (who could out-think the aforementioned list of metonymic accusations in his sleep), might offer different and even untimely things to academic criticism, yet they lack Jameson’s auto-critical agenda and edge. Deleuze, of course, has not had the same academic influence in North American literature and cultural studies departments that, among poststructuralists, Derrida and Foucault have had (and in roughly that order). Yet one can begin to sense that if our academic will-to-application has its simultaneously good and bad way with things, this might change.

     

    By any critical standards, Deleuze: A Critical Reader, edited by Paul Patton, is a major “minor” event and a marker of Deleuze’s incipient influence–in my opinion, the most significant critical compilation to appear in a decade. It alone among contemporary exegetical collections has the capacity to blow the whole field of critical studies wide open, which is not to say that it will, nor that it should. Perhaps for many reasons it shouldn’t; perhaps it would betray itself, or at least something in Deleuze, if it did. (We should recall that Deleuze likes traitors, but only when they’re not “tricksters” in disguise [Dialogues 44-5].) Yet along with Constantin V. Boundas’s and Dorothea Olkowski’s Gilles Deleuze and the Theater of Philosophy–as well as an increasing number of books published by somatic feminists, cultural critics, and other readers indirectedly “apprenticed” to Deleuze–there is much to indicate that the Deleuzian timebomb is about to explode, if it hasn’t already. For Deleuze is a timebomb, and can remain so in ways equal to the richness and multifariousness of his imperceptible but ubiquitous philosophy. No less rich and multiple than Derrida or Foucault, it is only a matter of times(s) before he, like them, explodes.

     

    Patton’s edition urges us on to several of these “times.” Some of them happen to be ours more than others, if only in degree and never kind. What all of the provocative essays make overwhelmingly clear, sometimes more explicitly than others, is that Deleuze can move contemporary critical studies, and cultural studies in particular, beyond the simple “materialism” that at present constrains our critical sense of things toward the “radical empiricism” we find everywhere in Deleuze’s writings. Indeed, Deleuze might best be classified, if only for the most tentative pedagogical purposes, as a poststructural empiricist, just as we might see Derrida as a poststructural textualist, and Foucault as a poststructural historicist. Having made these “useful” distinctions, allow me to emphasize their limits, since to all subtle readers any one of these conceptual emphases will inevitably fail to make critical sense without supplementation from the others. The danger of such distinctions, given the pedigree of critical one-upmanship that animates “successful” academe, is that Deleuze might be read as a mere cultural-critical “corrective” to Foucault (my empiricism’s better than your historicism!), just as Foucault was read, far too simply, as a historicist corrective to Derrida’s (nonexistent) hermeticism in the 1980s and into the 90s. Admirably there is none of this in Patton’s edition, all of the contributors being far too sensitive to the richness of Deleuze’s project and to the subtleties of critical inquiry taken as a whole.

     

    How, then, do the forces in this collection “take possession” of Deleuze? How do they make sense of him, and which ones are capable of making which senses? The thirteen essays in the Reader (including Patton’s erudite introduction) cover a wide variety of subject areas, and are supplemented by a bibliography of Deleuze’s works compiled by Timothy S. Murray. (Since I would like to consider the issue of Deleuze’s reception in general here, I will briefly summarize these marvelous essays, foregrounding four in particular.) Deleuze’s famous anti-Hegelianism is addressed in Catherine Malabou’s convincing piece “Who’s Afraid of Hegelian Wolves,” within which a monomaniacal version of Hegel is shown to animate Deleuze’s otherwise heterogeneous philosophy, and Jean-Luc Nancy’s essay demonstrates provocatively how a Hegelian can appreciate, and even identify with, Deleuze’s concept of the fold of thought. Pierre Macherey’s compelling reading of Deleuze’s reinvention of Spinoza speaks to the Althusserian investment in Spinoza that Deleuze evades; still, Macherey suggests unthought points of compatibility between Deleuze and structural Marxism, while questioning Deleuze’s notion that “passions” (think ideology here) are ever truly “joyful” in Spinoza. Jean-Clet Martin’s “Eye of the Outside” addresses Deleuze’s work on Melville in order to elucidate the philosopher’s seminal concepts of difference and exteriority, whereas Eugene A. Holland’s “Schizoanalysis and Baudelaire” develops Deleuze’s literary thinking beyond the minor literature register, or at least within a less current vocabulary. Constantin V. Boundas’s excellent contribution addresses Deleuze’s virtual ontology by way of Bergson, and suggests clearly how “ontology” and “poststructuralism” are not necessarily incompatible terms. Ronald Bogue’s impressive “Gilles Deleuze: The Aesthetics of Force” develops Deleuze’s transcendental empiricism in relation to his work on Bacon’s paintings in The Logic of Sensation. Finally, Jean-Michel Salankis’s singular “Idea and Destination” examines Deleuze’s distinction between differentiation and differenciation with reference to infinitesimal calculus and Kant.

     

    As outstanding as these essays are, Francois Zourabichvili’s “Six Notes on the Percept,” David W. Smith’s “Deleuze’s Theory of Sensation,” Moira Gatens’s “Through a Spinozist Lens,” and Brian Massumi’s “The Autonomy of Affect” have thus far most intrigued this reader. Zourabichvili, like Martin, looks at Deleuze’s Melville, but does so in order to investigate Deleuze’s concept of the percept, and would be for this reason alone unique in Deleuze’s reception. The “percept” is Deleuze’s attempt to characterize minor (or untimely) sense in active terms, whereas most critical rhetorics at present tend to equate untimely sense, reactively and metonymically, with quietism. Smith’s stunning piece demonstrates how Deleuze’s “aesthetic” treatment of Bacon’s painting undermines Kant’s notion that sensibility is found in the qualities of objects rather than signs, and explodes the Kantian division between objective elements of sensation (the first Critique) and subjective elements of sensation (the third Critique) (Patton 29). Gatens’s contribution advances a Deleuzo-Spinozist “social cartography” (168) to extend gender criticism, somaticism, and cultural critique generally beyond the rhetorical confines of “historicism,” and it discusses how “ethological” criticism can disalign the relation of order-words to the reactive affects they coordinate, particularly with reference to the juridical categories of sexual difference. Finally, Massumi’s astounding essay, like Gatens’s, develops Deleuze’s theory of affects in the area of cultural critique. As Massumi writes, “[a]ffect holds a key to rethinking postmodern power after ideology” (235). One can assume he means “after discourse” as well, insofar as Massumi makes it overwhelmingly clear how medial representations organize affect into standard emotion. As such, we can see in Gatens and Massumi the move toward a cultural criticism that will add Deleuze’s vocabulary and procedures to the (non)methodologies of Derrideans and Foucauldians, and continue to mount much needed criticism against the hegemonic stranglehold of contemporary “good sense.” Yet one is left wondering after such a rare show of critical fireworks what points might remain for other Deleuzians to pursue.

     

    My points are not that Deleuze’s currently untimely methods should be applied to the timely objectives of cultural criticism; that we combine Derrida, Deleuze, and Foucault in the pursuit of this end; or that we replace Foucault with a march toward a more “comprehensive” materialism. I think Derrida, Foucault, and Deleuze should be read together, but that we might also remember the forgotten radicalism of so-called “deconstruction” during its initial American reception in the 70s–a reception, a feeling, that threatened to take down the concepts of art and culture altogether, rather than simply replace an evaluative (idealist) approach to culture and its “works” with the by now orthodox, albeit pedagogically invaluable, analytic (materialist) approach, which is in effect what cultural criticism in all its modes has done. Although Patton’s edition certainly doesn’t settle for this latter, neither does it show any serious interest in the forgotten former. The untimely ends of that 70s deconstructive moment have been lost in the academic subjection of deconstruction–and poststructuralism generally–to the very categories of “culture” it once threatened to deconstruct (think of “literature,” “film” and so on). The concepts of culture and cultural works were saved and deformalized in one fell swoop. But something had to take the critical fall, and it was “aesthetics.”

     

    Certainly there is plenty in Deleuze that can supplement an improved materialist approach to “culture.” In fact, Deleuze spent a lot of time and unprecedented brilliance doing this himself. But what else can Deleuze do? Can his rhetoric be used to reverse the very terms of critical sense? Can his rhetoric create untimely goals as well as untimely methodological approaches to familiar ones? Can Deleuze be “used” as a percept to overcome, in Nietzsche’s anti-apocalyptic sense, the affects and concepts that cohere–both evaluatively and analytically, centripetally and centrifugally–with all interest in “cultural work”? As Godard suggests in his film Sympathy for the Devil (itself a “work” that does not escape the indictment that goes with the following statement, with the Foucauldian daimon or difficulty that animates it): “It is urgent to replace the word ‘culture’ by another one.” Urgent for whom? No such devil is in any attendance. But might this word to come, in some future of postformalist and overcultural sympathy, be “aesthetics”? Might the word return with a different sense (since only difference “returns”)–a sense that could read all cultural lifeworlds as unconscious coordinates of affective re/action, corresponding to different degrees of sensory capitalization? Does the range of Deleuze’s rhetoric make possible an aesthetic sense that, having overcome its apprenticeship to art, would operate as an affective Marxism and deconstruction? And might this minor sense of “aesthetics” begin to return today, or tomorrow, or whenever it can?

     

    Writing about the conditions that Deleuze articulates “for thinking of difference and repetition,” Foucault states that “(t)he most tenacious subjection of difference is that maintained by categories” (Foucault, 186). It isn’t that Foucault thinks we can escape categories in kind (although he argues, like all poststructuralists, that there is something acategorical about thought’s movement). Subjection to categories must always be understood in degree rather than kind, and a dominant value is always the affective trace of a dominant category, and vice versa. Each one is also the trace of a degree of lived instrumentation, or metonymic coordinate for particular capitalized sensoria. In our critical epoch–and I am speaking of the instrumental time of 20th-century art and criticism, from aestheticism to culturalism–there is no more dominant category (and value) than culture. “Culture” survived both the aestheticism and avantgardism of high Modernism quite comfortably, and has even managed to prosper as a concept during the poststructuralization of traditional humanism. Even the humanists welcomed variants of culturalism after the threat of deconstruction (better to have multicultural “works” than no works at all!). There is a definite redundancy in all this that has gotten by all but unexamined in the work of formalists, culturalists, and even poststructuralists.

     

    Aesthetics (as good taste, beauty, a specious sense of universality, and so on) once “took possession” of the concept of culture, and with it all the attendant affects that culminated in high Modernism. Culture then went on to take possession of art by deconstructing, ideology-critiquing, and genealogizing the artifacts of aestheticism (by equating them metonymically, and thus sensorially, with “patriarchy,” “sexism,” “imperialism,” “racism,” “homophobia,” “elitism,” and so on–all pretty convincing charges). However, culture then went on to confuse aestheticism metonymically with the far more diffuse concept of aesthetics taken as a whole. Can the overlooked side of 18th-century aesthetics (understood as sensation, feeling, affect, and not art) now “return” in revised nonidentic form to take possession of culture–that is, to subject all culturalism to a transvaluation, rather than logic, of sense: a perpetual devaluation of all rhetorics, feelings, and “works” that subordinate, in our metonymic and evaluative reflexes, the concept of “affects”–and thus of those reflexes themselves–to the concept of “culture”? With reference to my epigraph, which force is capable of reading, living, and judging “cultural” sense from the perspective of this “aesthetic” sense? Which one can do it, can want to do it instead of something else? Which one feels, and thus makes real, Godard’s percept, his urgency yet to come?

     

    For all its originality and excellence, there is no percept-ive struggle against the affects and concepts of art/culture in Deleuze: A Critical Reader. But there are no such percepts in the profession of criticism as it presently exists, so such a sensibility will hardly be missed. I anticipate that, essays such as Zourabichvili’s aside, a general disinterest in the theory of the percept will characterize Deleuze’s entry into the marketplace of post-Foucauldian ideas at the millennium: that (residually cultural) critics will be strong on affect (in order to supplement theories of “ideology” and “discourse”), less strong on concept (since the concept of “concept” remains exegetically aligned with an unpopular textualism), and virtually blind to the practical powers of the percept, since critical sense is today the indentured servant of generic culture and its counter-hegemonic critique, especially when such sense is in graduate school, when it tries to publish, and when it looks for employment. Contemporary critical affects are by inertial design incapable not only of understanding percepts as “active,” but of sensing their possible or actual existence at all, let alone where they might go.

     

    Perhaps theory has always manifested different degrees of “practical” power, depending on the speed(s) in question–those that are percept-ive and minor and those that are applied and major. If so, the percept-ive powers of theory today might be those that diverge from the willingness of appliers to operate beneath the explicit or implicit sign of culture, or worse, to embrace art (as does Deleuze himself) as some antifoundational line of flight away from molarities, striated spaces, black holes, etc. We should remember that it is not merely an old category or word (such as “culture” or “art”) that applied theory returns us to, but to the old sense of which the category and its object are a sign, a symptom, an evaluative accent or trace. And what sense is the experience, and even rhetoric, of culture a symptom of in these consumer-Modernist times? The reactively certain sense, or capital sense certainty, that value is always elsewhere (on screen, in books, or “in” other attention-invested media–the real reason We gotta get out of this place), whether the valuables in question are marginal or centrist, high or low, artistic or critical.

     

    Of course, “aesthetics” is an old word, too. Yet if it could return poststructuralism to the old sense (and value) of sense rather than to art, it could return eternally with an overcultural difference. It could mark how the living “currency” of culture (even in the sense of exchange value) is a mimetic devaluation of all sense that is not famous or spectacular. This holds true even of cooler-than-thou sense that despises the artifacts of “mainstream” culture, since the categories of culture still animate dutifully the sense that “rebels” uncritically against its own disciplinary sensibility (e.g., My favorite “band” is less popular than yours!). In a negating and far less interpellated way, this is true of cultural critique as well (which at least manages to turn culture into a conscious form of stupidity), and of more art-subservient theories of affective transgression, such as those we find in Deleuze’s transcendental empiricism and, quite differently, in other poststructuralisms. Smith’s Deleuzianism is this empiricist sort. If at moments Smith’s extraordinary essay on Kant and Deleuze promises to rethink aesthetics in overrelation to the concepts of art and culture (and thus bring culture to its senses), lo and behold, art turns out to be the categorical foreground for the percept-ual ungrounding of (es)sense once again, just as it was in Nietzsche’s evaluation a century ago, and everyone’s since. Certainly Deleuze can help us think something other than this, even if for him and his most “sympathetic” readers, art remains a way out of the prisonhouse of reactivity rather than a way in.

     

    We received Derrida in the 70s and got “literary” deconstruction, applied grammatology, and so on. We received Foucault in the eighties and got New Historicism, genealogical reception theory, somatic criticism, and–add some feminism, ethnography, and Birminghamized Raymond Williams–cultural studies in general.

     

    Now in the late 90s we’re receiving Deleuze, in some ways for the first “instrumentalizable” time, and we’re getting… well, what? A feminist post-Alice-Jardine Deleuze in the remarkable work of Elizabeth Grosz, Rosi Braidotti, and Moira Gatens? A gender-critical and queer-theoretical Deleuze in the affective (rather than “performative”) somatic theories of these same authors? A postcolonial Deleuze in the groundbreaking work of Reda Bensmaia, Robert Young, and in spots even Edward Said? A cinematicist Deleuze in the pan-postmodernism of Steven Shaviro, but also implicitly in the Benjaminian (and even Taussigian) reception theory of Miriam Hansen? An emerging OCTOBERfest Deleuze in the unprecedented art criticism of Daniel W. Smith and others soon to come? A Deleuzian cultural studies in the texts of Lawrence Grossberg but, most brilliantly, in the work of Brian Massumi? Even a Deleuzian auto-critique of “careerist” theory theorized, Symplokestyle, by Sande Cohen? We’re getting all of the above, and we can expect to get a lot more.

     

    What concerns me in all this is what might be left out once certain interpretations of Deleuze become official and more or less repeatable (Deleuze’s and Guattari’s theory of noology will itself prove “useful” here). I have no problem with timely, or even instrumental, applications of Deleuze to pre-established fields of inquiry (such as gender criticism). Without exception, I revere them for what they can do, just as long as their eventual currency and familiarity don’t make the whole of Deleuze–whatever that might be–“old-fashioned” in academic circles before a lot of it even happens, as was the unfortunate case in the U.S. with Foucault and, even more brutally “before” him, Derrida. Certainly this is not the fault of the applicants themselves, but of academia as a cutthroat marketplace of ideas and reputations. Theorists quickly become “out-dated,” but the redundant categories that critics and artists serve (such as painting) never do. It is always easier, and more immediately profitable, to apply new procedures to timely object(ive)s than to theorize new object(ive)s altogether. This latter implies reading against the affective tendencies and aims of critical studies taken as a whole–to say nothing of uncritical culture–and is as difficult critically (and even creatively as it is potentially suicidal professionally. But it is precisely the possibility of this latter (inventing new goals), as well as the actuality of the former (pursuing older ones), that Deleuze teaches us to sense and value. He reminds us that evaluation is itself active, and that theory is the form that practice takes when it has no immediate instrumental options–when sense becomes capable of thinking, feeling, and doing untimely things: material things that are not yet, and perhaps never will be, of “this” world.

     

    Works Cited

     

    • Deleuze, Gilles and Claire Parnet. Dialogues. New York: Columbia UP, 1987.
    • Deleuze, Gilles. Nietzsche and Philosophy. New York: Columbia UP, 1983.
    • Foucault, Michel. Language, Counter-Memory, Practice: Selected Essays and Interviews. Ithaca: Cornell UP, 1977.

     

  • Impassable Passages: Derrida, Aporia, and the Question of Politics

    François Debrix

    Department of Political Science
    Purdue University

    debrix@polsci.purdue.edu

     

    Richard Beardsworth, Derrida & the Political. New York: Routledge, 1996, 174 pp.

     
    The impact of Jacques Derrida’s thought on contemporary politics has often been treated as an accidental, at best marginal, phenomenon. Unlike other French thinkers representative of what is generally understood as the postmodern moment (Foucault, Deleuze, or Baudrillard for instance), Derrida has arguably had more success with literature and philosophy scholars and students than with those whose recognized task is to think the political. Richard Beardsworth’s tour de force in Derrida & the Political is to highlight the political stakes present in Derrida’s works without, however, detracting from the spirit of Derridean thought.

     

    Beardsworth starts by offering a concise and accurate explanation of one of the most frequently used, yet often inaccurately presented, Derridean concepts, the notion of deconstruction. In Chapter One, Beardsworth turns to some of Derrida’s earlier works like Writing and Difference or Of Grammatology to explain that deconstruction is the product of, as he puts it, a “negotiation.” Deconstruction emerges as the result of an unsatisfied negotiation “between philosophy and what in France is called the Sciences Humaines, which is both characteristic of a certain style of philosophizing and carries with it and develops a clear set of intellectual, disciplinary and institutional stakes” (4). The difficulty of accessing philosophical notions “from outside philosophy” (the dilemma of the human sciences), or, conversely, the inability of “dominating the ’empiricity’ of the human sciences” by means of philosophical categories (the problem of philosophy confronted with domains traditionally thought through the disciplinarity of the human sciences), creates a “displacement” between these two discourses. Beardsworth thus places deconstruction in an epistemological and historic context, and argues that the displacement (an always already present décalage) between philosophy and the discursive practices of the human sciences is the point where the work of Derridean deconstruction takes place. The “method” of deconstruction is offered by Derrida as the result of an impossibility to reconcile, decide, or close. Yet, it does not seek to reconcile or close either. The impossibility (or impassability) of decision is a theme which recurs throughout Derrida & the Political. It later returns under the form of aporia, a figure which is at the core of Beardsworth’s reading of Derrida in this volume.

     

    Practically, deconstruction operates from within the text, in the discontinuities and ruptures of discourse which re-mark the original displacement (a displacement that the metaphysical opposition between the transcendental and the empirical seeks to normalize) between philosophy and the human sciences. Working through Derrida’s early deconstruction of Saussure’s analyses of language and writing, Beardsworth suggests that deconstruction is a mode of philosophical and/or literary discursive analysis which accounts for textual “contradictions and exclusions from within” an author’s scholarly or theoretical endeavor, “and not from the imposition of an external set of criteria” which seek to reappropriate the meanings of the text from outside (10-11). Otherwise, Beardsworth continues, “the violence inherent to metaphysics” would be repeated. Once again, such a metaphysical violence is one that maintains the two discourses of philosophy and the human sciences at an insuperable distance from one another. By imposing/affirming such a violence (the violence of separation), metaphysical discourse obliterates the very rules and principles contained within the text itself, including its own potential violence. Thus understood, deconstruction is an eminently liberal and democratic practice, one that approaches textuality from the very rules of formation that it contains, and not from an external model of thought.

     

    Building upon this preliminary exposition of the “method of deconstruction” (I put it between quotation marks because, as Beardsworth mentions, Derrida finds this appellation problematic. As Beardsworth notes, “Derrida is careful to avoid this term because it carries connotations of a procedural form of judgment” [4]), Beardsworth then embarks on a subtle analysis of the political within Derrida’s work (this actually starts in the last section of Chapter 1 on “Law, Judgment, and Singularity” but continues more clearly in Chapter 2). Unlike previous studies on Derrida and politics, Beardsworth’s reading avoids the temptation of simply applying Derridean theoretical insights to concrete political events, phenomena or discourses. Such an approach would perhaps be very fashionable and may give the impression that a postmodern mode of analysis, derived from Derrida, is used to make sense of current realities. Yet, such an appropriation of Derrida’s thought for concrete political purposes, although clearly feasible (liberal activist movements, from feminist groups to postcolonial formations have found in Derrida, as in many other postmodern writers, a source of political engagement), would nonetheless be an all-too facile way of employing Derrida’s notions without actively engaging the richness of his writing. Beardsworth seeks to remedy this theoretical lacuna by showing that, if Derrida can be of any practical political use, it is because his key theoretical reflections, and his practice of deconstruction in the first place, are in and of themselves political practices, and more precisely democratically involved endeavors.

     

    In an apparently irreconcilable fashion, Beardsworth suggests that Derrida is the most political when he is the least so, or, to put it another way, at the point where Derrida articulates the impossibility of politics. Derrida’s political “as” the impossibility of politics can be exposed only by bringing to the fore the figure of aporia, a figure central to Derrida’s thinking. Aporia, from the Greek aporos (without passage, without issue, not treadable, as Beardsworth reminds us on page 32), is a figure mobilized by Derrida to specify the fundamental irreducibility and undecidability of every concept or phenomenon that traditionally has been stabilized, fixed, subjected, represented and normalized by Western metaphysics (from Plato’s division of the empirical and the transcendental, to Levinasian ethics as Beardsworth later shows in Chapter 3). Aporia is for Beardsworth the democratic “core” (aporia also has the meaning of a “core,” an “undetachable and unsurpassable unit”) within Derrida’s philosophy, the originary yet impassable key to understanding the Derridean system of thinking the political.

     

    Derrida’s notion of the political is accessible only through the notion of what Beardsworth calls the “aporia of law.” Beardsworth is perhaps a victim of his democratic reductionism here, a tendency which leads him to assume and affirm that questions regarding the political are necessarily centered around the nature of law. Questions which examine the possibility or impossibility of formulating the law are at the core of the political (the aporia of law is the aporia of politics as well for Beardsworth). Beardsworth bases his understanding of the aporia of law on a micro-reading of Derrida’s analysis of Franz Kafka’s tale “Vor dem Gesetz” (“Before the Law”). In this tale, a man from the country seeks to gain access to the law and penetrate its space, which is represented in the story by a large door kept by a guardian. Beardsworth continues:

     

    On the man from the country's request to gain admittance into the Law [Beardsworth, following the German transcription, capitalizes the term], the doorkeeper tells the man to wait, adding that he is only the first of a long line of such keepers, each one more powerful and terrifying than the last. Whilst perplexed at this attitude towards the Law, having assumed that the Law is "accessible at all times and to everyone," the man from the country desists from attempting to enter, taking to heart the possibility of entrance in the near future. The rest of the man's life is made up of frequent attempts--each time more childish--to gain access, each attempt in turn vetoed by the doorkeeper and deferred to a later occasion. (27)

     

    For Derrida, Kafka’s story exemplifies the impossibility/impassibility of the law, its ambiguous status from which its aporia is derived. In order to maintain its authority of law (as law), the law must transcend the empirical domain. It must not be accessed or penetrated by history or experience (the man of the country in Kafka’s tale). For Derrida, this inaccessibility of the law is, first and foremost, an impossibility of narration. The law has no story; it cannot be told or re-told, represented. Rather, devoid of narration and experience, the law remains atemporal, universal, unattainable (as Beardsworth shows, Kantian understandings of the law are predicated on such attributes). But the law is paradoxical, and necessarily remains so. While it cannot be accessed, it must also be inscribed in history and empiricity in order for its authority to be meaningful. Decision and judgment require that the law bear its marks in history. This paradox is for Derrida the irreconcilable condition of the law, its fundamental disjointure. The aporia of the law emerges from its quasi-magical ability to hold together (in a sleight-of-hand trick perhaps) the two domains of philosophy (transcendence) and empiricity (experience) under its authority.

     

    This double plane on which the law operates must not, however, be recognized as such. Indeed, if the authority of the law were to be brought down to the level of experience, it would be made accessible to everyone (something that the man from the country erroneously assumed), and thus would become changeable, contextual, and uncertain. Conversely, if the applicability of the law, through judgment and decision, were to be tied to its universal and philosophical (and physically unverifiable) characteristics, its authority could easily be contested and challenged by another story or representation of the law (as many laws as there are potential narrations). This, for both Derrida and Beardsworth, explains the fact that the law requires a doorkeeper, as a stand-in for its material authority, its force of coercion. As Derrida notes:

     

    The law is prohibition: this does not mean that it prohibits, but that it is itself prohibited, a prohibited place...one cannot reach the law, and in order to have a rapport of respect with it, one must not have a rapport with the law, one must interrupt the relation. One must enter into relation only with the law's representatives, its examples, its guardians. These are interrupters as much as messengers. One must not know who or what or where the law is... This is what must be the case for the must of the law. (39)

     

    Metaphysical discourse which, as both Derrida and Beardsworth understand it, maintains a clear distinction between the empirical and the philosophical imposes the law (and politics, once again understood by Beardsworth as the practice of the law) as a form of violence. Indeed, each modality of the law (the physical or the abstract) requires that the other be negated. This violence is for Derrida nothing more than a way of denying the aporia of law, that is to say, the multipolar and undecidable plane on which the law operates.

     

    The aporia of law is thus a “neither/nor” structure which is “nowhere but in its inscriptions in history, yet unaccountable as well” (29). The origin of the law is “impossible to find” (31). It is completely indeterminate, unless one practices violence and arbitrarily fixes one origin (which is what happens in all modern conceptions of the law and the political). This aporia of law, this impassable “ordeal” (as Derrida puts it in his later works) through which the law nonetheless has to pass, is for Beardsworth the main lesson that Derrida has to offer about the political. Through Derrida, the political becomes an “impossibility of judgment,” a “neither/nor” spectrum of options and possibilities which the aporia of law offers, unless the mark of its undecidability (which, by the way, the work of deconstruction seeks to re-mark or retrieve; may we now re-read deconstruction as a nostalgic enterprise?) has been erased by metaphysics. Beardsworth thus interprets Derrida’s political as an impossibility of politics, that is to say, as the impossibility of choosing, discriminating, or passing judgment. Derrida’s political stakes, the aporia of politics, are thus blatantly democratic, even more purely democratic than classical or modern democratic theories perhaps, which based their legitimacy (and legitimacy as the basis for their authority) on the possibility of and necessity for judgment and discrimination (the will of the majority, contract theories, etc.). Ironically, Beardsworth’s Derrida may be the only true democratic purist.

     

    The latter part of Chapter 2 and Chapter 3 continue this exploration through Kant and Hegel and, more precisely, through Derrida’s elaboration of metaphysical logic as “a specific organization of time.” With time, the metaphysical limits are no longer the empirical and the philosophical, but rather the finite and the infinite. Metaphysical logic is predicated on the positioning of the human subject (logocentrism) in a world where the limit between the finite and the infinite (read by Beardsworth through Kant) (61-68) becomes the determining condition of human existence and, consequently, of thought. In such a dialectical construction, finite and infinite form polar opposites in between which Western thinking has had to define itself since the early days of the Enlightenment. Metaphysical time is, for both Derrida and Beardsworth, a disavowal of the “aporia of time.” Concerns with the articulation between the finite and the infinite impose themselves as a form of “historical” violence (whereby time is fixed and decided, either in the finitude of the present moment, or in the endless postponement of a future to come).

     

    The violence of time is shown by Derrida’s reading of the American Declaration of Independence. Beardsworth suggests that for Derrida “the independence of the United States is undecidably described and produced. The union of states is described as predating the signature of the declaration; at the same time, it is only produced through the signature” (99). Beardsworth reads Derrida’s analysis of the U.S. Declaration as an attempt at re-marking the impossible recognition of temporality. Only violence can compensate for such a “disjointure of time” (99). The violence of time is, once again, a product of the violence of the law. It is the violence of the law which fixes itself in history to, for instance, create the United States as a nation which will not be predicated on any prior law. It is through such an intervention, an intervention of the law, in the field of the law, that time begins, that temporality can be inscribed (once a particular event has thus been validated). The fixation of time, writes Beardsworth, is dependent on the writing of the law. What all this negates, however, is the aporia of time, the primordial undecidability of the temporality of the act (as act and as time), the possibility of the act outside time. For Derrida, temporality, and its ideology of the present moment or of the future to come affirmed through law, always arrive late, but never too late to discriminate between several modalities of action (which are selected to become one act of decision), and finally place an event in (its) time. As Beardsworth affirms, “in contrast to the metaphysical reduction of the passage of time to presence, reflection upon the political necessitates reflection upon the irreducibility of time” (101), that is to say, reflection upon the aporia of both time and law.

     

    For Beardsworth, democratic political practice requires a return to the aporia of time. Returning to the aporia of time, to the time when time does not take place, to the originary impossibility (since it does not allow time to take a unique predestined path) which is, at the same time, a cradle of possibilities, is, to use a terminology mobilized by Derrida in some of his recent work on Marx (Specters of Marx), a “promise of lesser violence.” This promise, democratic and (purely) ethical in its (almost ideal) character, casts a singular perspective on current political realities which, as Beardsworth believes, are increasingly violent and “depoliticized” (48). Towards the end of his study (end of Chapter 3 and conclusion), Beardsworth indeed returns to more obvious and direct concerns with contemporary politics (questions of violence, democracy, the proliferation of technology). By doing so, Beardsworth also reveals more overtly his democratic ambitions, his own political stakes.

     

    As noted before, Beardsworth may be lauded for demonstrating a unique understanding of Derrida’s writing. By weaving different philosophies together to the point where they self-deconstruct, Beardsworth is careful not to do violence to Derrida’s text. His style is that of supplementation, a mode of writing which offers itself as an enhancement of Derridean analyses and, as such, pays homage to the “method” of deconstruction without banalizing it. While it leaves the Derridean text intact, Beardsworth’s writing nevertheless reveals a lot about the author’s desire to build a democratic theory on Derridean precepts. The conclusion is particularly telling of such a tendency, even though “traces” of it can be found throughout the text (when, for example, the author slides from the term political to ethical, or from law to politics; the link between law and politics is taken for granted and rarely questioned). Beardsworth reveals his own “promise of democracy” by exposing his fear of technology, or, as he puts it, the lack of a Derridean articulation between the aporia of law and time and the growing phenomenon of technological globalization. Faced with the “spectralization” of the human experience of time, that is to say, the exponential configuration/acceleration of time caused by visual and virtual technologies (something that Derrida notes but does not theorize according to Beardsworth) as one of the most recent forms of the violence of late-modernity (it is violent because technology and speed force one to revise the meaning of the finite and the infinite, the relation of the individual subject with regard to the past, the present, and the future), Beardsworth hopes that the Derridean aporia can be of use as a way of maintaining the promise of democracy in a late-modern era (153). However, Beardsworth does not yet specify how this can be done without reading Derrida outside his text (which, in itself, would be reappropriation and violence). Furthermore, Beardsworth appears to be blind to the fact that even the most complex and “spectral” technologies can themselves be aporetic, providing against their wishes perhaps a fundamental instability and undecidability (the originary uncertainty which characterizes the Internet, for example, comes to mind). Faced with the fear of technics, Beardsworth falls back into a form of logocentrism, where the question becomes one of protecting the human subject at all costs from the potential alienation caused by technology (and the system of objects). Beardsworth does so because he cannot explicitly find in Derrida a politics of technology that suits his democratic objectives (155).

     

    Despite this awkward supplementation at the end, which to some extent undoes Beardsworth’s own project, Derrida & the Political is one of the best explorations of the political inside Derrida’s writing that has been produced of late. For political scholars and students in particular, and for cultural wanderers operating at the frontiers between philosophy and the human sciences in general, the presentation of the Derridean figure of aporia reveals the “promise” of discourses less concerned with forming durable regimes of truthful and certain knowledge, and more open to and careful about their own modalities of writing.

     

  • Intimate Bureaucracies & Infrastructuralism: A Networked Introduction to Assemblings

    Craig Saper

    Deparment of English
    University of Pennsylvania
    csaper@ccat.sas.upenn.edu

     

    In the second half of the twentieth century, artists, writers, and printers started many alternative distribution networks for their experimental art and literature. They supplemented or ignored the gallery system with direct mailings and other innovative ways to reach their audiences and collaborators. During the 1960s, these alternative networks became the driving force of a new artworld scene that encouraged works difficult to classify or hang on a wall. By the early 1970s, distribution networks depended on the periodic mailings of very small editions, 50-500 copies, collected in folios, bound volumes, and boxes of original artist’s print, texts, pages, books, and textual-objects. These assemblings require that each book maker, visual poet, media artist, or printer send the entire run of his or her contribution to an assembler or compiler who, in turn, distributes the collection to subscribers or sometimes simply to all participants.

     

    Often consisting of visual and concrete poems, rubber-stamp art, xerography, small three-dimensional found-art, fine-press printing, re-cycled or détourned cartoons and advertisements, mock examples of mass produced printed objects, hand-drawn scribbles and pictures, etc., the assemblings are extremely difficult to describe in terms of a single medium’s form or structure or as art or craft. Many of these collections consist of a single page from each participant. Significantly, iconoclastic and personal code systems as well as the common practice of parody and allusion make the network, rather than the internal workings of the texts, the key reference of these works.

     

    In the 1990s, many of the people involved in mail-art networks began producing multimedia magazines on the World Wide Web. “Home pages” and electronic “‘zines” depend on making links to other sites on the Internet. Each page, even corporate pages, link to and assemble other groups’ or individuals’ work. The pages link according to the logic of amateur discoverers. “Here’s what I found,” they say. As with earlier assemblings and networks, the sense of a potentially infinite web appears as a salient characteristic of these electronic forms. As with the artists’ networks, the participants in the World Wide Web also seem to cherish an intimacy between visitors and the assemblers of the page. The seemingly inevitable iconoclastic personality of each site makes it too difficult to imagine other ways to code and construct these pages. Much of the fetishism of artisan production appears in the electronic forms of assemblings. Although they depend on extremely limited and constrained design parameters, the designers try to add their own personal twists. The pages’ codes reflect the play within this huge impersonal system with bureaucratic routing instructions, the iconoclasm of the site, and the intimacy between visitors and “home” sites. While comparing the Web to a medium like film or video makes it difficult to examine this type of social-aesthetic interplay, comparing the Web to assemblings and mail-art networks helps to highlight this interplay. Because the alternative artists’ networks examine the same fears and hopes found in many descriptions of the information super-highway, we can learn about the electronic web’s potential from studying the assemblings’ codes.

     

    The attention to artists’ magazines and electronic on-line ‘zines has further encouraged the growth of these works and networks. Chuck Welch estimates the number of mail-art participants at around six thousand in 1993; that number does not include the many more who buy ‘zines at newsstands. Because these magazines inherently offer a forum for discussions about this type of work, much of the secondary literature resides within the community of these artists. For example, in an issue of Arte Postale! Vittore Baroni has written one of the most complete histories of mail-art, but only subscribers or collectors have access to this treatise. A flirtation with more ambitious summaries, analyses, and definitions has emerged among current participants. The special issue of the popular RE/Search magazine dedicated to “ZINES!” also includes a détourned photograph of the editor of one magazine, Mystery Date, with the cartoon-like voice balloon exclaiming, “SURRENDER TO THE INCREDIBLY STRANGE URGE…TO CREATE YOUR OWN ZINE!” This issue, and Mike Gunderloy’s earlier The World of Zines: A Guide to the Independent Magazine Revolution, mark the increasing interest in low-budget self-produced magazines, as well as a cross-over of these works from ‘zines, networks, and assemblings to a wider audience.

     

    From April 17 through June 27, 1997, the Van Pelt Library at the University of Pennsylvania will host an extensive exhibition of assemblings, “Networking Artists & Poets: Assemblings from the Ruth and Marvin Sacker Archive of Concrete & Visual Poetry.” In conjunction with the exhibit, a series of talks and demonstrations and a compilation of Web sites will help give visitors an opportunity to experience these works. In keeping with the “networked” characteristic of these works, this essay can function as the curator’s introduction to the exhibit.

     

    Except for one notable exception, which began in the first half of the twentieth century–Feuillets Inutiles (and perhaps Spawn, begun in 1917)–and issued compilations from the late 1920s through the middle of the 1930s, most of these assemblings began as part of the underground art scene in the second half of the twentieth century. Of course, Dada publications, like Marcel Duchamp’s The Blind Man, hinted at collaborative efforts with claims such as: “The second number of The Blind Man will appear as soon as You have sent sufficient material” (qtd. in Perkins 15). The editors did not turn the magazines into artworks in themselves, unlike assemblings.1 General histories of underground, experimental, and neo-avant-garde activities during the 1960s and 70s include only peripheral discussions about these crucial distribution systems. When future scholars examine the sensibility appearing during those years, and how it influenced later Web sites and e-zines, the work on texts somewhere between visual art, literary text, and performance will prove essential.

     

    In the late 1970s, punk ‘zines appeared in England as a fanzine variant of assemblings. Dick Hebdige writes that “the existence of an alternative punk press demonstrated that it was not only clothes or music that could be immediately and cheaply produced from the limited resources at hand.” These works allowed for a “critical space within the subculture itself to counteract the hostile or at least ideologically inflected coverage which punk was receiving in the media” (111). These punk ‘zines’ attitude grew from concerns shared by the Situationists with their forerunners the Lettrists. Greil Marcus traces the lineage from the Situationist aesthetic to the punk movement; later I will trace the historical development of these Lettrist and Situationist tendencies in assemblings.

     

    The two most significant factors of these punk ‘zines involved their production practices and their attitude toward readers. Punk ‘zines were published without editorial interference. “Typing errors and grammatical mistakes, misspellings and jumbled paginations were left uncorrected in the final proof. Those corrections and crossings out that were made before publication were left to be deciphered by the reader” (Hebdige 111). This slipshod aesthetic produced a sense of urgency and immediacy. These publications wanted to make readers into music makers, ‘zine publishers, and protesters rather than passive consumers. The most important sign of punk’s impact had as much to do with a diagram printed in the fanzine Sniffin Glue as it did with a particular concert. Sniffin Glue, with its irreverent title and attitude, achieved the highest circulation of the punk periodicals. The diagram showed “three finger positions on the neck of a guitar over the caption: ‘Here’s one chord, here’s two more, now form your own band’” (Hebdige 112). The most influential punk group, The Sex Pistols, played few concerts; the band members hated each other and much of their own music; yet their punk pose, flaunting raw, simple music challenged others to start bands. Much like the underground art scene’s assemblings, the punk ‘zines captured this “do it yourself” attitude and allowed for a positive spin on a cultural movement that mainstream media only described as a scourge, threat, or oddity. Considering punk music’s re-emergence in the form of grunge rock and more recently neo-punk, it is not surprising that the number of ‘zines has also rapidly increased since the late 1980s.

     

    This attitude that everyone is an artist also appears in the conceptual work of Fluxus, which helped motivate the emergence of mail art networks and assemblings with activities like their “flux-post” stamps and mailings. Many assemblings began because of the Fluxus influence. For example, the editor of ART/LIFE, Joe Cardella, worked with Alison Knowles and Yohima Wada at the Fluxus influenced performance space “The Kitchen” before he began his assembling. Not only did the “flux kits” serve as a model for boxed assemblings, but the Fluxus invention of fictitious organizations and official codes and stamps greatly influenced the attitude of some of these assemblings. In her discussion of conceptual artists’ books Johanna Drucker2 suggests a socio-political dimension of publication and distribution practices by coining the phrase “democratic multiples” (69). This type of work began with Fluxus, CoBrA, Lettrist, and Situationist work,3 and in assemblings we see this same spirit everywhere. In the first issue of Libro Internacional (1976, compiled by Edgardo-Antonio Vigo, Argentina), the influential mail artist Guglielmo Cavellini constructs a poem relevant to this democratic impulse. He prints his version of the ten commandments on a sticker of the Italian flag. The commandments instruct one to avoid being part of the history of art and modern art and not to glorify one’s art or art movement. The last commandment reads: “thou shalt not publish the story of thy past present and future history, nor shalt thou write it in diverse and sundry places such as thy personal clothing, other human bodies, bolts of cloth, columns, and so forth.” In the first issue of Arte Postale! (1979), Vittore Baroni’s introduction states that “the only way to get a copy of ‘arte-postale’ is contributing by sending a mail-art work or publication in exchange. Special contributors send 100 words size A4 and get a free subscription to 5 issues of the magazine.” One very influential assembling, Commonpress, is named after this effort at producing work by “common effort.” The coordinator of the assembling, Pawel Petasz, even invites readers to volunteer to edit special issues.4 In an interview, Baroni confesses that he started his assembling because he “needed something readily available to trade with other networkers,” so he followed the lead of other mail-artists and started his own periodical (Janssen 3). An advertising slogan for ART/LIFE captures the democratic spirit by offering the participant to “become a page in art history in your own time.” 5

     

    Drucker explains that a similar move toward democratization occurred at first in artists’ books because of the new inexpensive modes of reproduction available in post WWII Europe and America. Fluxus member George Brecht staged mail art events that resembled the famous Happenings. As the artists increasingly became engaged with conceptual art rather than traditional media or forms, they looked for alternative forms of expression. They soon found that the concept of “multiples,” as opposed to the unique art object, offered a fascinating way to criticize the aura or place of a work of art. By definition the printed book did not have an original in the same way that an oil painting does. Drucker notes that with a relatively wider audience, the conceptual artists had to confront the problem of an audience left “baffled by…esoteric and complex conceptual terms” (Drucker 80). In fact, she argues that the artistic vision of some of the artists’ books never quite came to terms with their ideal of liberating the body politic. The conceptual book artists needed to make and find an audience. To do so, they started several institutions, including Printed Matter, which sells mass produced multiples of books and periodicals with over 100 copies; Franklin Furnace, which recently sold its collection to the Museum of Modern Art; the Visual Studies Workshop, which the book-art critic Joan Lyons founded; NEXUS Press in Atlanta; and the Nova Scotia College of Art and Design, which has helped publish a number of important conceptual book works. Many of the printers and conceptual artists also looked to assemblings as a distribution and publicity system. For example, one editor of an assembling introduces a compilation by writing that “neither the editor nor the publisher feels this project will make any money, but it might well attract some press attention” (Bowles).

     

    The premiere issue of Running Dog One and Done (1976) is packaged in a portfolio with a silhouette reproduction of Muybridge’s running greyhound from 1879 on the cover. The contents include photocopy montages, concrete poems, and other texts on single sheets of loose pages. The letter from the editor, Michael Crane, notes that “the attempt of this publication is to present the documents of the experiments and explorations artists are undertaking today on an international level.” He explains that the unbound pages allow readers to “recycle the pages within their own information systems.” The introduction and the cover art point to a shared interest among participants in assemblings returning to a situation in which artists function more as experimenters, where information is produced to encourage and facilitate sharing. The work should feel as if it is taken from a journal of experimentation. The gallery system cannot compete with faster distribution systems that treat art as experiment rather than as masterpiece.

     

    The interest in manipulating distribution systems came by the end of the twentieth century to resemble a new form of art in itself–networked art. Nam June Paik, in his play on Karl Marx’s world-changing phrase, “seize the means of production,” emblematizes Fluxus’ concern to democratize networks. He says, “Marx: Seize the production-medium. Fluxus: Seize the distribution-medium!” This attitude led to great interest in mail-art systems. A fine example of mail art is Ben Vautier’s “postman’s choice,” which consists of a postcard with two identical sides. The sender fills in each side with two different names and addresses. The postman then has the choice of delivery. This work uses the open structural parameters of a system (mail) to run a humorous experiment.

     

    Assemblings allude to a socio-poetic practice and call for some type of network analysis. To describe these practices and analyses, alluding to the network artists’ penchant for playing on authoritative codes or terms, I use the term infrastructuralism. While structuralism is concerned with signs and sign systems, infrastructuralism is the study of system signs, socio-poetics, and conceptual-traffic patterns. The poets and artists involved in assemblings use many of the techniques of modernist poetics, but they especially cherish the dry wit involved in making fun of authoritative terms, official sounding institutional names, and the trappings of academic research. The Neoists, for example, invented a name that both spoofed and bettered any effort at riding the wave of the next new thing or neo-old thing. Infrastructuralism, with its connotations of bridges and roads as well as its apparent extension of structuralism, participates in this gentle caricature of the latest method even as it offers a serious and valuable methodology. A literal version of this motif or preoccupation with infrastructure, the assembling 8 X 10 includes a work by Robert Cummings analyzing sections of Los Angeles street maps. Cummings, once associated with mail art networks, withdrew in 1973 after writing a letter (which later appeared in FILE 2.3 [1979]) explaining that “The quick-copy mail art may pass in Vancouver or San Francisco as art, but wherever, it’s not worth the paper it’s on, nor the ink either; the utmost in idle activity” (qtd. in Banana, “Mail Art Canada” 252).6 A fascinating translation of concrete poetry into infrastructural poetry is “poemparades” by G.J. de Rook, which appears in AH (issue 8, 1967, compiled by Herman Damen). These “poemparades” consist of two photos of masses of people in a parade formation spelling out words and images in Chinese. This smirking seriousness is a defining characteristic of networked art. Conscious of readers, fascinated with bureaucratic collectivities, and aware of the serious value of a sense of humor, the networked artist often produces Janusian works.

     

    Impasses To Interpretation, or What An Assembling Can Teach Us About Reading On The Web

     

    The assemblings and mail art distribution systems examined here do not fit neatly into an art historical context in part because the individual works in any given assembling often, and often intentionally, lack aesthetic sophistication. Even an advocate of anti-aesthetic sensibilities might argue that many of the individual texts have little value to anyone besides the sender and possibly the receiver. These works appear in the context of hundreds and thousands of individual texts, images, objects, and textual-image objects all found in assemblings, collections of mail art, visual and conceptual poetries, and potentially mass produced multiples. My analyses follow many trails through the sometimes insignificant to suggest something monumentally important that exceeds the individual works. This strategy also assigns the prominent works a different significance in the context of this sea of insignificance. In this sense, the assemblings explicitly and implicitly advocate a postmodernist counter to modernist notions of genius and great works. Few of the individual works found in assemblings represent a great achievement. Some of the works flirt with a poetry of simple recognition. Marjorie Perloff notes that this sort of “license-plate joke” poetry merely demands one glancing look for appreciation. In the assemblings, recognition only starts the process of discovering invention and genius as inherently tied to the interconnectedness of these works.

     

    This resistance of assemblings to the leveling power of mechanical and electronic reproduction, even as they make use of these mechanisms, resembles the modernist poets’ struggle with the notion of genius while yielding to the initiative of (popular) languages. Network artists attempt more modestly to stave off homogenization, though they nonetheless wallow in the systems and mechanisms of mass distribution. Out of this and other peculiarities of networked art and poetry will spring an interpretive methodology unlike literary and art theories used to interpret individual texts and those texts’ individual contexts. Networked analysis and infrastructuralism refer both to the study of a particular type of networked art and literature and to a type of analysis which emerges from studying these networks. A number of interpretive impasses appear as soon as one begins examining these materials.

     

    1. Circumstantiality

     

    In describing one common paranoid schizophrenic symptom, clinicians use the term “circumstantiality.” That term describes the inability to edit out an overwhelming mass of trivial or irrelevant details which stymies the ability to stick to a topic or express a central idea. Read as an aesthetic strategy, circumstantiality appears in a comedy routine by Gilda Radner. Her character, Roseanne Roseannadana, begins her meandering stories with the pretext of giving a special news report on cultural events. She never quite gets to the point. Beginning a report about returning Christmas gifts, for example, she discusses her surprise at finding Bo Derek right in front of her in line. She notices that the movie star had a hair sticking out of her nose. She adds to this that she fantasized about pulling two more hairs out of her nose, making a braid, and putting a bead on them [in the style of Derek’s braided hair in the movie 10]. When the anchorman interrupts her absurdly irrelevant discussion, she quotes her uncle Dan Roseannadana who “always said, ‘if it’s not one thing, it’s another.’” Radner’s routine parodies the traditional news essay and also suggests a hilarious alternative. Circumstantiality as a joke allows for the realization that we usually edit out the morass of details when we want to “communicate” an idea, story, a point, or what have you.

     

    The mass of details in an assembling functions much like linguistic fetishes substituting for the loss of any central meaning. Readers cannot attend to everything; instead, they inevitably read and watch in the same way analysts listen: askew. Quickly they learn that to look for a central idea is not only frustrating, but also not particularly productive as an interpretive method. Using the analogy of circumstantiality to guide an interpretation allows readers of these often daunting works to appreciate the function of effects in terms of a social-aesthetic disruption or change. It will not help a reader to appreciate or cure an artist’s pathologies. The analogy highlights the significance of what appears explicitly and intentionally as a random compilation of many unrelated artists’ and poets’ works in assemblings.

     

    2. On-Sendings and Fanzines

     

    Another impasse for interpretation exists in the unique ways the network challenges authorship. Ray Johnson, the most influential mail artist, founded the New York Correspondance School (other artists invented variations–for instance, Glen Lewis’ Corres Sponge Dance School, started around 1970). Ed Plunkett, who actually coined the name, explains that “it was a reference to the ‘New York School,’ meaning the leading group of mostly abstract painters that flourished then” (qtd. in Filliou 7).7 This type of work always had a (parodic) connection to the vanguards of abstract painting. May Wilson, who also participated in Johnson’s School, explains that “Correspondence is spelled correspondance…the truth for Ray Johnson is not correspondence to actuality (verisimilitude), but is correspondence of part to part (pregnant similarities that dance)” (W. Wilson 54).8 His correspondence art has an implicit epistemology: a fan’s paranoid logic. This is the logic examined in the next section.

     

    Johnson initiated a practice called “on-sendings.” An on-sending involves an incomplete or unfinished artwork sent to someone, who, in turn, completes the work by sending it on with some additions to another participant in the network. The on-sending also creates the first (putatively) real network because the art depends on each link in the chain. These chains began when artists wanted to avoid the gallery system and art market. The gift exchanges evolved into more elaborate networks, but, in this case, remained relatively small circles of participants. This gift giving is reminiscent of the Lettrists’ interest in Potlatch (the name of their journal). The cultish gift exchanges soon led Johnson to explore the fan’s logic, and he increased his manipulation of the participants.

     

    Johnson would often involve famous artists, like Andy Warhol, as well as literary and art critics in his on-sendings. Another variant of this process asked the participant to send the work back to Johnson after adding to the image. Much of his mail art and on-sending consisted of trivial small objects not quite profound enough to be called “found-objects.” These on-sendings were part of the stuff previously excluded from art-galleries. He became famous for his repetition of a bunny-head character. These identical hand-drawn bunny-headed representations of famous people, each with its own caption, suggested that one could substitute any head as long as you included famous or personally significant names. The characteristic look of these bunny heads also suggested that portraiture represented an artist’s trademark as much if not more than the subject painted. His earlier collage works that included prints of James Dean and Elvis Presley found him a small place in the history of early Pop art, but the later work moved off the canvas and into conceptual work involving participants’ own desires. Clive Phillpot mentions that his later work is witty and demonstrates superb graphic skill.

     

    Because all his portraits are identical, his name-dropping stands out, as the reader inevitably associates the name under the picture with the identical image. The readers care about the big “names” even as they laugh at the absurdity of that interest considering the endless serial repetition. Johnson’s fascination with celebrity also manifests itself in his mail from fan clubs like the “Shelley Duval Fan Club.” Other clubs included: Marcel Duchamp Fan Club, the Jean Dubuffet Fan Club, and the Paloma Picasso Fan Club, as well as the Blue Eyes Club (and its Japanese division, Brue Eyes Club), and the Spam Radio Club. He even advertised meetings in newspapers, much to the surprise of the “genuine” fans. The kind of celebrity watching and stalking that Johnson is examining here pokes fun at artworld celebrity seeking. The lineage of assemblings from fanzines suggests another level of satire. Johnson’s work inevitably comments on fanzine-like networks and assemblings; his work takes these connections literally for figurative purposes. They put the reader in an uncomfortable position by highlighting the participants’ fan-like fascinations and identifications. For example, in his on-sendings, he challenges the participants not just to “participate,” but to resist sending the artwork on to a famous artist like Andy Warhol. The work points out just how difficult it is not to want to associate your scribbles with a work completed by a celebrity.

     

    The term “fan” re-emerges in common usage in the twentieth-century, but the word derives from the Latin fanum, a temple for prophets, and refers to the priests who flagellated themselves into a frenzy of inspiration. It appears in isolated instances during the 17th century, and becomes a more important term in the late 18th century as the threat to enlightenment. One study of fanaticism argues that the pejorative sense of the term appears only in the context of tolerance and tolerant societies. One is only a fanatic when certain intense behaviors are no longer considered appropriate (see Haynal, Molnar, and Puymège). Even though they share the same denotation, the usage “fan” has a different connotation from “fanatic.” The term “fan” conjures an isolated pathetic character idolizing stars, celebrities, or even genres of film, television, and literature like science fiction. We might think of the science fiction fans with their fanzines like Spockanalia. The fanzine began as a marketing ploy of Hollywood studios in the 1920s as part of their publicity machine. In the 1930s, fanzines produced by fans begin appearing. By the 1940s a new twist to these ‘zines appears. The Amateur Press Associations produce a type of science fiction collection of works by fans that will have an enormous impact on conceptual art especially during the late 1960s and early 1970s. An Amateur Press Association, usually referred to as an apa, consists of “a group of people who publish fanzines and send them to an official editor who mails a copy of each to each member in a regular bundle” (Sanders xi). The apas focus increasingly on the lives and interests of fans rather than on science fiction itself–they include “mailing comments” that do not react to sci-fi but to each other’s contributions. Soon these apa fanzines leave sci-fi behind and focus on small audiences of under a hundred. With the number of apas increasing through the 1950s, the participants in all such groups grew to include thousands (maybe even more than ten thousand). One commentator notes that these apas have a “curious blend of distance and intimacy.” That blend reappears in the conceptual art works found in mail-art and assemblings since the late sixties.

     

    The apas fanzines included written sounds, visual effects, puns (especially visual puns) irony, humor, nastiness, “fun with language,” running jokes and allusions, obscure lingo shared by the participants only, and a highly interactive feel to the works. One critic calls the atmosphere of an apa a “mail order cocktail party.” The especially “creative apas” contained poetry, drawing, and art. It was only a small step from these apas to the production of assemblings for artworld fans, those not-yet-famous artists looking for an outlet besides the absurdly restricted gallery system. In the science fiction apas, slogans like “Fandom Is A Way Of Life” and corresponding acronyms like FIAWOL or parodic comments on those acronyms like FIJAGH (“Fandom Is Just A Goddamned Hobby”) brings to mind the later use of pseudonyms and corporate names in assemblings and mail-art like The New York Correspondance School or the slogan “Mail-Art is Tourism.”

     

    A contemporary observer cannot help but notice the connection between fans and their particular type of fanaticism called stalking. The current political climate, with new national statutes defining and restricting stalking as well as increased concern on the state level, and the on-going representation of fans as stalkers in films like The Fan or King of Comedy, have highlighted the tendencies lurking in more benign forms in all fans–every one of us.9 The fan as stalker comments on the society of the spectacle in a disturbing performative criticism. While celebrities enter your home through the television, the fan returns the favor as a stalker. They challenge the one-way spectacle. If the star demands attention, then the stalking fan gives attention and demands a response. So, for example, Margaret Ray decided to pose as David Letterman’s wife. While he was away in California, she moved into his New Canaan, Connecticut house with her son, and began to live life as a celebrity’s wife. She ate meals there, drove the Porsche, and was only caught when she did not have the money for a turnpike toll. When Letterman dropped the charges, she moved back in within five days. When the police came to get her, she insisted that she tidy-up the house because Dave insists on a tidy home (“An Obsessed Fan Decides…”).

     

    Stars seek devoted and adoring fans. They send out photographs with personalized messages and their signature. Most fans understand the convention that this signature is not a personalized mark, but a signature in every other context functions as a sign of legitimation by connection to the actual person. Fans sometimes misrecognize these signs as signs of intimacy. They simply want their love requited, and when it goes unrequited, they write more letters. The typical stalker will write letters which in another context could pass for love letters. The crazed fan is perhaps the quintessential character in the late twentieth century. We see the dynamic in the films about obsessed fans mentioned above. In The Fan, the anti-hero confesses to his or her hero that “I lived my whole life for you, and you never answered me.” In fact, stalkers often begin by writing hundreds and thousands of letters to their idols. These letters often contain fetishized objects like locks of hair or pieces of skin much the same way that mail-artists send small fetishized objects to each other. Michael J. Fox and his bride received 6,000 letters with death threats from one of Fox’s fans because the fan was upset that Fox had not married her. Anne Murray received 263 phone calls in six months from a middle-aged farmer obsessed with Murray. The stars most likely to receive these letters have friendly approachable images on the screen; they are usually not the most glamorous or interesting stars.

     

    Michael Perry, who stalked Olivia-Newton John, had a fascination with her eyes and thought that her colored contact lens were a special signal to him. He eventually killed five people, including his parents, by shooting out their eyes. His fantasy also included Sandra Day O’Connor, and he was arrested in a Washington, D.C. hotel near the Supreme Court. In his hotel room, he had seven television sets–all turned on but tuned in to static and painted with eyes on the screens. The scene is reminiscent of Equus, the play in which a boy stabs out horses’ eyes. “Normal” fans do not recognize the embarrassment of the spectacle looking back at them–mocking them; the “normal” fan does not fantasize the possibility that she or he might play a role in the celebrity’s life. Normal fans give their love and attention without ever wanting anything in return: they recognize the celebrity as a god. The stalker wants his or her prayers answered.

     

    The mythic star quality of Ray Johnson himself (often referred to as “Sugar Dada”) grew as the networks increased in size. In 1970, Marcia Tucker staged the “New York Correspondance School Show” at the Whitney Museum. The show included work from 106 people–except Johnson’s own work–because he included only work sent to him. He put himself in the position of a structuring absence, and increased the desire to know more about him. Although he announced the death of the New York Correspondence School, in 1973, by sending a letter to the obituaries department of the New York Times, he soon invented Buddha University (reminiscent of Naim June Paik’s early mail-art series The University of Avant-Garde Hinduism). Playing on his tendency to drop people from his list of participants, his stamp read, “Ray Johnson has been dropped.” This sort of stamp, and the appearance of rubber stamps of Johnson’s head throughout the mail-art networks, further fueled the star frenzy. The mail-artist Honoria mentions a project in which she includes an image of herself with other images of mail-artists in a tub; the caption reads, “taking a bath with Ray Johnson.” (Honoria) In his efforts to become invisible from the art markets, he became a world-famous icon and name brand. He was so well-known as a “name” rather than as a personality, that in 1973 he was mistakenly included in a biographical dictionary of Afro-American artists. He had finally reached the status shared by Woody Allen’s Zelig. In fact, Johnson had done performances at the Fluxus AG gallery on “Nothing.” As one perverse twist on his highlighting of a fan’s logic, he would often include prints of potato mashers in his work as well, playing on that word’s other slang meaning: “a man who annoys women not acquainted with him, by attempting familiarities.” Fans were the ultimate mashers.

     

    In an article on Johnson, Clive Phillpot, the former director of New York’s Museum of Modern Art’s special collection of book and mail-art, mentions the last twist in Johnson’s effort to play through this perverse fan’s logic–the logic that fuels the art markets as well as the society of the spectacle–by calling or writing strangers. I think I received one of Johnson’s calls after publishing an article on the use of Fluxus strategies in University education. I do not know how he got my number, but one day my answering machine had a message on it (“Ray Johnson, Ray Johnson, Ray Johnson”); I did not recognize the voice, and at first was flattered. Then, when I could not figure out who called me, it began bothering me. Who actually called? How did they find me? Why did they call? What do they want? And, if it is actually Johnson, then what should I do with the tape-recording? Is this an artwork? Should I salvage the tape? What does this mean? Johnson (or some surrogate) had electronically mashed me. About two years later, Ray Johnson committed suicide–somehow not very surprising, considering his “suicide” of the New York Correspondence School and his book A Book About Death. With his typical flair he turned the sad occasion into a morbid joke and event. The New York Times ran a series of articles sifting through the details of his staging of the suicide, including a postcard sent to his home address that arrived the day after his suicide; it read: “If you are reading this, then Ray Johnson is dead.”10

     

    John Lennon often participated with Yoko Ono in Fluxus work and events. In issue number 7 of Aspen (1968, “The British Box”), Lennon includes a facsimile of his diary for 1968. Because of his status as a star, one rushes to read it carefully for any new information. This parodic use of “everyday life” appears in “The Lennon Diary” in which all the entries read: “Got up, went to work, came home, watched telly, went to bed.” The entries get increasingly scrawled, and the diary ends with one last “memorandum” that says, “Remember to buy Diary 1969.” In some ways, then, the repetition of the same everyday events plays a joke on the fan’s narcissistic identification with a star. One cannot avoid the urge, and the joke depends on that uncomfortable recognition and deflation of the pay-off. The other reading of the diary is that it parodies the boredom of everyday life in a Situationist send-up of the promise of change in the “society of the spectacle.” Like much of the work in assemblings, this is at first just a joke of recognition: you simply get the joke and move on. Its other meanings seep in more slowly.

     

    These works attack not just the art world’s production of celebrities as a marketing device, but also the way this marketing depends on the fantasies of other artists including those in alternative art groups. To break the narcissistic link between the participant and the celebrity may in fact be impossible; Johnson’s jokes depend on the link remaining strong. When you look at one of his serial images of basically identical bunny-like faces captioned by various famous names, or you are asked to function as the middle relay for a work involving Johnson and a celebrity, you laugh only if you recognize your own investment in this game. Otherwise, you simply discard the junk mail, fail to subscribe to the assemblings, and focus your narcissistic fascinations on other stars. You cannot simply disentangle personal desire from mass culture; there is no utopian outside for Johnson. His work challenges particular forms of celebrity and identity formation. On-sendings are not benign.

     

    Because the works depended on both reproducibility and on-sending, the notion of authorship was not merely disrupted by implicit problems with deciding about intention, but with the explicit disruption of that category. At the least, at the moment of the on-sending, everyone participated in authoring and reading. In assemblings the individual works often have signatures and sometimes even numbered prints or multi-media objects. Yet, when the works appear together in a compiled package, the works refer to each other and to other related assemblings and networks. It is not that authorship falls prey to a reader’s solipsism. It changes into a more fluid notion of production and consumption. The distinction between artists and spectators blurs not because of the open-ended-ness of interpretation, but because of the effort to build-in interactive game-like structures of discovery and play. Compilers, for example, function both as readers and as writers when they assemble work, package it, and send it back to the participants involved. Receiving this assembled package in the mail makes the participants join in the pleasures involved in discovery and relay. Once the participants begin joining in a number of assemblings, they often allude to other works in other assemblings. In fact, this article might function as a type of on-sending as it links to other sites and pages that then supplement and send-on the work in different contexts.

     

    3. Network Coverage

     

    The phrase “network coverage” probably conjures images of a nightly news broadcast rather than innovative artists’ and mail artists’ magazines. The irony of that situation is not completely coincidental. These assemblings explicitly respond to the distribution of words and images through gallery systems and in mass media. They respond to the lack of distribution systems for experimental work in the “media.” Some of this work responds to the art scene and some to the larger cultural scene’s or mass media’s exclusions and limits.

     

    The term “coverage” in museums, galleries, and academia usually refers to the research model of a scholar covering a field of study with a theory of explanation and corresponding descriptions of major works in that field. In the context of mail art and artists’ magazines, the term is somewhat ironic. The very form of these works challenges the coverage model with an information explosion that threatens the coverage paradigm, not only because of the elastic and ever-expanding number of these collaborative works, but also because authorship is often difficult to determine. In fact, Robert Filliou, associated with Fluxus, coined the term “eternal network,” often used to describe the mail-art networks, to describe the contemporary situation in which no one person can command all knowledge in any field; his article appeared in 1973 in the assembling FILE. The phrase describing the networks defines it as the chronicle of this failure of the coverage model.

     

    Assemblings propose another coverage model. Each assembling covers a mobile and changing network of artists and poets for a transitory moment even as it marks that moment for use by other readers at a later date. Each of these assemblings functions as a kind of relay system. Network coverage, in this sense, suggests a new way of understanding art and poetic practices which began flourishing in the last third of the twentieth century. From the perspective of the 21st century, may look like experiments in networked productions. They may, that is, have a similar impact and produce similar consequences as the rise of the novel in the 18th century.

     

    4. Unreadability (condensed version)

     

    The work found in assemblings tends to share one trait. It challenges any participant/receiver to figure out how to begin to read an assembling. In an historical context, the assemblings do seem to share a combination of lineages. From that history, a participant/receiver/reader can begin to find appropriate reading practices if not definitive meanings. To understand how “unreadability” becomes readable as an aesthetic opportunity requires a summary of the poetics involved. These poetic tendencies include concrete poetry as a break with “mainstream” expressive poetries, visual poetry as an effort to expand language systems, and conceptual art strategies as an intervention in everyday life. Through all of these tendencies, the problem of identifying the tone of these works makes the interpretation more complicated. Often these works’ meanings depend on the reader to recognize parodies, jokes, and a masquerade with the trappings of mass distribution systems like the post office and corporations. The tone of these works often presents many levels of meaning with important implications for interpretation. Besides these tendencies, the socio-poetics of networking also has important implications for ways of reading the unreadable assemblings.

     

    5. Craft as Conceptual Art

     

    Assemblings represent a special place in twentieth century art because they chart the emergence of craft in the age of mass production. The artists flaunt their fetishism of print and book-making alongside their fascination with huge bureaucratic systems of production and distribution. The artists cherish the production of carefully constructed individualized visual poems and constructions as well as the insistence that readers recuperate, re-cycle, plagiarize, and forever alter these codes and messages.

     

    In his study of modernist visual poetics, Jerome McGann argues that the “history of modernist writing could be written as a history of the modernist book” (McGann 77). In making and persuasively supporting this claim, McGann also opens the door to exploring other art and poetic practices as crafted and constructed objects. He explains how two small presses in particular, Kelmscott Press and Bodley Head, influenced modernist poetic practices by their emphasis on visual design over and above “legibility” (77). These practices also wanted to appeal to, as well as create, a particularly modern and aesthetically inclined audience. This interest in the printed page as an object found important practitioners not only in the later postmodern Concrete Poetry, but in Louis Zukofsky’s poetry. He initiated the interest in considering poetry as a “musical score” and an “aspiration…toward the condition of music” (83). Here again, the modernist precursors point toward the poetic compositions that resemble musical scores in concrete and visual poetry as well as the scores, instructions, and games found in assemblings. Ken Friedman explains how to perform a Fluxus event score:

     

    You can perform a Fluxus event in virtuoso or bravura style, and you can perform it jamming each piece into the minimal time possible as Ben Vautier does, or go for a slow, meditative rhythm as Alison Knowles does, or strike a balance as you'll see in the concerts organized by Dick Higgins or Larry Miller. Pieces can have a powerful torque, energized and dramatic, as in the work of Milan Knizak, the earthly folkloric touch seen in Bengt af Klintberg's pieces, or the atmospheric radiance, spiritual and dazzling, that is seen in Beuys's work. (Friedman, par. 4)

     

    McGann, focusing on American modernist poets, examines the usually overlooked work of Robert Carlton (“Bob”) Brown’s Readies for Bob Brown’s Machine. In that work Brown wanted to “immerse the reader in the print medium, much as the viewer is immersed in images at the cinema” (McGann 85). The modernist poetics of the page gain in intensity in postmodern poetry. McGann focuses on Language writing as the “key index of postmodern scene of writing” (88); that poetry uses a “textual process for revealing the conventions, and the conventionalities, of our common discursive formations” (107). This suggestion that the postmodern poetry emphasizes the social conventions of writing through the concrete visual construction also speaks to the further expansion and intensification of this process in assemblings. McGann summarizes these social concerns by discussing the implications of this writing’s “ironic self-representation,” that “situates poet and poem firmly in the social, institutional, and even the economic heart of things…an imagination of writing that knows it inhabits a world ruled by Mammon” (108). As Charles Bernstein writes, this poetry “flaunts its core idea as candy coating.” (Bernstein 380) McGann goes on to examine contemporary small presses, like Burning Deck, The Figures, Jargon, and Roof, in order to argue that in these presses’ publications (as well as throughout postmodern poetry) “writing is necessarily imagined as part of a social event of persons” (McGann 113).

     

    Charles Bernstein’s “Lift Off” demonstrates the way poetic practices capture this “social event.” To describe this process, McGann inserts a second narrative voice into his book. This disgruntled and humorous narrator describes Bernstein’s poem as a transcription of everything lifted off a page with a correction tape. The more earnest narrator remains unflappable and suggests that his (or her) reading also describes how Bernstein’s poem “foregrounds the machinery of writing” (McGann 109). For the suspicious narrator, it literally foregrounds the machinery, while for the more Apollonian narrator it figuratively foregrounds this process. In the work of assemblings individual pages or poems mean less than the distribution and compilation machinery. The assembling reader finds threads of the social connections as if receiving something “illegible,” but visual and poetically allusive and suggestive. Assemblings function as model and tool kits for both building and spoofing “a world ruled by Mammon” or at least Mammon’s corporate bureaucracy in webs and networks.

     

    Notes

     

    1. Held argues that “The first publication I know of to reflect the assembling sensibility was the cooperative periodical Spawn, initiated in East Orange, New Jersey, in 1917. In the March issue (1.3), the editorial stated that, “Spawn is the embodiment of an idea and is co-operative in the strictest sense of the word. Each man pays for his page and is absolutely responsible for what goes on it. Spawn is a magazine in name only…. It has no ax to grind or propaganda to propound.”

     

    2. Drucker is not only the premiere scholar in the study of book arts, having produced the first substantive book-length studies of these works, but is also an accomplished book artist.

     

    Editor’s Note: This issue of Postmodern Culture contains an extensive interview with Drucker. See “‘Through Light and the Alphabet’: An Interview with Johanna Drucker”.

     

    3. For an historical account of the development of CoBrA, Lettrism, and Situationism see Peter Wollen, Raiding the Ice Box: Reflections on Twentieth-Century Culture. Although Wollen focuses on the social history rather than aesthetic strategies, he does mention the importance of the “play of calligraphy” for the Lettrists (144). He also mentions the leader of the CoBrA artists’ strong criticism of Max Bill, who went on to influence the formation of Concrete Poetry.

     

    4. Pawel Patasz mentions that in Poland the censors would stamp each and every proof page of a publication on the back side of the proof. With these kinds of absurd controls, one can imagine how Commonpress began investigating these stamps of authentication.

     

    5. Joe Cardella, advertising slogan for prospective participants, ART/LIFE, 15, 11 (1995), back page.

     

    6. Also quoted in Banana’s “Corresponding Worlds: Debate and Dialogue,” Welch 189.

     

    7. The same quote appears in John Held, “Networking: the Origins of Terminology,” 17.

     

    8. The same quote appears in John Held, “Networking: the Origins of Terminology,” 19.

     

    9. The legal statute concerning stalkers in the state of Pennsylvania explains that “a person commits the crime of stalking when he engages in a course of conduct or repeatedly commits acts toward another person, including following the person without proper authority, under circumstances which demonstrate either of the following:

     

    1) an intent to place the person in reasonable fear of bodily injury;

     

    or

     

    2) an intent to cause substantial emotional distress to the person.”

     

    Pa.C.S. Ch. 27, 18 §2709 subsec. B.

     

    10. For comparison, see also D.A. Levy’s suicide while incarcerated. Levy was an important mail-artist collected by Fluxus list-maker Ken Friedman. Friedman had close ties to both of these artists. Perhaps they saw in suicide a socio-political act?

     

    Works Cited

     

    • Banana, Anna. “Mail Art Canada.” Crane and Stofflet.
    • —-. “Corresponding Worlds: Debate and Dialogue.” Welch 187-196.
    • Bernstein, Charles. “Living Tissue/Dead Ideas.” Content’s Dream, Essays 1975-1984. Los Angeles: Sun & Moon Press, 1986.
    • Bowles, Jerry G., ed. “letter from the editor.” Art Work, No Commercial Value. 1971.
    • Brown, Robert Carlton. Readies for Bob Brown’s Machine. Cagnes-sur-Mer: Roving Eye Press, 1931.
    • Crane, Michael and Mary Stofflet, eds. Correspondence Art. San Francisco: Contemporary Art Press, 1984.
    • Drucker, Johanna. The Century of Artists Books. New York: Granary Books, 1995.
    • Filliou, Robert. “Research on the Eternal Network.” FILE. 1973.
    • Friedman, Ken. “Getting Into Events,” The Fluxus Home Page : n. pag. Internet. 6 June 1996. Available URL: www.nutscape.com/fluxus/homepage/n2events.html.
    • Haynal, André, Miklos Molnar, and Gérard de Puymège. Fanaticism: A Historical and Psychoanalytical Study. Trans. Linda Butler Koseoglu. New York: Schoken Books, 1983. 20-33.
    • Hebdige, Dick. Subculture: The Meaning of Style. London & New York: Methuen, 1979.
    • Held, John. “Networking: the Origins of Terminology.” Welch 17-21.
    • Honoria. “Introducing Mail Art: A Karen Elliot Interview with Crackerjack Kid and Honoria.” Postmodern Culture. 3.2 (1993): n. pag. Online. Internet. 6 June 1996.
    • Janssen, Ruud. Interview. Assembling Magazines.
    • McGann, Jerome. Black Riders: The Visible Language of Modernism. Princeton: Princeton University Press, 1993.
    • “An Obsessed Fan Decides to Make David Letterman’s House Her Home.” People Weekly. 13 June 1988: 131.
    • Perkins, Stephen, ed. Assembling Magazines. Exhibit checklist and catalogue. Iowa City: Subspace Gallery, 1996.
    • Phillpot, Clive. “Artists’ magazines: News of the Art Strike, Monty Cantsin, and Karen Elliot.” Art Documentation (Fall 1992): 137-138.
    • Sanders, Joe, ed. Science Fiction Fandom. Westport, Conn: Greenwood Press, 1994.
    • Welch, Chuck, ed. Eternal Network: A Mail Art Anthology. Calgary: University of Calgary Press, 1995.
    • Wilson, William. “NY Correspondence School.” Art and Artists. (April 1966). 54.
    • Wollen, Peter. Raiding the Ice Box: Reflections on Twentieth-Century Culture. Bloomington: Indiana University Press, 1993.

     

  • Jumping to Occlusions

     
     
    Abstract: “Jumping to Occlusions” is perhaps the first thorough statement of a poetics of online space. In the present hypertextual trickster edition, a lively investigative language of the link is employed helping to develop this essay’s written argument through its own hypertextuality–its jumps, sidebars, graphics, embedded sound files, misleadings, and other features. This essay explores electronic technology’s opportunities for the production, archiving, distribution, and promotion of poetic texts but most importantly, argues that electronic space is a space of writing. For previous excursions into this a written terrain of links and jumps one need only look to the language experiments of certain poets writing in this century. Such poets include Gertrude Stein, Charles Olson, Robert Creeley, and Language-related experimentalists such as Charles Bernstein, Ron Silliman, and Susan Howe. Electronic writing, like previous instances of writing, engages the double “mission” of writing evident in some of this experimental poetry: to varying degrees, writing is about a subject, but also about the medium through which it is transmitted. If relevant previous poetic experiments involved the exploration of language as physical, what are the physical parameters of webbed online space? Texts move not only within themselves but into socially-charged externalities, “a webbed interference of junk mail, ‘frets’ of information, systemic failures, ephemera, disunion. There is no resting place–only the incessantly reconstituted links dissolving each time the reading is entered.” The physical features most up for grabs? These include online hypertext itself, a mass of fits and starts. Links are at the center of an electronic hypertextual writing and links introduce disjunction. This post-typographic and non-linear disunion is no news to poetics. It is through a poetics of experimental poetries that a framework is sketched and progress is made towards the building of an electronic poetics, one where experiments that changed poetic language may inform the electronic air we breathe.–lpg

     


    Proceed to Hypertext…

     

  • ‘Through Light and the Alphabet:’ An Interview with Johanna Drucker

     
     
    Abstract:Johanna Drucker’s cumulative work as a writer, printer, book artist, and scholar of visible language in all its forms has accumulated in a critical and creative corpus which is, as one observer has put it, nothing less than “a conceptual framework for the relationship between the visual arts and the written arts.” Nowhere is such a conceptual framework currently more needed than in the post-alphabetic writing spaces of electronic media–an area to which Drucker has, in fact, lately turned her attention.
     

    In this interview (conducted entirely via electronic mail) I have attempted to frame my questions so as to provide as complete an overview as possible of Drucker’s career, with particular emphasis on her recent interest in matters of the virtual. The text of the interview is accompanied by forty digital images of Drucker’s artistic work, as well as her brief catalogue essay entitled “The Corona Palimpsest: Present Tensions of the Book.”–mgk

     


    Proceed to Hypertext…

     

  • The Heimlich Home Page of Cyberspace

     
     
    Abstract: This collaborative document is a hypertextual reflection upon the politics of of sovereignty, self-hood, and community as they are embodied in three distinctive moments and formations of the social imaginary in Western capitalism: the emergence of linear perspective and the specular visual ordering of the social senses in Renaissance mercantile capitalism; the formation of imperial identity that was manifested in the rhetorical and cartographic construction and physical conquest of the “New World”; and the simulacra of virtual selves and communities of cyberspace. It explores the performative emplotment and emplacement of virtual “home pages” of identity in MOOspaces and the World Wide Web, and argues that a critical understanding of the “new frontier” of cyberspace must take into account the ways in which it uncannily restages the imperial drama of sovereignty which animated the conquest of the old frontier of America as “New World.”–ah

     


    Proceed to Hypertext…

     

  • Book Unbound*

    John Cayley

    © 1997
    PMC 7.3

     

    Book Unbound*

     

    Abstract: “Book Unbound” is a “collocational cybertext,” a self-assembling poetic collage that can be read in two ways: either automatically in the “bound” mode, or in an “unbound” mode that allows readers to extract and recycle words from its recombinant text stream. The present version is a HyperCard stack (Mac only, HyperCard program not required) available for downloading. –Editor

     


     
    Editor’s Note: “Book Unbound” is a HyperCard stack. The present version runs only on Apple Macintosh computers. Activate one of the links below to download a compressed, binary version of the stack (a self-extracting StuffIt archive). If you are using a correctly-configured graphical browser, the file should be converted and decompressed file automatically. If it does not, save the file, convert it with
    BinHex then double-click to launch the self-expanding archive. If you own a copy of HyperCard, download the stack only (120k). If you do not own HyperCard, download the stand-alone application (676k).
     


     

    Author’s Remarks

     

    “Book Unbound” is a literary object which, I believe, exemplifies certain potentialities of cybertext. 1

     

    The first version of “Book Unbound” was produced in 1995 using HyperCard for the Apple Macintosh, although I had made earlier collocational pieces in 1993. From one point of view–especially when read in its “bound” mode–“Book Unbound” is simply a text generator. As such, it employs a fairly simple algorithm, which I call “collocational” but which might also be recognized as a simple stochastic transformation. The transformation can proceed beginning with any word of the given (or source) text. Any other word–occurring at any point in the given text–which follows (collocates with) the word last chosen may then follow it and so become in turn the current word. Clearly, in this type of transformation, at the very least, each pair of successive words are two-word segments of natural English. However, the text will wander within itself, potentially branching at any point when a word that is repeated in the given text is picked, and this will most often occur when common, grammatical words are encountered.

     

    The given (or source) text of “Book Unbound” is a brief, closely-written piece concerned with the book, so-called new media, and varieties of textuality which they underwrite. In “Book Unbound” I have chosen to keep the source text hidden. Anyone who is interested to see it can either hack into the Hypercard stack or track down the catalogue of the exhibition for which it was written, “Mapping Knowledge” (curated and edited by Les Bicknell), an exhibition of book art held at The Minories Gallery, Colchester, UK, November 1994. Even when read in its “bound” mode, and starting from its initial state, I am more or less satisfied with the performance of the generative text. This performance is the “due form” of what “I” have (pre-)written or programmed, by composing the source text and applying these quasi-aleatory collocational procedures.

     

    However, “Book Unbound” has other, more interesting, potential which could be taken much further in the future work of this field. 2 Once read in its “unbound” mode and altered by a reader it becomes, in part, the work of that reader (or, if you prefer, that reading).

     

    When you open “Book Unbound” and read it in this “unbound” mode, you change it. New collocations of words and phases are generated from the given text according to the algorithm described briefly above. After each screen fills, the reader is invited to select a phrase from the generated text by clicking successively on the first and the last words from a continuous string of text. These selections are collected on the page of the book named “leaf,” where they are accessible to copying or editing. But they also become a part of the store of potential collocations from which the book goes on to generate new text. The selections feed back into the process and change it irreversibly. If the reader continues to read and select over many sessions, his or her preferred collocations may eventually come to dominate the process. The work may then reach a state of chaotic stability, strangely attracted to one particular modulated reading of its original seed text. Each reader’s copy of the work thus becomes unique: non-trivially different from every other copy.

     

    “Book Unbound” is (inevitably) an experiment with limitations. 3 For example, it is not possible to select discontinous text from one screen or from previous screens of generated language. Neither does the present work allow you to add your own new words to the total vocabulary of the piece (except to the freely editable “leaf” page). You can only select new or preferred collocations from those which are generated within its textual microverse. However, even within this defined and bounded space some interesting experiments can be performed, selecting, for example, only noun phrases, or only linguistic function words. Readers might make several copies of “Book Unbound” and train them in different ways, watching for divergences in the nature of the texts they generate, as for example, one version becomes a gallery for a small group of objects and another becomes a Steinian obsessive, possessed, let’s say, by pronouns.

     

    John Cayley
    May, 1997

     


     

    Addendum

     

    Remarks on “Book Unbound” from Espen Aarseth’s Cybertext: Perspectives on Ergodic Literature (PhD dissertation, University of Bergen, 1995; forthcoming from Johns Hopkins University Press):

     

    John Cayley's "Book Unbound" is a literary work not easily classified by traditional aesthetics... it takes over the screen and spits forth short suggestive sentences one word at a time ...

     

    The program is assembling these lines from its "hidden texts" according to certain algorithms. As the process goes on, the hidden text is changed by what is displayed, and the user can select passages for inclusion in the regenerative process. Thus the text output is influenced, and will be different for each copy of the text. Is it still the same text? Cayley calls the produced output "hologograms," fragments that contain holographic versions of the initial material....

     

    This text is an impurity, a site of struggle between medium, sign and operator. The fragments produced are clearly not authored by anyone, they are pulverized and reconnected echoes of meaning, and the meaning that can be made from them is not the meaning that once existed. "Book Unbound" is an extreme paragon of cyborg aesthetics, an illustration of the issue of communicative control. The pleasure of this text is far from accidental; it belongs not to the illusion of control, but to the suggestive reality of unique and unrepeatable signification. It would be a grave mistake to see this text as a metaphor of the "impossibility of perfect communication" or as the embodiment of the gap between sign and meaning in texts. Instead, it shows how meaning struggles to produce itself, through the cyborg activity of writing.

     

    Notes

     

    *. “Book Unbound” was also included in the CD-ROM issue, number 3, of the arts magazine, Engaged (London, 1995).

     

    1. Here, I distinguish cybertext from hypertext according to criteria first set out by Espen Aarseth in his essay, “Nonlinearity and Literary Theory” (in George Landow, ed. Hyper/Text/Theory, Baltimore: John Hopkins University Press, 1994) and refined in Cybertext: Perspectives on Ergodic Literature (forthcoming from John Hopkins University Press), and an article, “Text, Hypertext or Cybertext: a Typology of Textual Modes Using Corresponding Analysis,” forthcoming in Research in Humanities Computing, 6, ed. Susan Hockey, Nancy Ide and Giorgio Perissinotto, Oxford: Oxford University Press). Aarseth uses cybertext as a more inclusive term embracing, for example, generative or “ergodic” textuality (the latter explicitly demands work from the reader), while reserving “hypertext” for the (chiefly passive) link-node structures which are now familiar to over 50 million of (scare quotes) “us.”

     

    2. In its HyperCard version, my later work “Pressing the Code Key” employs a somewhat elaborated version of the “Book Unbound” form, although it does not address the limitations outlined below. As an essay, “Pressing the Code Key” was published in ejournal v.6, n. 1. See: http://www.hanover.edu/philos/ejournal/archive/ej-6-1.txt.

     

    3. There are also software limits to the HyperCard version, which cannot cope with text fields containing more than 32 kilobytes (about 32,000 characters or 5,000 words). Eventually, these software limitations would also be reached.

     

  • AlphaWeb

     

     

    Abstract: Alphaweb is a hypertext consisting of poetry and ruminations, graphics, and fragments of the Coriolis Codex, suggesting (but hardly conclusively) a special relationship between angels and dragons. The work has at least three interpenetrating structures, approximately 250 areas and three times that many doors and passageways. The structure that is always present for orientation is the alphabetical structure; both the poems and the angels progress from A to Z, a comfort for those who like to proceed in an orderly fashion from A to Z, or at least to B. The stability of this structure is seriously compromised by built-in folds in the alphabet; because you can link to any letter from any area, the structure can be used to demolish itself at the behest of the traveler. A prolonged wander will reveal interior structures, jointly created by author and traveler, which are the work itself. The author suggests a dark room for optimum viewing of the graphics. –drs


    Proceed to Hypertext…

     

  • Twelve Blue

     

     

    Abstract:A drowning, a murder, a friendship, three or four love affairs, a boy and a girl, two girls and their mothers, two mothers and their lovers, a daughter and her father, a father and his lover, seven women, three men, twelve months, twelve threads, eight hours, eight waves, one river, a quilt, a song, twelve interwoven stories, a thousand memories, Twelve Blue explores the way our lives–like the web itself or a year, a day, a memory, or a river–form patterns of interlocking, multiple, and recurrent surfaces.–mj

     

    Help with Reading: The story threads quite obviously along its edges, like frayed cloth, in the left window. You’ll find links there. There are passing links within the text on the right as well, but these, once followed, go away. You’ll want, I think, to open the space so all twelve threads show, diurnally (a not terribly obscure word for the weaving and unraveling of time). Their progress is measured in the stories and their occasional proximities are meaningful. The words work best with serifs and space enough (14 point is preferred). There are two hundred and sixty nine links here among ninety six spaces. Twelve blue isn’t anything. Think of lilacs when they’re gone.


    Proceed to Hypertext…

     

  • Editor’s Introduction

    Stuart Moulthrop

    School of Communications Design
    University of Baltimore
    samoulthrop@ubmail.ubalt.edu

     

    Decorating the Corpse: Hypertext After the Web

     

    Not long ago I learned that in 1997-98, two new literary prizes will be given for work in hypertext, one in the U.S. and one in Europe. When I reported this to a certain writer well versed in “new media,” I received an interesting answer. The givers of the prizes are very kind, the writer said, “but they are pinning medals on a corpse.” My correspondent thought that creative hypertext had a fine future behind it but little in the way of prospects. It was an idea whose time had been.Writers say these things. Sometimes, as in the case just mentioned, we speak from despair, fearing that the audience for serious work may be collapsing to a singularity. At other times the lament that X is lost may serve as prelude to hubris, for instance when the mourner believes that a bright and promising meta-X (of his own invention) is coming with the dawn. Writing is dead!–and not a moment too soon–long live my kind of writing! Because they can be disingenuous in this way, literary mass obituaries should never be taken at face value. The reader is warned.

     

    Yet if one has time and inclination to worry about such things, there are reasons to be concerned about hypertext. Until recently the United States had two major publishers of substantial work in new media: Eastgate Systems and the Voyager Company. After struggling to create a market for CD-ROMs with admirable production values and strong literary sensibilities, Voyager has left the field. Eastgate carries on, and other ventures, perhaps by university presses and non-U.S. firms, may compensate in some measure for Voyager’s absence. Still, the implications are troubling.

     

    No doubt the change at Voyager came for various reasons, many having little to do with the Internet, but Voyager’s withdrawal does seem to coincide neatly with the recent surge of interest in the World Wide Web. One has to wonder whether Voyager’s often exquisite products were eclipsed by offerings on the Web–from on-line ‘zines like Salon, Feed, and Suck to the more dubious prospects of “push” media and VRML. If this is the case, then we may be seeing a shift, as far as hypertext is concerned, from a commercial model of literary production:

     

    “EXPANDED BOOK” = CD-ROM =
    MARKETABLE COMMODITY

     

    to a public-service or indeed an amateur model:

     

    HYPERTEXT = WEB SITE =
    WORK OF PURE DEVOTION

     

    Postmodern Culture has an evident stake in these developments. Since our recent move to Johns Hopkins University Press and the Muse Project, back issues of the journal, formerly available to anyone with Web access, have been open only to institutional and individual Muse subscribers. (Each current issue continues in free circulation until the next issue appears.) As we explained when the change was announced, this seemed a reasonable way to cover operating costs and keep the journal alive. We knew, though, that we were swimming against the tide. As a number of our authors and readers pointed out, free availability has been a key feature of this publication. Imposing charges seems to some a betrayal. On the Web, as they would have it, information wants to be free.In response to these concerns, the Press and the editors have decided to make text-only versions of our back issues available to all. This is only a preliminary announcement; details of the new arrangement will appear in our next issue (September, 1997). It bears mentioning, though, that we are not abandoning the subscription model of on-line publishing. Subscriptions to Postmodern Culture will still be offered both individually and through Project Muse, and versions available to subscribers and non-subscribers will differ in important ways.

     

    The free archive will most likely contain full text of conventional articles minus hypertext links, search support, and other valuable features. Because they depend on more sophisticated forms of encoding, hypertext and hypermedia compositions like the contents of this special issue will almost certainly be excluded from the text-only archive. Where hypertext is concerned, some of us still prefer to go against the flow.

     

    It would be easy to mistake this perverseness for greed, common as that motive has become. The insistence on hypertext as a cash nexus (to say it bluntly) may seem in line with the rampaging commercialization of the Internet. Ever since the discovery of Web browsing as the fin de siècle“killer app,” the corporate world has been lusting after computer networks with priapistic urgency, and though pundits regularly predict a nasty end to this affair, the ardor shows no sign of cooling yet. Information wants to be free? On the dot-commons these days the buzz is rather different: info-makers want to see fees. This is a long way from pure devotion.

     

    Yet as any old cyberspace hand will tell you, it is hard to use the words hypertext and profit in the same sentence without arousing deep suspicion. In the most popular Internet business models, major revenues come not from subscriptions but from sale of advertising space. Advertising–as business has known it so far, anyway–depends on reliable, sustained audience attention, the sort of thing TV, movies, radio, and print provide quite handily. Hypertext systems foster rather different behavior. They emphasize transition and active selection of content, raising the primitive impulse of channel-surfing to something that might be called art. They challenge viewers to become interpreters, working out connections between fragments instead of relaxing into the paratactic flow. In short, hypertext does not go well with mass marketing.

     

    Mass marketing, however, remains our primary economic doctrine; so something needs to be done about hypertext (for starters) to make the Internet safe for oligopoly. This is where “push” programming and “Web channels” come in (who needs hypertext links?), where Microsoft’s absorption of WebTV starts to look like something other than amoebic reflex, and where Larry Ellison’s recent bid to turn Apple Computer into a manufacturer of dumb terminals makes a certain deeply sinister sense.

     

    In his interview with Johanna Drucker in this issue, Matthew Kirschenbaum adverts to Sven Birkerts’ attack on the “Faustian bargain” of emerging technologies. (See this and also Drucker’s response.) This argument also plays its part in the defense of the old order. Dire moralist that he is, Birkerts asks us to choose the stony but honest road to salvation. A more jaded reader, or one better informed about the current state of media, might draw a different conclusion: better the devil you know. How much more comfortable to live in a world where books are books, television is television, and so is the World Wide Web. Why learn to surf when it’s it’s so delicious to drown? As for hypertext, leave that to the hobbyists.

     

    Hypertext is a strange kind of hobby, though. Pursued for purposes of art or inquiry, hypertext is a vexation, a disorderly practice. As the projects collected in this issue demonstrate, this sort of writing calls us back to fundamental questions about language, meaning, structure, and authority that have long been part of the postmodern agenda; but we come to these questions in practice as well as theory, and in the marketplace and classroom as well as the library. To be sure, Messrs. Gates, Murdoch, Ellison and company will not lose much sleep over the contents of this issue, but that does not mean these texts are insignificant or futile, mere posthumous campaign ribbons for the celebrated corpse.

     

    Whatever its fortunes in the marketplace, hypertext is far from dead–and there may be hope, in the fulness of years, even for the marketplace, since late-stage capitalism doubtless does not mark the end of history. History is dynamic and therefore debatable–literary history in particular. The reader will have learned by now not to trust an author with a long face and a sad story about his favorite form. A hasty bill of mortality is often a transparent fraud. Consider the evidence.

     

    In This Issue

     

    This special issue on and of hypertext contains four explicitly hypertextual works and three scholarly articles in which electronic media figure as subject, mode of expression, or both.

     

    Michael Joyce’s “Twelve Blue” is a network of stories or a music in words composed of twelve parts in eight bars–all asking to be read at a certain blue depth.

     

    Two of the hypertexts are poems: Diana Slattery’s “Alphaweb” and John Cayley’s “Book Unbound.” Slattery’s work is a text-and-graphic exploration of the angelic, the demonic, and the electronic rendered onto the Web. Cayley’s work is a singular and significant representative of electronic writing outside the Web (it was created with HyperCard), and of generative, interactive “cybertext.”

     

    In the critical register there is “Through Light and the Alphabet,” Matthew Kirschenbaum’s interview with the writer, artist, and historian Johanna Drucker, the text supplemented with links to and reproductions of Drucker’s work. Loss Pequeño Glazier’s “Jumping to Occlusions” is a hypertextual essay considering the status, potential, and problems of interactive poetry. Craig Saper’s “Intimate Bureaucracies and Infrastructuralism” considers anti-institutional practices such as mail art and artists’ assemblings in relation to, among other things, the culture of the Internet.

     

    In addition this issue also includes “The Heimlich Home of Cyberspace,” a multi-authored, collaborative hypertext produced by undergraduates at Drake University. As a communal discourse, as a project from the classroom–and most important, as the work of writers about as young as the Internet itself–this text has a particular significance.

     

    Acknowledgements

     

    This issue could not have been produced without much wise and generous assistance. I am especially grateful to (and for) our Managing Editor, Sarah Parson Wells, who handled with capability and confidence the enormous technical work behind this issue. Thanks also to Mark Bernstein and Eastgate Systems for their kind cooperation in publishing “Twelve Blue.” My co-editors, Lisa Brawley, Eyal Amiran, and John Unsworth, along with Ellen Sauer at Johns Hopkins University Press, gave encouragement and counsel. Jane Yellowlees Douglas and Greg Ulmer graciously served beyond the call of their editorial board duties. Above all I wish to thank those who acted as consulting readers and advisers: Espen Aarseth, David Balcom, Carolyn Guyer, Jon Ippolito, Johndan Johnson-Eilola, Michael Joyce, Nancy Kaplan, Matthew Kirschenbaum, Catherine Marshall, Barbara Page, and Jim Rosenberg.

     

    Introductory Essay In this Issue

     

    Acknowledgements

     

    Meaning appears only at the intersection


    "Home pages" and electronic "'zines," much like assemblings, depend on making links to other sites on the Internet. Each page, even corporate pages, link to and assemble other groups' or individuals' work. The pages link according to the logic of amateur discoverers. "Here's what I found," they say. 


    He had been a coward. No one liked him. It was a life. Each morning he woke up surprised and a little disappointed that he'd made it to another goddamn day in this empty stinking valley. 

    The “forms” which will emerge won’t, I don’t think, replace print media for a long time–we’re too attached to the intimacy and convenience of portable books and magazines–but the electronic forms will and already are allowing the popular imagination to reinvent its relation to the received traditions of reading, writing, and imagining. Don’t you think?

     

    In my own experience, the Web is both useful and frustrating. A great source for information, research, and communication, it is very disorienting for me. I am attached to the spatial modes which print media offer as orientation. I despise the “scrolling screen” and the attempt to locate myself in a document by the position of the sidebar marker.

    …the point is not that everything is linked through these sequences. The constitution of any such whole could only be a misrepresentation of stability, the futile pursuit of yet another encyclopedia. The insistences of the internal orders of texts do not add stability to the text, rather they add a perplexing layer of instability; it is the “failure” of the links, whether they connect or not, that gives them their activity and it is through this activity that electronic writing departs irreversibly from the world of print.

     

  • Selected Letters from Readers

     

     

    The following responses were submitted by PMC readers using regular e-mail or the PMC Reader’s Report form. Not all letters received are published, and published letters may have been edited.

     


    Editors’ Note

    As promised in the last issue, this instalment of Letters contains a selection from the electronic mail we received in response to our decision to begin publishing by subscription in Project Muse. A complete archive of these exchanges can be found at:

     

    http://www.iath.virginia.edu/lists_archive/pmc-jhup

     

    Because of the length and number of these messages we have grouped them into a separate section.

    Letters on other topics begin immediately below.

     


     

    PMC Reader’s Report on Michael Joyce’s “Twelve Blue” (PMC 7.3)

     

    What a happy, disturbing, confusing, challenging, delightful joy to discover Michael Joyce’s simply breathtaking story(ies) “Twelve Blue.” I’ve been drowning in his words for the last two days, gasping for breath.

     

    The potential and not the realization…the process and not the product. I am reminded of Michael Ondaatje’s astonishing poetry and poetic prose. This is bleeding edge writing, exciting and disconcerting.

     

    Where can I find more?!?

     

    These comments are from: Linda Wallace
    wallacel@is.dal.ca

     


     

    The Editors reply

     

    “Twelve Blue” was co-published by Postmodern Culture and Eastgate Systems. Both “Twelve Blue” and further information about Joyce’s work are available at Eastgate’s Web site.

     


     

    PMC Reader’s Report on Fredman, “How to Get Out of the Room That is the Book?” (PMC 6.3)

     

    I’m currently working on a PhD thesis on the novels of Paul Auster and always interested in collecting material in the shape of articles and intelligent criticism. Vol 6, no 3 of Postmodern Culturehad an article by Stephen Fredman entitled “How to Get Out of the Room That Is the Book?” I’ve been able to secure an abstract of this (a student of mine gave it to me); do I have any chance of getting the whole article? Thanks.

     

    These comments are from: Carl Springer
    fs5y246@public.uni-hamburg.de

     


     

    The Editors reply

     

    Text-only versions of all conventional articles, including Professor Fredman’s, are available at http://www.iath.virginia.edu/pmc/text-only/. This archive excludes hypertextual articles and media pieces that cannot be presented as plain text.

     


     

    PMC Reader’s Report: cyberspatial hypereality is a capitalist plot

     

    So I see the only remedy to this centuries-old disease to be the total sharing of information for free by those of us who see the light at the end of the tunnel as that belonging to the oncoming train called cyber-capitalism. This will keep the culture of the net pure for long enough until there are so many of us “doing it for free” that the snakey train of consumerism will derail. So will you please send me enough money for room and board while I dedicate my life to this setting-the-world-righteous cause? I will appreciate email with the details of where and when I can collect my share ASAP, as my rent is again due.

     

    Thank you,
    RIC ALLAN

     

    These comments are from: ric allan ricallan@loop.com

     


    Special Section: PMC and Project Muse


     

    Russell Potter, 3-25-97

     

    I wanted to comment on some of the issues in John Unsworth’s informative posting, and thank him for taking the time to lay out all these histories, and set up this list.

     

    The vagaries of academic journal publishing certainly exert their pressures in all kinds of frustrating ways, and the transition into on-line incarnations has not radically altered them. But I always thought of PMC as fundamentally different from other journals, in that its functional ephemerality (back in the days, at least, when it was retrieved by e-mail or ftp) represented at least a partial exception to the old habits of thinking of texts as things, as commodities, texts as substantial material entities.

     

    Now, marketed as “America’s oldest electronic journal” (a rather ghastly moniker, I think), PMC is a little commodity package much like other little commodity packages; it has, as it were, materialized. Access to it, like access to many other electronic scholarly resources, is a commodity restricted to paid users or institutions. The Aedificium, to echo a page from Eco, is once more locked, and with Benedictine conviction we are supposed to admit that, alas, it was written that it should be so.

     

    Ironies abound–among them the fact that I and other PMC contributors cannot access our own writings, to which we ostensibly retain copyright. We have lost the ability to control the dissemination even of our own work, lost the ability in fact to give it away for free, which was part of why I was always glad to have written for PMC. Those who search the web will no longer come up with our fish in their nets, unless they are fortunate enough to be in an institution that subscribes to Project MUSE. In a time when library budgets, and university budgets generally, are in a downward spiral, this simply means that PMC has gone from being available to almost any networked computer user to being available to a few thousand persons affiliated with well-heeled educational institutions.

     

    With regard to the half of PMC’s traffic that John notes come from the .com domain, I wonder how many of these users would really want to pay for individual access. And certainly the many students at public institutions, or at poorer institutions abroad, will not be able to pay up if their institutions themselves cannot.

     

    It’s certainly a sea-change from the ostenisbly “non-commercial” internet of pre-WWW days, and maybe harder to take for old sailors who remember when the information superhighway looked more like Route 66 with potholes than the freeway offramp at LAX.

     

    And, I think, there is a disturbing trend, where the vaunted techno-demotics of the information age (and yes, yes, it was problematic from the start) is rapidly being recolonized, where public electronic materials are being sealed off, pubic-domain e-texts are being scanned, marked, and then locked away behind commercial firewalls, and such things as are still “free” are largely demos and teasers for what is not.

     

    In terms of how these concerns could really have been met with regard to PMC, I’m not sure I have an answer. If institutional support could have come from other, less-readily un-earmarked resources (faculty course-relief, or via a modest graduate editorial assistantship), or perhaps taking advantage of the net’s polylocality by farming out editorial tasks to a rotating team of editors at a number of sites, each one of which would have had only modest demands made on their time, I certainly would have preferred it.

     

    As for what is possible now, though, I wonder: would it not be far better to make the new issue the one that costs money, and make the archive free? This, at least, by adopting a sort of term-of-patent approach to the textual property of the journal, does not close up the conduit, or make what was formerly accessible inaccessible. Since PMC has been web hypertext for a while, the more recent issues would offer sufficient indication of PMC’s persona to entice those who were interested to subscribe. If 50% of the traffic goes to the archive as compared with the new issue, there would be no loss in “traffic” as such.

     

    I also would like to know if I or other PMC authors can, without violating some contract, post our own PMC articles on our own web sites, restoring them to public access. But I’d rather see the whole archive “freed” up, and let the old-fashioned notion that what a subscriber pays for is the sequential access to new issues of a journal or magazine. Most of all, I’m curious to know what other PMC people think about these issues.

     

    Russell A. Potter
    rpklc@uriacc.uri.edu

     


     

    Victor Grauer, 3-25-97

     

    Thank you, Russell Potter, for an excellent post that just about says it all for me. Before getting down to some very nitty gritty practical stuff, I just want to add that the Internet has become something like what the sun was for the Aztecs according to Bataille, an “expenditure without reserve.” And I like it that way. I myself expend a Hell of a lot without reserve, or recompense either, for that matter. And I like it a lot when institutions do the same. PMC has been very special because of its expenditure without reserve and now it will no longer be special as it seeks to enter the restrictive (and competitive) arena of restricted economy.

     

    Now let’s get down to it. How much money, exactly, are we talking about here?…A measly $5000 a year plus change? If I were making $100,000 a year, as is, apparently, many a full professor, instead of the far smaller sum I actually earn (that I will not even mention what it is) I’d be happy to subsidize the whole operation myself. You could call it Victor Grauer’s Postmodern Culture….Anyhow, as little as I make, if you asked me to contribute in order to keep it free, I’d probably plump for more than the price of a subscription, whereas now I refuse to subscribe at all on principle. Haven’t you guys ever seen It’s A Wonderful Life?

     

    As far as advertising is concerned, to be perfectly postmodern about it all, why are you turning up your nose? According to Marshall McLuhan advertising is good news and I’m sure Baudrillard would agree. It has enabled TV to shine like the sun, so why not PMC? You have a lot of readers and they must love to read so they must love to buy books. I doubt if amazon.com or Borders would lose any money if they paid PMC to add some links to its site. And there are probably a lot of those pay-per-view journals that might also like to post an ad and a link.

     

    Victor Grauer
    grauer@pps.pgh.pa.us

     


     

    John Unsworth, 3-26-97

     

    The costs of producing PMC are not large, it’s true, but they total more than that $5K–the Managing Ed. (esp. during the weeks leading up to an issue) puts in more than 10 hrs. a week, and we usually lay on some additional people, etc. etc.. With office expenses of the sort I mentioned before, extra people, and so on the total is between $10,000-15,000. And if you’d like to kick in for that, I could get used to Victor Grauer’s PMC. Capra economics, on the other hand, really don’t seem like a realistic way to go–would you want to be depending on the kindness of strangers if it were your hourly wage that was at issue? Bear in mind, the Managing Editor (Sarah Wells, now) has usually been a grad student or other part-time person, doing a lot of the grunt work of producing the issue and managing the communications flow: the editors, editorial board, authors, etc. contribute their time and effort as expenditure without recompense–this $10-$15,000, then, is a small part of the expenditure that actually goes into producing the journal, most of which already fits your Bataillian model. It just happens that this last part is the nub that has to involve cash (Fed Ex doesn’t do barter; the ME has rent to pay, the phone company etc.), and I’d like to see a sustainable way of producing that cash. Contributions doesn’t strike me, at least, as it.

     

    >As far as advertising is concerned, to be perfectly postmodern about
    >it all, why are you turning up your nose?

     

    Advertising might be it, and nobody’s turning up a nose–it may be that our needs are small enough that even the imploding Web advertising market could support them. Michael, do you have any comment on that?

     

    John Unsworth
    http://jefferson.village.virginia.edu/~jmu2m/

     


     

    Michael Jensen, 3-26-97

     

    Unfortunately, advertising is hardly a funding panacea for a journal like PMC. Some costs can be somewhat subvened by advertising revenue, but the audience of PMC is sufficiently broad yet small that it makes revenue-generating by advertising hard–especially if it’s not being organized by a professional marketing staff. That is, the time cost involved in soliciting, communicating, processing, designing, and/or emplacing advertising is also substantial, and would be unlikely to pay for itself for an individual journal, were PMC still a “free” journal.

     

    At least $5,000 per issue would need to be generated (even independent of the costs of solicitation, etc.), and scholarly journals–even one with a relatively broad readership–just don’t command huge ad-placement sums, particularly in an uncertain marketing domain like the Internet. Something like 25 ads per journal at $200/ad would be required–more than one per article. Or, if one was really lucky, 20 ads at $250 apiece. Either of those numbers is unlikely. That’s a lot of hustling–phone calls, handling of queries, etc. With forty journals and 4 million potential readers of Muse, we’ve been approached by two–count ’em–potential advertisers. That will change, but it’s not a simple matter.

     

    Scholarly publication–regardless of the medium–is of small market interest, regardless of the high value of the material to the readers. The Project Muse model–in which subscribing campuses are provided with campus-wide free access–is an attempt to do a bunch of things: keep libraries at the nexus point between scholarly publication and scholars/readers, keep costs low by keeping overhead/trouble costs low, provide broad access to high quality material to interested readers, maintain a nonprofit model of scholarly communication in an increasingly capitalist Internet, fight the trend toward cryptolopes and similar unit-based “ownership” models, and more. The Capra/Wonderful Life approach that would seem most apt would be for one scholar at each institution to buy, for $50, an institutional sub to PMC–obviating the need for anyone else (including the library) to purchase it on campus.

     

    I’m the representative of the Press in this discussion, and it’s worth knowing that I discriminate firmly between commercial and nonprofit publishers (their goals are utterly different), and between scientific and humanities/social sciences publishing (their processes and product are quite different). I’ve also gone, over the last seven years, from true believer to reluctant pragmatist as far as the Internet is concerned. It takes time to do any kind of publication well, and people’s time has costs. Somehow those costs need to be recovered. I’m quite comfortable with the hybrid of broad access and a charging model as Muse is currently structured, though if other workable cost recovery mechanisms can be suggested, I’m all ears.

     

    Michael Jensen
    Michael.Jensen@jhu.edu

     


     

    David Golumbia, 3-27-97

     

    We all agree that PMC needs to recover its costs, and that the IATH project was unable to provide adequate funds to do so.

     

    Whether or not MUSE was the only available route through which to provide these funds is, I suspect, more the province of PMC’s editors than of the other participants on this list. For the time being, it appears that PMC will remain on MUSE.

     

    What I’m not sure is clear is the degree to which the goals of the MUSE project–which are to provide alternate access to scholarly journals–dovetail well with the goals of PMC, which is to make dynamic scholarly writing available exclusively on the web.

     

    In principle, most of the journals on MUSE are available to anyone, free of charge–most public libraries can get access to them, either through their own collections or via intralibrary loan. (not that many people take advantage of this, but we’re talking principle).

     

    In principle, very few peole have access to PMC on MUSE. As other writers have pointed out, web crawlers will now be unable to index the contents of PMC (once the current issue is archived). Unless one has access to a library that 1) has a fair number of web-ready computers for public use and that 2) subscribes to MUSE, one can’t get PMC. And here I agree with other writers that individual subscriptions aren’t the solution.

     

    So the question that I think has been left hanging is: has MUSE considered radically altering its paradigm for PMC–perhaps allowing its total contents to be free as a kind of “loss leader,” or allowing the IATH site to remain up for non-academic users while “requiring,” on an “honor principle,” univerisities to access it only via MUSE? Or, as some have suggested, requiring payment for only the current issue, and allowing all the archives to be free (and thus indexable)?

     

    To summarize: the radical restriction that has now been placed on access to PMC cannot, by any argument I can think of, be suggested as a promising event for the continuing health of the journal. I would hope that something could be done to loosen this restriction, while keeping the journal’s goals consonant with those of MUSE.

     

    David Golumbia
    dgolumbi@sas.upenn.edu

     


     

    Michael Jensen, 3-28-97

     

    …Muse makes all tables of contents freely available (including the Library of Congress subject headings, etc.), as well as its search engine; the AltaVistas of the world have no trouble indexing that part of the site. We try to be as open as possible. We’re also working out arrangements with abstracting & indexing services for easy access and A&I of electronic-only journals, which many are wary of, but are more likely to pursue A&Iing when an e-journal is demonstrably stable.

     

    …Currently, 260 institutions and 80 public libraries are Muse subscribers; that represents something like 2.4 million university students, faculty, and staff who have unencumbered access to PMC, and another 3 million by way of the public libraries of Cleveland and Pittsburgh. We hope that more institutions hop on, of course, and they are (we’re in discussions with large–even massive–consortia which will affect these numbers dramatically); individual libraries can subscribe to PMC only, enabling the entire campus for $50.

     

    PMC is reaching entirely new audiences through Muse–community colleges, even high schools, public libraries, etc.–and there are lots of people performing searches on Muse-the-mass which turn up PMC articles, leading to those works being read by people interested in topics far afield from PMC’s domain. This could be exceedingly good for the journal, for the authors, and for the ideas underlying the articles themselves.

     

    …JHUP is granted nonexclusive rights to publish–authors can do with something what they will. PMC’s rights model is very appealing in spite of its “threat” to the traditional “rights” of publishers. It fits with our overall mission as a nonprofit scholarly publisher, and we’re beginning to adopt it for many of our other journals.

     

    Michael Jensen
    Michael.Jensen@jhu.edu

     


     

    Sarah Parsons Wells, 3-28-97

     

    My paycheck has been a subject of some debate here. I can certainly testify to the demands of running a journal, and the unrecompensed hours that the editors, board members, and peer reviewers put in to PMC. I have been reading the postings with great interest.

     

    The Managing Editor’s position is not one that will bring academic laurels, or even employment. As John noted, there is not much professional benefit in the scut work of managing an academic journal. I find great pleasure and great frustration in it, but I wouldn’t consider it a sound investment of time for a scholar.

     

    Some have talked about a rotating staff of editors, who can share the work and drop out after a few issues. I can imagine such a situation, but it’s not a pretty picture, frankly. The work is not rocket science, and it’s not difficult to answer correspondence and track submissions. But, many of the submissions take months to get through the review process and unless all of the editors were equally good at record keeping we would soon have chaos. Authors are sometimes hard to reach, unsure of our requirements, and confused by the technology. We already switch editorial duties between the two editors, and we bring in guest editors who take on special issues. But there is a constant flow of small tasks that need to be handled, routine letters to be answered, and communications lines to be maintained. The editors rarely lay eyes on each other or me, since they are spread out all over the country (Lisa is in Chicago, Paula in Illinois, Stuart in Baltimore, Eyal in Raleigh, and John here in Charlottesville), and they are occupied by other work, such as conferences, teaching, and research. The Managing Editor acts as traffic coordinator, data base, and, hopefully, trouble-shooter.

     

    The Managing Editor is also a reference for authors. Many authors are well-informed and experienced in electronic publishing, and they are entirely capable of formatting their articles. However, some don’t even use their e-mail accounts and have no idea what HTML is. It takes far more time to tag a 20 page essay then one might think, and it can take hours to pull it out of a word processing program, especially if the disk is corrupted, or there’s a problem with an attachement, or if the internet is overloaded. It is simply a question of paying someone to take the time to work out the details and fuss over the little questions. I am paid as much for my willingness to do these tasks as for my ability to do them. And, practically speaking, it is cheaper to pay me to do it then to ask a highly trained scholar to take time away from research and teaching to acknowledge submissions and clean out files.

     

    I am sympathetic of struggling universities and scholars who consider each penny, believe me. And I understand the importance of free access and the impact of cutting off the supply of free knowledge. But I think that the Managing Editor’s salary is necessary, at least in the current structure of the journal.

     

    Sarah Wells
    Managing Editor, PMC

     


     

    Russell Potter, 3-28-97

     

    I very much appreciated hearing from Sarah Wells, who I think has done a superlative job as Managing Editor. I agree that there are numerous small and, in themselves, rather unrewarding tasks associated with editing and assembling a peer-refereed journal. With some of the non-academic e-zines I’ve edited, I was handed the editorship as a kind of hot potato that no one wanted to hold on to.

     

    But although I suppose I am myself a “highly trained scholar,” I don’t think that ought to make me immune to or “above” scut-work. If I, or anyone, wants the prestige or recognition of editing a journal, seems to me they should be willing to sweat some. And if contributors don’t use e-mail or understand HTML, I’m not sure what attracted them to PMC in the first instance, or even how they knew about it. Careful editing may be painful and frustrating, but it’s never a waste of time.

     

    There is, inevitably, a lot of time and energy taken up in editing a journal. But the more collective it could be, the more dispersed that energy, the less of an individual burden it would become. Certainly, you still need a traffic director to make sure that evrything goes where it need to go and happens when it needs to happen–but I think that such a traffic director could be an academic, and that s/he oughtn’t to feel it beneath him/herself to take care of the numerous details such a task would entail.

     

    Another thing that e-journals can do that would break up the logjam somewhat is to discard the idea of “issues” or “numbers.” If, like the journal SURFACES, one simply adds articles to a web or ftp site at whatever point their editorial content has been resolved, one frees up a tremendous amount of time spent worrying over deadlines.

     

    I’m not saying that any of these things–editorial collectivizing, more personal responsibility on the part of e-authors, dynamic rather than static postings to the site, and on-line correction and revision–would eliminate the costs of running a refereed e-journal. But they could keep costs minimal, and by spreading them around a larger number of scholars and institutions, keep the time-budget fying ‘under the radar’ of an increasingly cost-cutting-minded academia.

     

    What disturbs me most is that this PMC thing seems to be part of a larger trend–proprietary scanned texts, proprietary journals, proprietary information–which in effect will colonize the internet. I think there is something vital in the ability to search millions of pages of data, and retrieve the needed or the unexpected–be that a painting by Frederic Church, a philosophical treatise by Kant, a bibliographical reference to a hitherto unknown writer, or a theoretical essay that fits in perfectly with a course one is designing. To the extent that scholarly information is privatized, it will not be a part of such searches, not be a participant in what had been, until recently, a stunningly heteroglot yet idiolectic internet, burning, as it was put by an earlier contributor to this list, like a Bataillean sun.

     

    What we have now is not a sun, but a light-bulb. And if that’s what we have, no doubt we must pay the power company.

     

    At any rate, I’m going to switch over to simply lurking on this list, as I feel that I’ve said what I wanted to say, but am still very curious about what others, especially past PMC contributors, have to say.

     

    Russell A. Potter
    rpklc@URIACC.URI.EDU

     


     

    Matthew Kirschenbaum, 3-28-97

     

    Rather than having only the current issue freely available at the IATH site, what about keeping all three of the year’s issues that go to make up the current volumeonline and freely available at IATH? Or alternately, adopt a rolling year-long period for hosting individual issues of PMC at IATH?

     

    Obviously this would only be prolonging the inevitable, and would not address the concerns that Russell Potter and others have articulated about maintaining long-term access to their own work. But it seems like this would at least take some of the edge off of the new distribution system. I suppose what I’m really thinking of is the way the library here keeps current issues of print journals in its periodicals room until a complete volume has accumulated before shipping the whole set off to the bindery. Those authors who published with PMC from here on out would be doing so with the understanding that their work would remain in the publically accessible IATH reading room for one year, followed by archiving on the Muse server.

     

    I’m sure that such an arrangement would fully satisfy no one who’s spoken here, but it also seems to me that it could be undertaken with minimal adjustments to the current PMC-JHUP relationship.

     

    Matthew Kirschenbaum
    mgk3k@faraday.clas.virginia.edu

     


     

    Eyal Amiran, 3-28-97

     

    This discussion itself reflects (and performs!) the dis-ease of the editors of Postmodern Culture with the decisions we’ve made about the immediate future of the journal. They’re complicated decisions, partly for the reasons already mentioned. We didn’t want to charge for the journal, and wanted as wide a distribution for the journal as possible. That was the reason we chose ascii in the beginning. But free publication isn’t possible now if we’re to continue to publish the journal as we now see it, as a professional and scholarly publication in hypermedia on the Web. Publishing on the web has made it yet more difficult to process and format and publish essays three times a year. Also, as John already noted, doing the work of the ME and of publicity and other development proved very taxing for the editors in the long run, particularly now that the editors work in different places.

     

    That said, it’s worth considering a number of other issues. It is possible that we (or someone else) publish a journal without the kind of editorial process that now defines the journal (including copy-editing, proofreading, and formatting–and even the intellectual exchange involved in the review process). Clearly there is room for such publications, and they would surely cost less time and money to produce so that they might well be published free of charge. But much would be lost if PMC went that route. PMC is not a distribution site. Like any peer-reviewed journal, it is an interactive process and not simply a set of links. To publish as we do we need some financial support (though still much less than the $30,000 normally considered a journal’s yearly budget, apart from release time and institutional support). Hypermedia is a big issue here–it makes little sense for PMC to publish in any other form, today.

     

    Given these decisions, we hope to find new and better ways to publish that would genuinely help our authors and readers. One question here is the role of the press. It’s clear to me that journal publishers will not be able to continue to use their print paradigms in the emerging environments of hypermedia. Publishers are fighting this realization tooth and nail. They categorically oppose the idea of giving anything away for free. And they have no compunction about driving the toughest bargain they think they can, whatever fairness might say. This doesn’t mean that publishers do not do the right thing, or mean well, but even not-for-profit publishers like JHUP (whose journal division makes money and subsidizes its book publishing) are having a hard time figuring out what their role can be in the new environment, and adjusting to their own new expectations from themselves. So far, for example, Hopkins has been slow to state explicitly and clearly in its promotional materials, ads, and on its web site just what is available for free and where, how individuals might access the journal, and what author and redistribution rights are. I am optimistic that academic presses will change rapidly in the next few years.

     

    So what can the press do? That’s an issue we haven’t discussed yet here. Part of our idea in signing with JHUP is that it will develop new tools–for searching, inter alia–that will add value to our articles. We expect the press to develop other, for now unknown ways of improving the electronic environment. The press is also in principle in good position to do the kinds of managerial tasks we have done in the past, like advertising and ad-exchange, better than we amateurs can, and that would benefit our authors and the journal. I hope this proves true. In addition, it should be added that our authors benefit from an association with a reputable press, such as Hopkins, though of course the press is not involved with the journal’s content and processes. But there is a value to academic prestige for most of our authors.

     

    We have signed with the press for five years, which we expect will be good ones. If they prove lean, or if our experiment fails (as Victor and Russell suggest), then we’ll have to think what is in the best interest of the journal and its readers. Considering what costs for whom and how much is part of that. But we also need to take a longer view of our readers’ and authors’ interests. It’s clear that we lose some valuable things by charging for access, and I think it’s important to say that. This is regrettable, whatever its benefits. It’s not as clear to me that, on balance, we’re giving up more than we gain. Life is short and brutish, but consider the alternative.

     

    Eyal Amiran
    eaeg@unity.ncsu.edu

     


     

    John Unsworth, 3-30-97

     

    To put the discussion of advertising in perspective, I thought I’d forward to you all our most recent request for ad placement:

     

    >Hello, my name is Guy W. Rochefort, President
    >of Dino Jump International. I found your address
    >through YAHOO. Dino Jump International are
    >specialists in manufacturing and distribution
    >of Interactive Inflatables worldwide. My lines
    >have been featured in Walt Disney productions,
    >NFL shows, and NBA events. Our product lines
    >include moonwalkers, bouncehouses, and castles.
    >
    >I am interested in mutual links on our
    >respective webpages beneficial to both our
    >businesses.  Additionally, I am interested in
    >opening dialog on mutual beneficial business
    >dealings as far as wholesale/retail efforts for
    >manufactured products from my factory and/or
    >resale distribution at competitive pricing....
    >
    >If this email is intrusive I apologize and you
    >will not hear further from me. Thank you again
    >and I am looking forward to doing business with
    >you.
    
    

    Interactive inflatables: the phrase is so… suggestive.

     

    John Unsworth
    jmu2m@jefferson.village.virginia.edu

     


     

    Lisa Brawley, 4-3-97

     

    Several key issues have been raised here about the ultimate compatibility of MUSE and of PMC as models and modes of scholarly electronic publishing, and this note is in no way meant to foreclose that larger discussion. I would say from the outset that it’s clear to me and I hope to those in this discussion that JHUP has not forced PMC into a generic MUSE model; Michael and others at JHUP clearly appreciate the specificity of PMC as an all-electronic journal with an established readership and an open access policy and they have done much to accommodate that specificity within the parameters of the MUSE project. I’m fully confident that we can continue to refine the journal’s place within project MUSE such that (to adapt David Golumbia’s phrase) our move to JHUP will indeed prove a promising event for the continuing health of the journal.

     

    That said, this much is also clear: any responsible, workable model of electronic publishing will need to provide its authors meaningful access to their own work–our current model doesn’t.

     

    The problem of author access is a central and symptomatic issue, one that those of us on the editing/publishing side of this discussion have not adequately addressed. The problem of author access is not limited to authors who published with PMC before the move to JHUP. Under the current plan, we have nothing to offer contributors other than the free current issue (i.e. nothing more or less than any web user receives). What’s more, contributing authors lose access to their own work once the issue in which it appears is no longer current, as several PMC authors have pointed out here with dismay. I share their view that this is unacceptable.

     

    So: 1). I’d be very interested to hear additional suggestions for ways to provide–not just allow–authors meaningful and ongoing access to work published in PMC. I’d add that citing the non-exclusive copyright clause and reluctantly acknowledging that authors can republish their own work elsewhere on the Internet is not an adequate solution to this problem.

     

    2). I’d like to hear what the other editors and Michael Jensen would have to say to the important and troubling point that Russell Potter and others raise that in granting JHUP the rights to restrict the PMC archive we have violated a primary prior understanding with our contributing authors. It seems to me that in many ways we have, although it’s not at all clear to me what we can do about that under the terms of the current contract (about which more directly). As Russell Potter recently made plain: “I wrote with the understanding that my writing could be disseminated without cost, and I think this bargain with JHUP is a fundamental violation of that understanding.” David Golumbia also notes that he chose to publish in PMC “precisely because of its universal availability to Internet users.”

     

    3). Several people here have argued persuasively that we might solve both the problem of author access and the problem of violating prior understanding by moving to a less restrictive subscription-based model, one that would reverse our current archive/free issue system: we would charge for access to the current issue or volume and provide free access to the archive of past issues. I, for one, find many of their arguments compelling (and I recall that John Unsworth briefly wondered whether “Maybe we did get it backward”). I’d be interested to hear what Michael and the other editors would have to say about reversing the current access model. And I’d think we would want to move our consideration of these access questions beyond simply citing the impressive access figures of project MUSE–those figures, it seems to me, lend equal support to either model.

     

    Finally, I would like to address David Golumbia’s concern that we not merely answer the questions raised here with a “plain assertion that things must be done the way they have been done.” I fully agree. If there has been any plain asserting it may have been out of a sense that we have already signed a contract that grants JHUP the rights to restrict access to the PMC archive. It’s worth pointing out, however, that that same contract also enables and obliges us to re-visit the terms of the contract every year–especially in regard to the question of what is freely available and what is restricted to subscribers. It’s my hope that our discussion here will not only help us identify problems with the current model, but will also help us find innovative ways to solve them….

     

    Lisa Brawley
    Co-editor, Postmodern Culture
    lbrawley@kent.edu

     


     

    Michael Corbin, 4-16-97

     

    There is a feel of inexorability, a ring of elegy to the discussion. I mean the contract is signed after all; and while the terms of that contract may be ‘revisited,’ it’s easy to see the physics lesson on the properties of inertia or gravity becoming the mass around which that ostensible revisitation will orbit. I mean also that I’m here because I was booted from the PMC archive for not having my affiliations in order. In fact I had no affiliation. What made my relationship (heretofore an engaging one) to PMC, its texts, its authors, it experiences, its pretensions, its hopes, is, well, over. Someone changed the locks.

     

    Be that as it may, trampled by the running-dog once again, maybe a couple of observations by way of benediction:

     

    I would agree with R. Potter (whose posts herein should be noted for tilting admirably against many of the obvious windmills that are proffered as the realpolitik-speak of the ‘necessary’) that the archive is the field to romp in. That if it could be accessible, maybe by secret passage, or by fugitive re-constitution, all to the good. I mean, in that romp, it’s not the purchase on the ‘new,’ but the purchase on that which matters that produces pleasure.

     

    In that line of thinking, I read the desire of contributors to retain ‘rights’ here as a discussion of ‘retaining’ or rather producing ‘rights’ for readers. Perhaps this is obvious but it is a distinction perhaps clouded by too narrow a look at authorial use-value of the ‘journal’ rather than the more pedestrian hopes of its exchange-value. Something the language of ‘contract’ often clouds.

     

    For me, from my limited vantage, I would, ex post facto, want PMC to be a kind of a fly in the ointment of the MUSE. Struggle against its too ready desire of the very ‘replicability’ that ostensibly is sought. While I appreciate the distinction between JHUP’s ‘non-profit’ protestations and publishing’s evil profit-mongering other, such a distinction too easily absolves a kind of will-to-monopoly of cultural capital that, I feel, a scheme like Project Muse represents. This is not just the apostasy of Net/Web anarcho-utopians, but rather the sequestering of more and more intellectual labor everywhere; not just an affront to a democratic thinking, but an affront to thinking itself. I mean, who do you want reading PMC and why?

     

    Regarding scut-work, it seems to me that it is precisely here that some responsible, more modest intervening might be done. The institutions under whose auspices PMC exist, as has been noted, assign no, or very little, status to said scut work. A longer term project no doubt, but it seems incumbent that cultural capital must be demanded from these institutions for intellectual labors of the sort the web/electronic publishing represent. If such recognition is not forthcoming then indeed it seems inexorable that the JHUP’s and the Project Muse’s will bundle together the de-valued labors of the divided many for the inflated value of the collated few. And do so speaking a magnanimous tongue.

     

    So lets be honest. The bargin stuck with the MUSE makes PMC a different thing. Different from what it formerly was. Perhaps it aspires to a difference from what it elegiacally, perhaps tragically, might become. Not to be melodramatic…so we’ll see. And, well, if anybody wants to let me in the back door when the guards aren’t looking, you got my number on the top.

     

    Michael Corbin
    evadog@bitstream.net

     


     

    Marjorie Perloff, 5-2-97

     

    [In reply to a previous message by Michael Jensen, not included here.]

     

    Your arguments are cogent but the big question that remains in my mind is this: once PMC gets to be more or less like all journals (those not on-line) what makes it special? Different? My own feeling is that once one has to subscribe and the journal comes out in its current format, I’d much rather sit in an armchair (or out in the sun!) and read it between two covers than bother to scroll down the screen. I think electronic journals have a different mission. I like EBR [Electronic Book Review], edited by Joe Tabbi at Illinois very much because of its speed in turn-around and high quality of argumentation. When I reviewed Franco Moretti’s book for EBR, I had the pleasure of seeing my review on line within a month or less and then his response and my response–ditto. That creates dialogue. This is what electronic publication can do. But PMC has increasingly followed the “normal” model–a bunch of essays, a bunch of reviews–and now the need to subscribe, so what is the ADVANTAGE of this over any normal print journal?

     

    Marjorie Perloff
    perloff@leland.Stanford.EDU

     


     

    David Porush, 5-3-97

     

    I was waiting for an argument like Marjorie’s to arise to put in my two cents.

     

    There must be a virtue to an on-line journal beyond the speed, ease and convenience of shuttling the raw data among reviewers, authors and editors. To constrict this new potential into the rut already carved by an older medium (i.e. print) seems an ostrich-like way to proceed.

     

    So shouldn’t we be spending a good deal of our time in this discussion wondering how to unleash the potential for academic discourse provided by this new medium rather than worrying over how to make it legitimate by squeezing it into the old boxes?

     

    For instance: what is the power provided not by a totally closed subscription model but by a gateway or access-provider model? What about a semi-permeable membrane model, which gives the reader-user access, in part, to dialogues with authors and editors through the on-line text? What about a journal that included hyperlinks to other resources, sites, databases, archives, people? What about a journal that was partly “graffitable” (as my grad students have been calling it) so that readers could in limited fashion “write over” or “on” the e-space provided by the journal, leaving traces of their travel through the site? I think it is tragic if PMC, which has already established its credentials in the old, fussy legitimate print fashion (to a certain degree) now turns backward rather than forward. It would be like including banisters in elevators. Indeed, embracing some of the new electronic forms invited by the medium might help PMC define what is distinct about it not only in terms of how its delivered, but in some fundamental epistemological terms.

     

    David Porush
    dporush@widomaker.com

     


     

    Adrian Miles, 5-7-97

     

    As someone who has published via PMC, and is considering doing so in the future, I would like to add my voice to this (and also Russell Potter’s comments). The strength of PMC was that

     

    1.      it was scholary (peer reviewed, etc) 
    2.      it was hypertextual (new forms of academic publication and writing) 
    3.      anyone with net access could read it (from my local library to where ever)

     

    While points a and b remain, all of a sudden no one at my campus (RMIT, Melbourne Australia) can read my work, and the only way I seem to be able to allow people to read it where they don’t have subscription rights is to make a copy avaialble.

     

    However, where the work may be explicity hypertextual (for example incorporates multimedia elements and relies on a web server) all of a sudden it is no longer a case of just sending someone some text, but of needing to send or even self publish a web based version, and in numerous cases this might not be possible, and is probably in breach of the terms of publication in PMC (I’m not sure about this last point).

     

    And that leads to the question of mirrored pages/sites. A piece of mine is mirrored on my server since it is bandwidth intensive, so it made sense to keep a copy in Australia for Pacific users. Am I supposed to remove this? or do the links from the original PMC edition still point to the mirrored copy? And what in the future, would this still be an option or only while the current issue is available? (I suppose if it moves to a subscription model then the entire site could also be hosted, say in Australia, Europe, and Japan…)

     

    Adrian Miles
    amiles@rmit.edu.au

     

  • Who’s Zoomin’ Who?: The Poetics of www.poets.org and wings.buffalo.edu/epc

    David Caplan

    Department of English
    University of Virginia

    dmc8u@virginia.edu

     

    The Academy of American Poets’ Web site and the Electronic Poetry Center
     

    “Friends?”

     
    If, as Blake would have us believe, opposition is true friendship, then some antagonists certainly hide their affection better than others. Consider how the Academy of American Poets introduces itself on its new Web site:

     

    The Academy of American Poets was founded in 1934 to support American poets at all stages of their careers and to foster the appreciation of contemporary poetry. The largest organization in the country dedicated specifically to the art of poetry, the Academy sponsors programs nationally. These include National Poetry Month; the most important collection of awards for poetry in the United States; a national series of public poetry readings and residencies; and other programs that provide essential support to American poets, poetry publishers, and readers of poetry.

     

    Now consider how Charles Bernstein, the poet and Executive Editor and co-founder of SUNY Buffalo’s Electronic Poetry Center, describes the same organization (which he mistakenly refers to as the “American Academy of Poetry”):

     

    Finally, there are the self-appointed keepers of the gate who actively put forward biased, narrowly focused and frequently shrill and contentious accounts of American poetry, while claiming, like all disinformation propaganda, to be giving historical or nonpartisan views. In this category, the American Academy of Poetry and such books as The Harvard Guide to Contemporary American Writing stand out. (248)

     

    Since Bernstein’s memorable attack, his poetry and criticism have gone, to use Alan Golding’s phrase, “from outlaw to classic.” Appointed the David Gray Professor of Poetry and Letters at SUNY Buffalo, Bernstein faces the obvious charge that he has been co-opted by “the official verse culture” he condemns. In an ironic contrast, the sexagenarian Academy of American Poets finds itself a mere babe on the Internet. Opened in April to coincide with the second Annual National Poetry Month, the organization’s Web site faces comparisons and, to a certain degree, competition with the much better established Electronic Poetry Center. As if according to some New Age prophecy, the old have been made young, and the outcast reborn as Executive Editor.

     

    Given such a background, the two sites might be said to offer an old fashioned war-of-words writ electronic, a continuation of poems and poetics by other means. Like the groups and figures behind them, both sites also must face the larger challenge of trying to find a place for poetry in the American public sphere. A skeptic might quip that the art can claim a National Poetry Month but not a national audience, while others offer anecdotal evidence in support of their hope that reports of poetry’s death have been greatly exaggerated. Regardless of which view is more accurate–and, frankly, who knows?–the Electronic Poetry Center and the Academy of American Poets’ Web site offer noteworthy models of how technology might allow what are often called “mainstream” and “oppositional” or “outsider” poetries to sustain themselves in an age of such insistent pulse checking. Among the questions, then, that I will consider are: what kind of poetries do the Web sites promote, and to what extent do they exploit or fail to appreciate the new interpretive, archival, and critical possibilities that the electronic age offers?

     

    “Not Here For Years”

     

    As a man said to me, we were buying
    fruit on Seventh Avenue, I know you by
    your picture, you are the lady who has
    not been here for thirty one years.
    	    --Gertrude Stein
    	      How Writing is Written (67)

     

    In late March the Academy of American Poets released a press statement announcing it would establish a Web site. Run on the wire services, the story made several newspapers’ gossip pages, along with the news that Steven Spielberg had cast a former Supreme Court Justice to play the role of a Supreme Court Justice and Barbara Streisand had missed Celine Dion’s performance of Streisand’s academy-nominated song, “I Finally Found Someone,” because of “an ill-timed trip to the restroom.” Awarding the Academy’s efforts equal respect as Babs’ faux pas and the Jurist’s well-rehearsed cameo, the Boston Globe reported:

     

    Quoting T.S. Eliot and Robert Frost, the Academy of American Poets has announced it's going on line. Academy executive director Bill Wadsworth said this week that the academy will launch "the most comprehensive and lively poetry site on the World Wide Web" April 1, the first day of National Poetry Month. Browsers who key in www.poets.org will find "an oasis for wisdom in an age of information...a place to read, learn, and discover," Wadsworth said.

     

    To have good press releases, you need unblushing self-promotion. However, Wadsworth’s superlatives interest me less than the first boast it qualifies: his claim that the Academy’s Web site will be “comprehensive”–and, by implication, certainly not “biased, narrowly focused” as Bernstein characterizes the Academy’s previous accounts of American poetry. And why not? After all, greater comprehensiveness is one of the chief virtues ascribed to the Internet. While print-based discussions of poetry are literally bound by the technological and cultural limits of how much material can be held together in a marketable package, the electronic form, at least in theory, promises to expand radically these parameters. A future when The Best American Poetry has been supplanted by on-line anthologies of all poems published or just submitted that year–such is the stuff hypertext dreams are made of.

     

    So is the Academy’s Web site “comprehensive?” In one important respect, a qualified yes. Like many poetry Web sites, this one runs a discussion forum. What’s admirable about this discussion is not what’s being said but who is saying it. Although most contributors to the list did not identify their professions, among those who did were a technical editor in the aerospace industry, a NASA employee, and an elementary school librarian. It is a national and cultural disgrace that so few public forums exist in America for those who live outside of urban centers and university towns and want to discuss poetry. As one of the select poetry organizations capable of getting a press release onto the wire services, the Academy performs a valuable service by helping these people–and interested others–come together to talk about poetry.

     

    Sadly, though, there doesn’t seem much to talk about, at least not yet. By mid-June, the two most popular topics for general discussion drew only nine e-mails apiece, most brief and tentative. As newcomers to the already crowded Internet, the group might just need a little more time to attract new participants. However, the awkward trickle of replies suggests the larger challenge of launching an electronic discussion group, even a well-publicized one. The Academy admirably invites “anyone with an interest in literature” to participate; but poetry as a whole, let alone literature, offers an impossibly wide topic for conversation. Although poetry might be what the neighbors don’t want to talk about, interested parties need a more manageable set of shared interests and texts–a canon, one might say, if that term were not too busy doing penance for New Critical sins. Put simply, the strangers who make up the discussion group share a desire to talk but not yet a subject.

     

    In addition to the discussion group, the Web site currently features recordings of poets reading their work, three historical exhibits–on Modernism, the Harlem Renaissance, and British poetry–and four thematic exhibits on poems about ancestry, love, grief, and work.

     

    While the discussion group is, at least so far, a noble failure, the historical poetry exhibits are reprehensibly, perhaps even defiantly, inadequate. Here is “The Modernist Revolution” on Marianne Moore, e.e. cummings, and William Carlos Williams (with links to biographical sketches):

     

    What was new in Marianne Moore was her brilliant and utterly original use of quotations in her poetry, and her surpassing attention to the poetic image. What was new in E.E. Cummings was right on the surface, where all the words in lower-case letters and a parenthesis "(a leaf falls)" may separate "l" from "oneliness." William Carlos Williams wrote in "plain American which cats and dogs can read," to use a phrase of Marianne Moore. "No ideas but in things," he proclaimed. In succinct, often witty poems he presents common objects or events--a red wheelbarrow, a woman eating plums--with freshness and immediacy, enlarging our understanding of what a poem's subject matter might be.

     

    As the saying goes, you could write a book about what the Academy has left out–indeed, the many authors of books on these three poets and Modernism in general have done exactly that. Given such rich resources, the editorial choices behind “The Modernist Revolution” leave me baffled. Why does the Web site never cite a single critical study, prose appreciation, interview, or biography? Why does it not offer an annotated bibliography and some essays for those who want more than a brief half paragraph on Williams and a single sentence on Moore and on cummings? In short, why doesn’t it take advantage of the Internet’s capabilities for expansiveness? Poetry without literary criticism except in baby-sized bites–is this what “comprehensive” means?

     

    By limiting itself to one-page synopses of major historical movements, the Academy perhaps invites scorn from pointy heads like me who don’t like to see their favorite poets reduced to caricatures. However, to say the Web site presents a dumbed-down version of Modernism does not do justice to the consistency of its editorial choices. Instead, it is more accurate to say that “The Modernist Revolution” offers Modernism Without Too Much Revolution. I return to the last sentence of the passage I just quoted because it is so frustratingly representative: “In succinct, often witty poems he [Williams] presents common objects or events–a red wheelbarrow, a woman eating plums–with freshness and immediacy, enlarging our understanding of what a poem’s subject matter might be.” If Williams could log in, he would be less than thrilled to read that his main contribution to literature is to make the world safe for the late confessional short lyric–or, as it is more often called, the workshop poem. According to Academy, Williams should be celebrated for “common objects or events” vividly presented. But didn’t Williams more crucially enlarge our understanding of what a poem’s form might be? To borrow a phrase from another Modernist, the Academy seems to have had the experience but missed the meaning. Take the example of one of Williams’ two poems that “The Modernist Revolution” cites, “To a Poor Old Woman.” The poem famously declares:

     

    They taste good to her
    They taste good
    to her. They taste
    good to her. (383)

     

    If the main point of these lines is their subject matter, then they are overly repetitious and poorly punctuated. Instead, this stanza can be more accurately called a demonstration of what poetic form can do. Line breaks suggest inflection which, in turn, act far more ambitiously than as the mere exposition of subject matter. In particular, the slow, extended consideration of the statement, “They taste good to her,” proceeds with the hesitant, sensuous pleasure of the imagination at work. The poem may be titled “To an Old Woman” but it is less about her than the formal pleasures the imagination allows the poet to experience, or, as Williams wrote in Spring and All,

     

    The only realism in art is of the imagination. It is thus that the work escapes plagiarism after nature and becomes a creation. Invention of new forms to embody this reality of art, the one thing which is, must occupy all serious minds concerned. (198)

     

    “The Modernist Revolution,” however, does not mention Spring and All, Williams’ most important book, nor Kora in Hell, his most influential book for writers of prose poems, nor any of Williams’ crucial essays; his most important poem, the five volume “Paterson,” is wildly pruned to the single familiar motto that has become, as Ron Silliman notes, “the battle cry of anti-intellectualism in verse” (660). (Fittingly, the version of “The Red Wheelbarrow” that the Academy refers to is the anthology piece of Selected Poems, not the untitled prose and verse meditations of Spring and All.)

     

    What’s excluded is the “other” Williams that, among others, Bernstein, Silliman, Marjorie Perloff, Hank Lazer, and Eliot Weinberger have written about. While it is undeniable that Williams’ “succinct, often witty poems” form part of his work’s legacy, the Academy’s sin is that of the funhouse mirror which distorts one arm into an entire body. Captured in such unforgiving glass, Williams becomes, like Moore, less a groundbreaking experimenter than a rather unambitious Imagist.

     

    Although no single figure can sum up what’s missing from “The Modernist Revolution,” one comes close: Gertrude Stein. Her name appears once, without any elaboration, in a list of several early twentieth-century artists in painting, music, architecture, and literature. Again, the Academy remains true to its prejudices. Stein is not an Imagist; her work is not “conventional”; it may be wildly influential, but not, evidently, to those poets whom the Academy considers to be important.

     

    With characteristic shrewdness Stein once wrote, “A very bad painter once said to a very great painter, ‘Do what you like, you cannot get rid of the fact that we are contemporaries.’ That is what goes on in writing” (151). A historical exhibit should remind us of exactly whom history cast as contemporaries: Gertrude Stein and Robert Frost, born during the same year, William Rose Benét, Mina Loy, and William Carlos Williams, together for a wildly anticipated joint poetry reading, and the young Yvor Winters, who hailed Loy as one of the greatest poets of her generation and Williams as a potential prophet. Although Modernist poetry contains multitudes, the Academy, failing to exploit the Internet’s archival resources, presents it as the work of seven men and two women.

     

    As the Academy’s Web site makes perfectly clear, the argument over Modernism neither stops nor starts with Williams, Stein, Pound, Eliot, et al. Rather, where we think we have been tells us where we need to go. As if to prove this point, the Web site lists the poets its exhibits feature or will feature. Not one of these poets is associated with either Language Poetry or New Formalism, the two movements which, during the last two decades, have posed the noisiest challenges to late confessional poetics. Although individual readers may prefer the work of one group to the other, no literary history of contemporary American poetry is complete without at least considering these movements and their implications. The Academy does not. The omissions of the past become the omissions of the present and, it seems safe to predict, of the future.

     

    “a group poem/renga/range of affection”

     

    It all depends on what you call profound.
    	    --William Carlos Williams
    	      The Autobiography (390)

     

    Soon after Allen Ginsberg’s death on April fifth of this year, the Electronic Poetry Center began to memorialize him with an exhibit, “Allen Ginsberg (1926-1997),” a collection of e-mail exchanges from Poetics, the poetry discussion linked to the Electronic Poetry Center. Written on April 4, the first post came from Charles Bernstein:

     

    Allen Ginsberg has been diagnosed with liver cancer and is not given much more time to live. There are articles about his illness in today's New York Post and Philadelphia Inquirer. I would imagine everyone reading this will have the same intense reaction I am having. It seems like Allen Ginsberg has been with me all my life.

     

    What follows is extraordinary. In forty-four postings over the period of two days, the respondents offer sometimes painfully intimate tributes to Ginsberg’s profound influence on their lives. After one contributor asks, “shall we write a group poem/renga/range of affection for allen ginsberg?” a group poem begins, with each line composed by a different writer. At one point the poem reads:

     

    pull my daisy, poet
    Happening to notice the willow leaves in the garden, a
    		braille page of words
    the wind a simultaneous translation
    the sorority girls sing of fucking in a plaintive way
    nothing has happened, no one has died

     

    “nothing has happened, no one has died”: if this line were to appear without any further explanation in the pages of, say, The Paris Review, the best adjectives to apply to it might be “artful,” “elegiac,” and “nicely understated.” Read in the context of “Allen Ginsberg (1926-1997),” it is a wish poignantly pretending to be a fact. As the heading attests, the e-mail was written on Friday, April fourth, at eleven eighteen p.m. By then, although Ginsberg was still alive, the something that had happened was the certainty that he soon would die.

     

    The closest analogy I can think of for “Allen Ginsberg (1926-1997)” is a condolence book at a funeral, another written record of a social mourning. However, the Poetics’ exchanges take place in the notoriously cool medium of electronic mail; the mourners are not gathered in some funeral home parlor but seated before their terminals, in some cases separated by thousands of miles. A few months later, what they wrote while waiting for a poet they loved to die forms a precisely dated chronology–equal parts consolation, catharsis, and homage: an oddly pre-Modernist elegy written according to e-mail conventions.

     

    “Allen Ginsberg: 1926-1997” displays the Poetics List and perhaps even the electronic discussion format itself at its best. While technological efficiency allows discussion to proceed almost in real time, this conversation never would have taken place at all without cultural and human necessity: the absence of equally attractive venues coupled with the knowledge that the other contributors would share, as Bernstein wrote, “the same intense reaction I am having.” To lament that such social mourning can take place only through e-mail is to miss the larger point of what was accomplished. Instead, it seems more accurate to say that “Allen Ginsberg (1926-1997)” presents a hopeful vision of the kind of public spaces technology can help create, even within a culture that often frowns upon or trivializes such displays of grief. More particularly, the ensuing conversation’s tone, so intimate that, at times, it almost verges on the exhibitionistic, seems wholly appropriate for eulogizing Ginsberg. The author of “Kaddish” and “White Shroud” would appreciate, I believe, the emotional paradoxes inherent in declaring over the Internet, as several contributors did, that they have broken down in tears.

     

    “Our aim is simple,” the Electronic Poetry Center’s welcome cheerfully declares, “to make a wide range of resources centered on contemporary experimental and formally innovative poetries an immediate actuality.” While this clearly defined sense of purpose makes possible discussions such as “Allen Ginsberg (1926-1997),” it also fuels more common and less productive exchanges. De rigueur for discussion are quick dismissals of poems that do not neatly fulfill the group’s definitions of “experimentally and formally innovative,” as if nothing can be learned from writing that differs from your favorites. Conspiracy theories also abound–but just because you’re paranoid, that doesn’t mean someone is after you.

     

    A few months after Ginsberg’s death, the Electronic Poetry Center moved “Allen Ginsberg (1926-1997)” to a permanent exhibit of what it calls obituaries. The introductory link’s new displays include a letter from Jackson Mac Low, in which he discusses the differences between his work and John Cage’s. The reader whom the Academy’s Web site would envision might reasonably ask, “John Cage–do you mean the composer? And who is this Jackson Mac Low?” Indeed, to go from the Academy’s Web site to the Electronic Poetry Center is akin to taking a winter flight from Bangor to Key West. The fact that no passports are checked confirms that we have not left the country, but everything else–the climate, landscape, culture, even the air itself–seems wholly different.

     

    As I mentioned before, the Academy’s Web site conspicuously ignores poets associated with Language Poetry. In turn the Center unkindly repays the favor. Only a half-dozen poets make both the Academy’s and the Center’s lists of featured authors, while nearly two hundred names appear only on one. The Center offers Rae Armantrout to the Academy’s W.H. Auden, Samuel Beckett to John Berryman, Robert Creeley to Lucille Clifton, and so on.

     

    “Is anything central?” John Ashbery, the one living author whom both lists share, famously asks in “The One Thing That Can Save America.” After several reformulations of the question, the poem ends with a vision of a suburban present morphing into the future:

     

    Now and in the future, in cool yards,
    In quiet small houses in the country,
    Our country, in fenced areas, in cool shady
    streets. (45)

     

    Twenty years later, these households are still fenced (now electronically); they also have bought satellite dishes and gone on-line. What, if anything, is central to this later version of the culture Ashbery depicts–the town or university library, or its Barnes & Noble? The M.T.V. its teenagers watch obsessively, Martha Stewart’s latest cookbook, or the web its college students spend their nights surfing, home for a long weekend and already bored?

     

    Out-doing Yeats, Ashbery turns his and my questions into rhetorical ones. For him, the idea of the center cannot hold because there can be no one center but various centralities. This, I believe, is the best way to understand both the Electronic Poetry Center and its relation to the larger poetic community. The Center’s Mission Statement declares its role to be compensatory, offering alternative routes of distribution to what the “mainstream” ignores: “Our aim is to provide access to [the] generous range of writing which mainstream bookstores, publishers, and, increasingly, libraries are unable or unwilling to make available.” To this end, the Center offers fairly extensive information about small presses and publishers, and the kind of experimental poetry you cannot find in The Norton Anthology of Modern Poetry.

     

    To call the Center out of the “mainstream,” however, is to overlook the issue of which stream we are talking about. Such monolithic distinctions are not very helpful, even when applied only to the limited topic of elite, print-based discussions of poetry. Is The New York Times central–or PMLA? For example, any reasonable account would place in the poetry mainstream Anthony Hecht, the much honored Academy Chancellor Emeritus. Published by Knopf, Harvard University Press, and Princeton University Press, the four new books of poetry and criticism that Hecht produced during the nineties benefitted not only from his reputation but from the impressive publicity and distribution resources of these prestigious publishing houses. Predictably, all five books were reviewed in the literary journals and newspapers that assiduously ignored the work of poets such as Charles Bernstein. Yet a few minutes with the Arts and Humanities Citation Index confirms that, during 1994-1997, the number of academic citations for Bernstein’s work doubled those for Hecht’s. As this statistic suggests, the poetry that university poetry presses and book reviews chart as “mainstream” looks more like a mudflat to many literary critics–and, as The Washington Post‘s Jonathan Yardley reminds his readers almost weekly, vice versa.

     

    More to the point of this review, the Electronic Poetry Center dramatizes the differences between the kinds of poems and poetics central to the web and print-based cultures. While scholarly citation marks academic respect, the number of hits a Web site receives suggests the electronic community’s view of whether or not that site is literally worth looking at. In April, 1997, the month Allen Ginsberg died and the Academy’s site opened its electronic doors, the Center’s root directory recorded 151,200 transactions. Including both the multiple hits of a single user roaming through the Center and the use of background graphic files, this imprecise figure of course can be analyzed in innumerable ways. Its import, however, is rather self-evident: to many, many poetry enthusiasts, the Center seems the place to be. No matter how you crunch them, 151,200 hits can’t be wrong.

     

    Why? What these raw numbers hint at is an unquantifiable sense that, while the Academy gives the appearance of going on-line because everyone else has, the Center addresses an otherwise unsatisfied need. Reading the poems that the Academy’s Web site feature is often a depressing aesthetic experience because the poems lose the immediacy of a book held in your hands yet gain so very little. An Auden poem converted into HTML mark-up and typed onto the screen looks like, well, an Auden poem converted into HTML mark-up and typed onto the screen. Even if the Academy’s Web site were to focus on typographical poems such as Hecht’s “The Gardens of the Villa d’Este,” John Hollander’s heart-shaped “Crise de Coeur” or star-shaped “Graven Image,” the resulting exhibit would just emphasize that, to its credit, such verse works best on the page, the canvas for which it was originally painted. However, to look at the Center’s visually stunning gallery of poems is to appreciate the affinities between a kind of hypertext and what the Center calls “experimental and formally innovative” poetics. Bernstein’s on-line visual work, “Veil,” sends a reader back to his earlier book of the same name. Published in 1986 by Xexoxial Editions, a small press in Madison, Wisconsin, Veil, the book, overlays typescript lines of sometimes grainy, indecipherable words upon each other. Constructed in the nineties, “Veil,” the hypertext poem, offers digital words, shapes and colors similarly overlaid over each other. In short, while both works profoundly engage the resources of their chosen medium, it is easy to see how the experiments of one would lead to the other. This likeness does not stop with the poetry the Center has put on-line. Instead, to re-read Cage’s and Mac Low’s “reading through” and “writing through” of source texts, Johanna Drucker’s visual poetry, or any of a number of other print-based works written before the Internet boom is to see how they were–and, in most cases, still are–hypertexts waiting to happen.

     

    Recognizing these similarities between hypertext and verse poetics, the Center does not segregate poetry from literary theory, criticism, and hypertext scholarship, as the Academy’s Web site does. As a consequence, a viewer can go from an on-line version of “Tender Buttons,” to bibliographies of Mina Loy’s works and criticism on them, to Marjorie Perloff’s home page, then end with Christopher Funkhouser’s provocative essay, “Hypertext and Poetry,” in which he claims, “Technology is just catching up to what progressive minds have been doing across atomic-atomicized decades.”

     

    At moments like these, the Center swaggers a bit with the self-assurance of someone doing something important. “The future is watching,” it all but crows to anyone who’ll listen. Acting on this hope, the Poetics List archives all of its e-mails, not just those from the last ninety-nine days, as the Academy does. Such confidence belies the Center’s claim that its role is secondary, providing an alternative to the more powerful “official verse culture.” Instead, the aptly named Electronic Poetry Center gives every indication of believing that the poetics it promotes are, and will continue to be, central to any understanding of late twentieth-century poetry and poetic theory.

     

    Word processors are to postmodernism what the typewriter was to modernism, Fredric Jameson once declared, neatly conjuring a wide range of familiar assumptions (quoted in Public Access 125). Yet whole shelves of learned books remind us how recently equally heady claims were made for psychoanalysis, LSD, even the Ouija board. However, if Jameson’s prediction turns out to be right, or at least more right than wrong, then the next generation of literary scholars are likely to see much of the Center’s cockiness as rather charming self-assurance and remember the Academy in the same vein as Lascelles Abercrombie, the Georgian poet best known for provoking Ezra Pound into challenging him to a duel.

     

    “You Can Get There from Here”

     

    “The possibilities for poetry’s writing in electronic space are to be reckoned,” Loss Pequeño Glazier, the director of the Center, wrote in a recent issue of Postmodern Culture. “What will happen? Will it be milk and honey or virtual Balkans?”

     

    So far I have proposed the latter possibility, with imagery that stresses opposition, competition, even dueling. “Both,” however, is the better answer to Glazer’s second question. The literary histories that the Web sites present are mutually exclusive; the Web sites themselves are not. Significantly, each offers links to the other. Like the group poem at the heart of “Allen Ginsberg (1926-1997),” this cooperation is less the taste of milk and honey than a reminder that the electronic landscape is, at least so far, neither essentially cooperative or competitive but a little of both. Instead, the poetics that the two sites represent draw what Ashbery would call “juice” from their dance through several mediums; in the electronic landscape, the Center leads and the Academy follows, while, elsewhere, their roles dramatically reverse.

     

    Ultimately, what the two sites share is their desire for technology to help poetry not be merely “academic.” To this end, the Academy’s site seeks to bring poetry to readers outside the universities. In this utopia, however, Homer banishes Plato and most other poets, as the Academy deems literary criticism, theory, and a great deal of poetry not worth its consideration. In contrast, the Center, sponsored by a university and peopled by many card-carrying members of the MLA, brings together writers not only of poetry, literary criticism, and theory, but also of hypertext scholarship. Fed with such abundant information, many of the resulting conversations are driven by name-recognition value and clannish attitudes. Even on an afternoon where forty messages deluge each subscriber’s account, a topic suggested by, say, Ron Silliman will not go undiscussed.

     

    In this paradoxical, competitively cooperative, and cooperatively competitive electronic landscape, any claim to comprehensiveness is quixotic. However, while the study of poetry suffers from so many professional categories and sub-categories that have little to do with the actual practice of writing and reading, hyperspace’s eternal delight is the energy of feuding poets, critics, flame wars, and scholarship gathered together, sometimes despite themselves, into a dream of what comprehensiveness might be.

     


    *I’d like to thank Matt Kirschenbaum and Gena McKinley for conversations about poetry and the Internet, and Charles Bernstein for answering my questions about the Center.


    Works Cited

     

    • The Academy of American Poets. “The Modernist Revolution.” April 1 1997. www.poets.org.
    • Ashbery, John. Self-Portrait in a Convex Mirror. New York: Penguin Books, 1972.
    • Bernstein, Charles.Content’s Dream: Essays, 1975-1984. Los Angeles: Sun and Moon, 1986.
    • Bérubé, Michael. Public Access: Literary Theory and American Cultural Politics. New York: Verso, 1994.
    • Dezell, Maureen. “Poets Spin a Web.” The Boston Globe. 28 March 1997: F2.
    • The Electronic Poetry Center. “Allen Ginsberg (1926-1997).” 1994. wings.buffalo.edu/epc.
    • Funkhouser, Chris. “Hypertext and Poetry.” The Electronic Poetry Center. wings.buffalo.edu/epc.
    • Glazier, Loss Pequeño, “Jumping to Occlusions.” Postmodern Culture. 7.3 (May, 1997).
    • Silliman, Ron. “Of Theory, To Practice.” Postmodern American Poetry: A Norton Anthology. Ed. Paul Hoover. New York: Norton, 1994.
    • Stein, Gertrude. How Writing is Written: Volume II of the Previously Uncollected Writings of Gertrude Stein. Ed. Robert Bartlet Haas. Los Angeles: Black Sparrow Press, 1974.
    • Williams, William Carlos. The Autobiography of William Carlos Williams. New York: New Directions, 1948.
    • —. The Collected Poems of William Carlos Williams: Volume I 1909-1039. Eds. A. Walton Litz and Christopher MacGowan. New York: Directions, 1986.

     

  • CrossConnections: Literary Cultures in Cyberspace

    Rena Potok

    English Department
    University of Pennsylvania

    rnpotok@sas.upenn.edu

     

    On-line literary and university reviews.

     
    Search the Web for on-line creative writing, and you will find a burgeoning number of electronic literary reviews, or literary zines, ranging from the downright tacky and macabre to high quality poetry and fiction. Whatever their level of literary merit, one thing is clear: the Web is rapidly becoming a new medium for the production of literary culture. Indeed, we are witnessing the emergence of a new literary era, in which narrative and poetics interconnect with the world of artificial intelligence and computer-generated graphics to redefine our notions of how and where literature is produced.

     

    Yet, this literary-electronic interconnection produces a curious irony: the best of the literary zines are the most traditional, and the least experimental. While they offer high quality fiction, poetry, art and criticism, they do not explore the possibilities of the Web–hypertext is the first example that comes to mind–in the manner that might be expected. And those zines that do attempt to make use of the world of the Web tend to do so poorly, boasting experimental writing and hypertext links, but in fact presenting amateurish poetry and prose, and links that lead nowhere.

     

    One might think that an electronic narrative experiment like on-line zines would be an excellent way to explore the idea of crossing boundaries between literature and cyber culture, and of breaking down barriers between author and reader. Hypertext can afford a reader a large element of narrative authority, and can produce a collaborative experiment between reader and author–a collaboration that seems in keeping with the notion of synthesizing digital technology and established literature. The editors of these literary zines might expand their horizons and take advantage of the imaginative possibilities presented by the electronic medium they use. Furthermore, it would be interesting to see how they might respond to the challenges that would be presented by trying to translate hypertext from the zine forum to print media.

     

    Literary zines may be divided into two broad categories: high-caliber, traditional literary reviews that happen to be produced electronically, and low-caliber experimental zines that often try but more often fail to explore the potentially exciting possibilities of electronic literary writing. Put otherwise, these zines may be classified as the good, the bad, the ugly, and the university reviews.

     

    Among the better literary zines is Oyster Boy Review, published in Chapel Hill, North Carolina, which offers a combination of fiction, poetry and essays. The writing is strong, traditional and complex. Oyster Boy presents good quality writing, with the feel of a seasoned literary review. Other top-tier zines are The Abraxus Reader, The Richmond Review, The Mississippi Review , and The Paris Review (the latter two are electronic versions of the long-standing print reviews).

     

    In a category almost unto itself is The Jolly Roger, originating at Princeton University, and calling itself the “Flagship of the WWW literary revolution,” and “The World’s Largest, Most-Feared Literary Journal Ferrying over 12,000 to Greatness, While the Rest of the World Waits.” One could pause here, and say no more, but this unusual zine is worth characterizing, if only for its quirky qualities. The Jolly Roger has been described as prose and poetry for Generation X, and indeed has sections devoted to X-ers and their (presumed) interests and desires. The home page of the latest issue boasts many offerings, among them the warning: “Anyone trying to deconstruct anything aboard the Good Ship will be keelhauled.” Among other offerings are ghost stories, pirate tales, pseudo-literary criticism, “conservative environmentalism” (articles on “conserving Great Books and the Great Outdoors”), and an essay titled, “What I Learned in Toni Morrison’s Long Fiction Writing Class.” The visual presentation and text bullets are designed on a pirate-ship theme. While this zine cannot boast the best literary writing on the Web, it deserves points for originality and personality. It is a smart-alecky, skillfully written and provocative on-line magazine lampooning literary, academic, generational and traditional politics.

     

    Along other lines entirely is 256 Shades of Grey, which calls itself a “progressive” literary magazine, and features new writers’ works of poetry, art and fiction. Our first introduction to this zine is the home page, depicting a graphic of an alien creature literally ripping itself apart….One wonders if that is the editors’ expected response from readers accessing its offerings. From there we can link to poetry that is mixed in quality–some is strong, but overall, there is not much sense of poetics in the verse. The fiction, on the other hand, is awful, consisting mostly of vignettes with no plot and no narrative structure.

     

    5ive Candles “seeks to exploit the non-linear qualities of Hypertext.” Unfortunately (and, perhaps, ironically), all efforts to call up this zine went unanswered. Also inaccessible were Swiftsure Magazine, publishing reviews, poetry and fiction, and In Vivo, a Florida State University literary magazine rumored to publish choice poetry. blood + aphorisms is a journal of literary fiction from Canada. Its table of contents is set up with only a few links to the actual contents of the zine, and the fiction that is accessible is only of fair quality.

     

    Among the university reviews is The Trincoll Journal, a student magazine from Trinity College in Hartford, Connecticut. An award-winning zine recognized as a Magellan 3-star site and a Top 5% Web site, Trincoll Journal claims to be “the Internet’s first Web ‘Zine.” The journal publishes no poetry or fiction, but presents articles on life, culture, and the arts, skewed to a college-level perspective–articles address graduation, job-hunting, and semi-arty, semi-juvenile ruminations on love and life after college. Other university zines are Deep South Journal, a publication of literary criticism and poetry by graduate students in New Zealand; Harvard Advocate, now on-line, is the oldest of the college magazines in the US, publishing collegiate poetry and fiction; Qui Parle is an on-line companion to a UC Berkeley journal that publishes literature, philosophy, visual arts and history; Threshold is an award winning zine containing, interestingly enough, only high school work–but from the Thomas Jefferson High School for Science and Technology in Alexandria, Virginia; Cyberkind: Prosaics and Poetry for a Wired World publishes fiction, non-fiction, and poetry–all on the theme of cyberspace, and comes out of Chapel Hill, North Carolina; and Enormous Sky is the literary publication of Temple University.

     

    One of the best university literary zines is CrossConnect: Webzine of the Arts, produced at (but not under the official auspices of) the University of Pennsylvania. It deserves special attention not only because of its high quality, but because it has done what no other on-line literary review has done to date: in the spirit of crossing over between media, the editors of CrossConnect have published a print anthology, reflecting the “best of” the six issues now available on the CrossConnect Web site. In so doing, CrossConnect, in a quintessentially postmodernist trope, disrupts the barriers between printed and electronic narrative and attempts to create a kind of hybrid literary experiment.

     

    While the stated mission of this zine is to connect the art of electronic communication with that of literary and artistic production, the attractive logo–visible on a computer terminal but not always on a print-out–reminds us that while CrossConnect has crossed over into print media, its primary form (and forum) is electronic. And though the print anthology does contain some dynamic and well-crafted poems, it does not yet compare to top-tier literary reviews, such as Granta or The Kenyon Review. The /~Xconnect (the print anthology’s title renders CrossConnect in this glyphic form) anthology purports to reverse the more common trend of turning print literary reviews into literary Web sites by printing a selection of the best Web site publications. Interestingly, the best work remains on the zine, an award-winning trail-blazer of electronic literature.

     

    The CrossConnect Web site note on the print anthology claims that the stories and poems contained within it “collectively grapple with the questions and issues of our society, as well as the very function of art itself in this new age of technology,” but other than its name and stated mission, the anthology contains little to identify it as the product of cyber culture, or as an attempt to explore the challenges and functions of technology. (Hypertext links would provide an excellent opportunity for narrative experimentation.) An exception is Nathalie Anderson’s poem “Clinophobia,” whose quick, clipped pace seems apt for the rapid pace of exchange characteristic of electronic communication:

     

    Here's the toad. Here's the edge of the well.
    			      Steeped
    leaves, steep water. Still noctambulist.
    Bolt hole. Bed rock. Never see, never go
    under. Yes you will. Shut eye. Drowse. Drown.
    
    Cock light. Burrow. What's quick? What's mired?
    				    Quilt
    crawls. Flicks. Licks the dust. Gulch. Gully.
    Bed fast. Bed fellow. Never stir, never
    stare. Yes you will. Twitch toad. Rattle bones.
    
    Oh toad. No kiss, no golden ball. No one
    loves you. Yes it will. Quilt's rucked, rumpled.
    Something seethes. Something shivers. Jaws unhinge.
    Yes you will. Like stone. Kick toad. Leap frog. (2)

     

    The collection overall is strong, although the quality of work is uneven, ranging from complex, well-crafted writing by recognized poets and novelists (such as Nathalie Anderson, Sharon Ann Jaeger, and Helen Norris), to less refined musings on the level of an introductory college writing workshop. As in the on-line journal here, too, the poetry is stronger and more interesting than the fiction. Among the best work in both the print journal and the zine is Linh Dinh’s poetic translations and refigurings of Vietnamese aphorisms and poems, especially his translation of Bao Linh’s “A Marker on the Side of the Boat” (Vol. II, Issue II). These texts are alternatingly humorous and deeply touching, and always hauntingly evocative of a place and time no longer existing except in memory and nostalgia. Dinh’s “Translations of Vietnamese Aphorisms,” appearing in the print journal, is quirky and playful, amusing and touching at once. Organized in thematic form, it builds to a crescendo in its final arrangement of aphorisms:

     

    Rich at dawn
    Poor at dusk
    
    The rich eat
    The poor smoke
    
    His eyes are rich
    His hands are poor
    
    The rich have easy manners
    The poor lie
    
    Man not quite
    Monkey not quite
    
    Old hair old teeth
    Old gums old ears
    Old penis
    Young testicles (14)

     

    Among other strong poems is David Bolduc’s emotionally complicated “Other Side,” a stark, plain, and honest look at the secret gay street life of a married (presumably) heterosexual man (3). And Sharon Ann Jaeger’s “Faring Well” is poignant, with strong images–as in the line, “it haunts you like a fog that fades to touch”–and nice alliteration:

     

    There are filaments of affinity--
    fragile, but they hold: with dawn the new sun sends
    shadows through their constant Web like lace. (56)

     

    Also of note are Helen Norris’ “Consider” (136), a finely-formed pearl of a poem; Meredyth Smith’s “This Little Girl” and “Eleven Times Twelve Times Two” (150-3); and Barry Spacks’ “What Breathes Us” (155). Judith Schaechter’s stained-glass art works are unexpected, vibrant, and disturbing (and they are reproduced well in print), especially “Voice of a Sinking Ship,” which served as the cover of CrossConnect Vol. I, Issue I.

     

    The Webmag phenomenon may be a peculiarly postmodern one, in that it pushes back the boundaries of traditional literary expression and regularly crosses the boundaries between electronic and print media. Yet if it is to survive as more than a digital trend, this literary genre will need to explore more fully the wealth of opportunities provided by its medium; on-line literary reviews will need to become more than merely electronically produced companion volumes to print reviews. Perhaps, now that the trend has been set, and the forum of electronic literature has been established, editors of literary zines will become more creative and daring, and will truly show us what can happen to literary culture in cyberspace.

     

    Top-tier On-line Literary Reviews:

     

     

    University Reviews:

     

     

    Other Web Sites of Interest:

     

    • 256 Shades of Grey
    • blood + aphorisms
    • InterText
    • The Jolly Roger
    • Swiftsure Magazine
    • Excite! Review This useful site offers a directory of other on-line literary magazines, but it is not always up and running.
    • Virtual Reading Group This site has a short list of links to on-line literary zines as well as an “Internet Book Information Center,” featuring booksites, links to literary magazines, book resource guides and reviews.
    • Also of interest is The Book of Zines. Ed. Chip Rowe. New York: Henry Holt, 1997. A guide to a broad range of zines (mostly non-literary), from the vaguely interesting to the downright bizarre.

     

  • Telluric Texts, Implicate Spaces

    Stefan Mattessich

    University of San Francisco
    hamglik@sirius.com

     

    Thomas Pynchon, Mason & Dixon. New York: Henry Holt & Company, 1997.

     

    We ought to have topographers…

    –Montaigne I, 31

     

    If we are to believe Montaigne, what is near masks a foreignness.

    –Michel de Certeau1

     

    Where am I?

    –Thomas Pynchon, Mason & Dixon

     

    The publication of Gravity’s Rainbow in 1973 has proved an object lesson for many in the deferring and repetitious temporal structure of trauma or, put a little less psychoanalytically, catastrophe. Gravity’s Rainbow was catastrophic in the sense that it jammed in advance the hermeneutic apparatuses that might read it, flooded the system Cs of interpretation to such a degree that it could not synthesize its object in time and space–that is, the novel could not properly be an object of interpretation.2 Gravity’s Rainbow, in a sense that is not altogether metaphoric, did not happen; a non-event in a non-place, its effect in literary and social circles has been much like the auto-detonation with which it ends. The novel exploded and disappeared: it cleared a space in which its canonization would be instantly assured and, like the flowers that bloomed in the Ota estuary after the atomic blast incinerated Hiroshima on August 6, 1945, left us wondering just what it meant.

     

    The metonymic relation between the (non)event of Gravity’s Rainbow and the post-World War II period (non-period? post-period?) to which it belongs can be identified in the novel’s subsequent reception. It is a commonplace by now that many people “know” Pynchon but hardly anyone “reads” him (or, a variant on this theme, no one reads him “anymore,” as if some historical transformation has occurred which renders his brand of ironic fiction obsolete–a sentiment recently echoed by novelist David Foster Wallace in an interview on the Charlie Rose Show). The dissymmetry this implies verges on the bi-polar. Gravity’s Rainbow has generated, on the one hand, a plethora of more or less “bad” readings clustered around the academic banner of “Pynchon studies” and, on the other, a throng of fans who substitute for reading an exercise of nominalist decryption, asking who, what or where the “real” Pynchon might be, either in his books or out.3 The symptom under consideration here is this: a failure to read brought on by an unreadable flash, a vacuum into which readings that are non-readings (and readers who cannot or will not read) rush with all the resistless pressure of air or gas. Gravity’s Rainbow presides, from its 24-year-old vantage point, over a spectacle to which in fact it gave its best metaphors: equilibrium, inertia, entropy, a discursive practice (of writing and reading) implicated in the non-discursive field it modifies, a crisis of meaning indexed in the force with which the vacuum is filled or the “message” heard in a distinctly cybernetic society. In this society, systems of control, be they political, economic, technological or otherwise, take on a life of their own (become self-moving) and transform the subjects who manipulate them into manipulated “operators” in a fully functional technocratic order. The genius of Gravity’s Rainbow was that it grasped this transformation in “scriptural” terms, as a social inscription of inscription itself, a writing of the writer/reader that immobilizes us in the “text” of technical reason. Reading Gravity’s Rainbow is traumatic because it cannot be read without reference to this double writing that “frames” its reception and condemns us to a reflexive textual practice bent on discovering within itself the mark of its own historical location, its “place” within a period inaugurated by the traumas of the Second World War (Gravity’s Rainbow, it will be recalled, takes place nominally in the years 1944 and 1945).

     

    To judge by the early reviews of Pynchon’s new novel, Mason & Dixon, not much headway has been made in resolving the antinomies of this peculiar catastrophe, and Pynchon has once again managed to drop a literary bomb on America, even if this time it’s not exactly thermonuclear in scope. The rhetoric in these reviews is characterized by a relief at the apparent retreat in Mason & Dixon from the excesses that made Pynchon’s earlier, pre-Vineland work so notoriously difficult to understand. Anthony Lane is gratified to report in the New Yorker that “Mason & Dixon really is about Mason and Dixon,” that its characters are “heroic” and “substantial,” and that Pynchon has at last managed to write a “real, honest-to-God story.” T. Coraghessan Boyle, on his authority as a practicing novelist, relates in the New York Times Book Review how well Pynchon’s “sublime” method “works,” delivering complete, well-rounded and sympathetic characters in a “time and place” that the novel, “for all [its] profuse detail, its jokes and songs and absurdities…nonetheless evokes better than any historical novel I can recall.” John Leonard, in the Nation, imitates Pynchon’s accumulative prose style and constructs a little linguistic bomb of his own by way of impressing his readers with Mason & Dixon‘s complexity, only to end by telling us how great a “buddy-bonding” story it is–a dud of a conclusion if ever there was one, at least where Pynchon’s complexity is concerned. What these reviews have in common is an enthusiasm for realist conventions of fiction as they peek through Pynchon’s “absurdities,” reducing these to stylistic traits that function to confirm the very substances they seem to traduce. At the same time that Pynchon’s deployment of essentially comic and parodic techniques is praised as “sublime,” the novel’s human nature comes to be attested by the skillful use to which these techniques are put. Unlike in Gravity’s Rainbow, it is implied, where manipulation by technocratic forces dehumanizes author, text and reader alike, Pynchon in Mason & Dixon manages to be a humanized and humanizing producer, one whose agency the reader can discern and identify with in the product itself.4

     

    There seems to be little patience nowadays for reflexive textual practices, for double and ironic anti-realist fabulations of the kind associated with Pynchon’s early work. A distinctly post-structuralist sensibility has failed to make its case for the value or utility of “writing about writing.” The essentially political point implied in this sensibility–about the effects of a functionalist rationality on the social field it now dominates to an unprecedented degree–is lost as much on the right-wing pundit content to see in it the elitism of an ivory tower invaded by multiculturalists, as by left-wing writers like Katha Pollitt and Barbara Ehrenreich, who diagnose it as a cause of the political inertia afflicting the left today. In both cases, what remains unanalyzed is a rationality that seizes us at the moment a position is staked out, and thus the usefulness for political thought and practice of an implicate or implicated metaphorics that frames politics itself within a larger inquiry into the nature of modernity. The predicament of non-reading evident in responses to Pynchon’s work finds its origin point in this inability to grasp implication as a social and political term. Efforts by critics to humanize Pynchon in Mason & Dixon, along with the re-humanization of American politics implicit in the contemporary critique of “postmodern” theory (clearly marked, for instance, in the recent Sokal affair in Social Text and Lingua Franca), and even the bad “postmodern” non-readings that inspire this critique (many of which can be found under the rubric of “Pynchon studies”) are all symptoms of this inability, imperfect attempts at grasping a social logic predicated on a principle of concentric reverberations around a fundamental displacement, a “hole” in space and time.

     

    Pynchon’s work can be situated in this shift toward disjunction, toward the question of rationality itself as it determines how one writes or expresses oneself. The best review to date of Mason & Dixon, Louis Menand’s “Entropology” in the New York Review of Books, makes this shift clear by reminding his readers of the significance “entropy” as a concept has had for Pynchon, from his early short story of that name all the way to Mason & Dixon. Entropy in information theory, Menand reminds us, refers to the process by which “clarity and mutual understanding” are “purchased by a loss of diversity of opinion” (24). The more senders and receivers of messages approach certitude (or find themselves, like Mucho Maas with the world when he takes LSD in The Crying of Lot 49, “on the same wavelength”), the more transparent meaning becomes. The result is a homogenization of the field in which these exchanges occur, a levelling of differences catalyzed by a compulsion to “come together.”[5] Menand, quoting the Lévi-Strauss of Triste Tropiques, sees in this entropic compulsion the dynamic of imperialism that amounts almost to an obsession in Pynchon’s work; it is what “modernity” means, the stake in maintaining a relation to the history and assumptions of “enlightenment” at the level of practice or within one’s own mode of self-placement and identification. This is why Pynchon does not employ the reflexive techniques of comic or parodic fiction in order expertly to sustain a moment of humanist adequation to the truths we all share (the gist of most reviews of Mason & Dixon). On the contrary, he employs them to foreground an inadequation, an inexpert or even incompetent discursive operation that, for all its virtuousity, founds itself upon an apprehension of its own historicity, its own authorizing and authorized pretensions. Only to the extent that this apprehension is acknowledged in our readings does Pynchon’s text succeed in being a discourse without its own discourse, a meditation upon its own lawfulness as a literary artifact.6

     

    Unfortunately this folding back of discourse upon itself is precisely what arouses ire on the part of those critics who see in it no politically efficacious outcome. The price of communication today is more and more the displacement of questions about the form of communication, the bizarre presumption that the positivity or intense visibility of meaning constitutes a state of low social entropy, when in fact what we are witnessing is a profound vitiation of sense, an emptying of content, the contraction of depth into the various surfaces of social, political and economic inscription. This can be observed in the reviews of Mason & Dixon, the majority of which are in effect non-reviews, saying nothing clearly (or rather clearly saying nothing), beyond assuring the reader of the presence in Pynchon’s work of universal human values like “heroism” (Anthony Lane), sympathy and inspiration from the “breath of life” (T. C. Boyle). Partly this is due to the limitations of the review genre, partly to its subordination to the functions of advertising and markets. But either way, what results is transparent meaning indeed, a language of impressionistic escapism (“Awash with light and charm,” Paul Skenazy writes of Mason & Dixon in the San Francisco Chronicle, “rich with suggestion and idea, stuffed with all the minutiae of another time and world”) or triumphalist affirmation (Mason & Dixon is for Paul Gray of Time a “unique and miraculous experience….A tale of scientific triumph and an epic of loss”) that is conspicuous for the deftness with which it sidesteps any engagement with the “modernity” of the text.

     

    Louis Menand does engage Mason & Dixon, curiously enough through a detour to anthropology, or rather to what Lévi-Strauss proposes as “entropology,” the study of cultural production as a stimulus to greater and greater disintegration (with colonialist expansion its most destructive feature). By this detour, Menand opens a space for reading the novel’s strategy of resistance to the rationalization of modern society, a strategy of defection and detachment that centers on the act of marking an earth coded as a writing surface or Numen. Pynchon’s move to the 1760s, the decade before the advent of democracy in America (mediated through the year 1786, one decade after the Revolution, when the story is narrated), alerts his readers in a stroke to his interest in founding acts and what they necessarily have to displace in order to take place. The long sojourn of Mason and Dixon at the beginning of the novel in South Africa, and later their proximity in the wilds of western Pennsylvania to the frontiers where the Indian wars of the 17th and 18th centuries were fought, further indicate in rough what Pynchon’s reading of his (and our) foundation will be: the American republic, and American capitalism–the American techno-political order in the broadest sense–could only come into being after the racist suppression of the Native Americans and with the institution of slavery. Americans could only establish democracy by losing the ability to confront colonialism (a legacy we still see today in the difficulty with which the issue of racism is entered into fields of discourse), and this sacrifice at the heart of what democracy “is” becomes the subject of Pynchon’s novel, what it elaborates in the dream-work of Mason and Dixon’s straight-line labyrinth through America.

     

    The terrain here is, as Menand intuits, anthropological in nature. The America into which Mason and Dixon penetrate by way of marking a boundary and defining an orientation (a westward “Vector of Desire,” as narrator Wicks Cherrycoke puts it) is no ordinary “place” in the sense that this means delimited or enclosed, ordered according to principles of extension, causality and isotropy–in a word, Newtonian space. Pynchon proceeds not from a notion of coexistence (where each object, point or locus in space is externalized with respect to every other) but rather of palimpsests and Moebius strips, invisible Ley-lines and parallel universes. Pynchon offers perhaps his most ingenious metaphor for this America in the quartz prisms that Mason and Dixon place on the marker stones along the Line. These crystals disclose under a microscope “a fine structure of tiny cells, each a Sphere with another nested concentrickally within, much like Fish Roe in appearance” (547). Nested inside such nested structures is what the expedition’s “Quartz-scryer” Mr. Everybeet calls a “‘Ghost,’ another Crystal inside the ostensible one, more or less clearly form’d” (547). Mr. Everybeet explains:

     

    “‘Tis there the Pictures appear . . . tho’ it varies from one Operator to the next,–some need a perfect deep Blank, and cannot scry in Ghost-Quartz. Others, before too much Clarity, become blind to the other World . . . my own Crystal,”–he searches his Pockets and produces a Hand-siz’d Specimen with a faint Violet tinge,–“the Symmetries are not always easy to see . . . here, these twin Heptagons . . . centering your Vision upon their Common side, gaze straight in,–” “Aahhrrhh!” Mason recoiling and nearly casting away the crystal.

     

    “Huge, dark Eyes?” the Scryer wishes to know.

     

    "Aye.--Who is it?" Mason knows. (442)

     

    The face that Mason sees in the crystal inside the crystal “varies from one Operator to the next” according to who it is he or she wishes to see or is haunted by (in Mason’s case, this will be his dead wife Rebekah, whose eyes in fact he does “know” in the crystal). The doubly crystalline prisms that mark the Mason and Dixon Line, that mark the mark of boundary and location in Mason & Dixon, contain representations of “other Worlds” than the “ostensible one.” This spectral investiture of desire in the objects by which “place” is established clearly indicates a fundamental strategy of the novel to fold desire and the object, the time that desire actualizes and the space that the object defines, into one textual (but also telluric) surface. “Time is the Space that may not be seen,” says Dixon’s childhood teacher Emerson, and for Pynchon it is the invisible world that dwells in matter (quite literally, it turns out later in the novel, invaginated into the earth) and that canbe seen after all (for Mason in fact sees it), so long as perception finds the right balance between opacity (the “deep Blank”) and transparency (“too much Clarity”), the variable point of visual acuity that can never be fixed.

     

    Pynchon is conceptually close in anecdotal narrative details like these to what Merleau-Ponty calls a “human” or “anthropological space.” Distinguished from a “geometrical” system of objective relationships between determined points that is experienced as perspective, convergence, depth and position by a synthesizing eye/I, “anthropological space” designates that spatial condition or frame that cannot be “put into perspective by consciousness” (256). Unlocatable and ungraspable, this “more primordial” dimension forms a kind of infinite set around the objective world which is not itself objectivizable, an “outside” in which Merleau-Ponty finds the “essential structure of our being [as a] being situated in relation to an environment” (284). This “relation” is one of implication in a totality, an envelopment of the subject in a pre-personal “depth” that, beneath or coterminous with geometric space, commits that subject to an existential immediacy irreducible to acts of comprehension. Anthropological space has the “thickness of a medium devoid of any thing” and indicates a “depth which does not yet operate between objects, which…does not yet assess the distance between them, and which is simply the opening of perception upon some ghost thing as yet scarcely qualified” (266). Such an experience of ghosts (and such a ghostly experience) precedes the differentiation of perception and dream, and as such it constitutes what Merleau-Ponty calls a “direction of existence,” an intention immanent to the world in which it orients itself, a desire which is not the property of a constituted subject but a direction taken, a velocity or rate of change in a fluctuating and multiple space. The way Mason looks into the piece of quartz and sees the “huge, dark Eyes” of a ghost (Rebekah) is a pure perception which does not presuppose an act of consciousness within an objective or even an ontological order.7 It cannot be that Mason sees a ghost in the crystal anymore than he can see the crystal without the ghost orienting his gaze or quickening his desire in it. This gyre-like implication of Mason in his world comes through most distinctly in the “recoil” which it produces in him, the terror that almost causes him to drop the crystal and which signifies that death, that nothingness, that infinite regress at the heart of time as it reduces “Mason” to no one and his world to a “non-place” of ghostly “pictures.” This is why Wicks Cherrycoke, commenting on Emerson’s homily about time as invisible space, adds “that out of Mercy, we are blind as to Time,–for we could not bear to contemplate what lies at its heart” (326).

     

    But Mason & Dixon does contemplate what lies at the heart of time, albeit in modes of attenuated catastrophe, and its conjurations of that “non-place” unfold in the way that Emerson, his student Dixon, Mason and the narrator Wicks Cherrycoke all cease to be “characters” in a realist novel. They are “selves entirely word-made” as the foppish Son of Liberty Philip Dimdown puts it, woven into the texture of a massive pastiche that performs the spatial laminations it also thematizes in sly metaphysical exchanges like this one:

     

    "Lo, Lamination abounding," contributes Squire Haligast, momentarily visible, "its purposes how dark, yet have we ever sought to produce these thin Sheets innumerable, to spread a given Volume as close to pure Surface as possible, whilst on route discovering various new forms, the Leyden Pile, decks of Playing-Cards, contrivances which, like the Lever or Pulley, quite multiply the apparent forces, often unto disproportionate results...." "The printed Book," suggest the Rev'd [Cherrycoke], "--thin layers of pattern'd Ink, alternating with other thin layers of compress'd Paper, stack'd often by the Hundreds..." (389-90)

     

    The Pynchon whose “dark” tactics stand revealed here at the “pure Surface” of writing opens the “space” of encounter with the American wilderness by locating it at the level of a language that is flush with its own specifically temporal ground. At stake is a kind of duration that refers “America” to an anterior plane of undifferentiated “pictures” or images on which perception becomes a function of pure transition, of a “lived present” defined always in terms of its own disappearance.8 Mason & Dixon is a “travel” story in the sense that Michel de Certeau maintains “all stories are travel stories” (Practice, 115), tissues of metaphors that move, metaphorai, “spatial trajectories” that make the “places” they traverse textual non-places in which the act of delimitation meets its own internal limit, the “ghost” of a figural or semiotic motility that haunts the geometrical structures it founds. (For an interesting visual representation of this ghostly investiture of objectivized (non)space, see William Blake’s painting Newton.)

     

    De Certeau, building upon Merleau-Ponty’s ideas on spatiality in The Practice of Everyday Life, constructs an opposition between place (lieu) and a space (espace) linked to narrative tactics of inversion, quotation or doubling, ellipsis, metaphor, and metonymy. The ruses of rhetoric “describe” (“as a mobile point ‘describes’ a curve” [116], he writes) an element of almost Brownian motion that depends upon its “operation” in a multi-dimensional present that is always other to itself, furrowed internally by the specters of its own singularity. Space for De Certeau is “like the word when it is spoken, that is, when it is caught in the ambiguity of an actualization, transformed into a term dependent upon many different conventions, situated as the act of a present (or a time), and modified by the transformations caused by successive contexts” (117). Space is a practice of place, a putting into motion of one’s own time and contingency. Only in the grip of a such a practice, in fact, does “time” come to quicken in us a historical sense, a feeling for the historicity of our own actions as they play out symptomatically the displacement of time (or, to be more precise, the displacement of this sense for the displacement of time, usually in the name of history or of some more objective relation to the past, to a tradition, to a place). De Certeau makes this co-implication of time and practice explicit by asserting a certain non-distinction between spaces and places. The former (spaces) is the play in structures (places) that marks not an external but an internal difference, a non-self-identical “labor” at the heart of place (placement, position, positionality) that constantly transforms it into its opposite and vice versa.

     

    This is why the turn to language and narrative is important to De Certeau: the “story,” he writes, incisively highlights the overlapping of space and place, their coextension in a practice of “moving” or ever-shifting signification. Under the pressure of a history consisting in the progressive technicization of space (and the strict regulation of time), “spatial practices”–those concerned with the remainders of a process of rationalization and colonization undergone since the Enlightenment–pass into the domain of literature, where they take the form of “everyday virtuousities that science doesn’t know what to do with and which become the signatures, easily recognized by readers, of everyone’s micro-stories” (70). The story, in other words, dissimulates the “invisible Space” or temporal nun that paradoxically dies beneath the instruments of its own delimitation and designation. This sacrifice underlies the “primary function” of the story to “authorize the establishment, displacement or transcendence of limits, and as a consequence, to set in opposition, within the closed field of discourse, two movements that intersect (setting and transgressing limits) in such a way as to make the story a sort of ‘crossword’ decoding stencil…[or] dynamic partitioning of space…” (123). Only through this “stencilization” does space come into being at all, and this is why it remains constitutively tied to a practice (of writing) that “nests” another practice “Concentrickally within” its own demarcative procedures.

     

    With this we are clearly in the topography of Mason & Dixon, a novel about its own narrativity and, precisely through this reflexive turning around upon itself, about America too, about its delimitation and colonization, about the enclosure of space in proper places (or properties), and about its own (and our) complicity in that enclosure–a complicity that in turn conditions the possibility of seeing the imperialist history it reproduces within the ever-shifting boundaries of “anthropological space.” Pynchon hints at this textual overdetermination in the previously quoted passage on lamination, where the printed book becomes one more device (like the lever or the pulley) to extend our powers of control. Mason & Dixon is about a technological society only by first being technological, sustaining its own narrative desire to found, to originate, to be a world in its “disproportionate” multiplication of forces and effects. To use and be used is one obvious subtext of a literary practice as wedded to citation, parody, and encyclopedic “overstuffing” farce as Pynchon’s, and his novel clearly reflects this problem back upon its readers. The ingenuity of Mason & Dixon is that to read it well is almost necessarily to provoke the “ghost” of a spatiality that disappears beneath our interpretive tools, to involve us in a “Destiny…to inscribe the Earth” (221). But such an involvement in the story of Mason and Dixon must also entail an involvement in Mason & Dixon, its linguistic involutions, its opacities and transparences, its reflexivity defined not as abstraction but as the carefully constructed limit to the abstraction that governs the resistance to reading. What gets lost in this resistance is a time deeper than memory and thus an immemorial space (Pynchon calls it “America”) that does not ever appear except insofar as it alters reading toward a commitment to the polyvalences of language.

     

    This “space” is the stake in Pynchon’s mode of writing and in any reading of it, a history, a continuing legacy, a haunting, a repetition upon which no reflection is possible except by way of acknowledging its precessionary grip upon every act of writing and reading. Pynchon understands this as a logic of implication, of texts that are “general” in a Derridean sense and that form vortexes into which the reader is plunged. Mason & Dixon is an attempt to bring this logic into a clear literary focus, to tell a story about founding acts that takes as its own foundation a kind of textual vortex. Pynchon affords a glimpse of this vortical structure in passages like this one, an extended riff on the specific inscriptive desire that both Mason and Dixon and Mason & Dixon act out:

     

    Does Brittania, when she sleeps, dream? Is America her dream?--in which all that cannot pass in the metropolitan Wakefulness is allow'd Expression away in the restless Slumber of these Provinces, and on West-ward, wherever 'tis not yet mapp'd, nor written down, nor ever, by the majority of Mankind, seen,--serving as a very Rubbish-Tip for subjunctive Hopes, for all that may yet be true,--Earthly Paradise, Fountain of Youth, Realms of Prester John, Christ's Kingdom, ever behind the sunset, safe till the next Territory to the West be seen and recorded, measur'd and tied in, back into the Net-Work of Points already known, that slowly triangulates its Way into the Continent, changing all from subjunctive to declarative, reducing Possibilities to Simplicities that serve the ends of Government,--winning away from the realm of the Sacred, its Borderlands one by one, and assuming them unto the bare mortal World that is our home, and our Despair. (345)

     

    This long sentence is destined to become a signature piece for the whole novel, and indeed many of its reviewers have quoted from it, although not often in its entirety. What gets excluded from the various attempts to highlight in selected parts its exemplary force is the way its convoluted syntax is its exemplarity. The almost vertiginous experience of this sentence suggests (phenomenologically, as it were) the movement of the text as a whole, orthogonal and yet at the same time devious, drifting through qualifications, meandering to its final resting place in the word “Despair.” Pynchon, that is, works here at two levels: semantic, where Mason and Dixon’s “West-ward” momentum is glossed in terms of a “declarative” desire for the “subjunctive” space of America; and syntactic, where that desire is made to circulate through an essentially sinuous writing. The transformation of the subjunctive into the declarative on the first level is inverted on the second level: Pynchon’s diction takes the reader back to a state of “unmapped” disorientation and ambiguity, back to the overdetermined realm of dream. The dreamer, Brittania, moves toward the dream of America as the dream itself returns to the dreamer, agitating at the center of the latter’s intention to “see,” “record,” and “measure.” This double and deviating movement in fact organizes the entire novel: Mason and Dixon penetrate the wilderness and then withdraw back into already penetrated zones of civilization (they construct the Line in spring and summer, then wait out the winter back in Philadelphia), and in addition they make brief excursions above and below the Line (north to New York, south to Maryland and Virginia). Mason & Dixon “triangulates its Way into the Continent” in spider-like fashion, assimilating invisible spaces into the ordered places of empire in order to evoke the space of rationality itself, the scene of empire as it materializes in the practice of language.

     

    Michel de Certeau has written elegantly on this rhythm of departure and return in discourse. The sleight-of-hand by which discourse about the other becomes a discourse authorized by the other has for its basic structure the travel story: narrative’s constituent relation to limits, to what de Certeau calls “frontiers” and the “bridges” that mark their cooptation (127), underscores its function in the process of legitimating a disciplinarian organization of knowledge. The urge to delimit is also an urge to narrate; the urge to narrate, in turn, cannot be differentiated from a de-temporalizing rationalization of space. This is why Pynchon writes as he does, creating “Net-works” of complex association, rhizomatic surfaces into which he flattens the depth-effect of meaning. That the above-quoted passage is in fact elaborate parody, not meant to be taken as exemplary of any hidden intent except insofar as it exemplifies precisely the nothingness that adheres in levity, indicates the method of the text’s meta-commentary upon American colonialism. The latter envelops the text and the text of its reception (our reading) as well. It happens in the most basic assumptions of representation and truth, transforming “Borderlands one by one” into interiorized limits, internal differences that open the inside to its “Sacred” other.9

     

    Mason & Dixon is thus a profoundly heterological novel, concerned with the strangeness of its own authority in a world founded upon the displacement of limits. Pynchon’s is a discourse without its own discourse because even this registration of the arbitrariness of authority resonates with the violence it finds so strange. America (both as democratic critique of power and as its extension in the form of a technologically advanced capitalism) is synonymous with this violence, and the “strangeness” of this overlap conditions another kind of critique, one focussed less on asserting the “entropological” values of pluralism and communication than on exposing, at their heart, the sacrifice that drives them. Mason & Dixon‘s singularity–its parodies and pastiches, its unstable ironies, its puns and jokes, all the elements that a more humanist reading can see only as techniques for the transmission of messages in a shared social context–consists in recognizing the peculiar immediacy with which the history of colonialism in America is always experienced, and the impossibility of reflecting upon that history without perceiving it in our own practices. Far from merely celebrating parody, pastiche or irony as transgressive ends in themselves, Pynchon in Mason & Dixon makes them the vehicle of an implicated relation to the past and to place, a duration exactly calibrated to the time of reading which then raises the stakes of interpretation immeasurably.

     

    Notes

     

    1. The quote from Montaigne’s essay “Of Cannibals” occurs at the opening of De Certeau’s essay, “Montaigne’s ‘Of Cannibals’,” which begins with the sentence quoted subsequently here. De Certeau’s essay is collected in the volume entitled Heterologies.

     

    2. I am echoing here the language of Freud’s speculations in Beyond the Pleasure Principle on traumatic repetition and the liminal structure of consciousness. By the term system Cs Freud designates in living organisms the ectodermic or cortical surface where consciousness resides and which is susceptible of rupture either by internal or external excitation. When such a rupture effectively floods the organism’s capacity to make sense of its own experience, a repression occurs which paralyzes any affective response and generates the attempt to master the stimulus symptomatically through repetition. See in particular Chapter 4 (pp. 26-39) of Beyond the Pleasure Principle.

     

    3. Time magazine, in its review of Mason & Dixon, exploits this nominalist desire by including a photograph of Thomas Pynchon as a young man over a text box that reads Where is he now? This question is followed by a series of phrases detailing his current whereabouts and situation.

     

    4. The humanist slant present in these reviews suggests a transformation in the concept of production brought on by technological development since the 18th century. I follow here a discussion of this history by Michel de Certeau in The Practice of Everyday Life. As artistic or artisanal techniques became detached from art itself in the form of machines that “do the work for you,” producers lost the objective determination of a practice and withdrew into a purely subjective knowledge or “savoir-faire.” This intuitive know-how became the domain of a new kind of producer to whom practice reverted in newly technologized forms. The subject became an “engineer” equipped with a “taste,” “tact” or “genius” that was simultaneously unconscious and “logical,” original and automatic.

     

    Judgement in the Kantian sense (mediating a practical art that knows but does not reflect upon what it does and a theoretical science that provides this obscure knowledge with a reflective language, however supplemental it might be) was the skill this new “engineer” had to offer, but at the cost of internalizing a technological relation to the means of production. “Genius” as a concept presupposes this technicization even (perhaps especially) when it implies a denigration of knowledge that is self-conscious. This denigration paradoxically indexes the privilege of consciousness by founding the modern distinction between practice (art) and theory (science). De Certeau sees this practice/theory distinction as heterological in nature: know-how signifies the incorporated (and idealized) “other” of theory, that object of the “engineer’s” theoretical knowledge that supports and authorizes it. Pynchon, to the extent that he is a “genius” who operates the machinery of fiction toward the end of securing a “human” value, is thus only an avatar of this “engineer,” so long as he is not also read as undoing the practice/theory distinction and exposing the heterological relation at its heart. It is indeed a testament to Mason & Dixon‘s self-reflexive brilliance that it more or less tackles this problem head on, as I hope to show in the reading that follows here. See The Practice of Everyday Life, pp. 61-76, for a fuller discussion of the relation between technology and practice since the 18th century.

     

    5. This reading of entropy, suggestive in its qualification of the value modern societies place upon communication, nonetheless leaves untroubled its own assumption about the value of “diversity of opinion,” as if pluralism were in fact the value that Pynchon does assert in Mason & Dixon. Menand, that is, does not graft onto his reading a clear account of the role a rhetoric of pluralism plays in the very process of homogenization he calls entropic and that involves a proliferation of perspectives within well-defined social spaces.

     

    6. In fact only in the reading of the text does it live out this extra-legality, this discursive eccentricity to the literary power structure through which its dissemination is assured. Mason & Dixon, for instance, clearly bears in the manner of its publication all the marks of literature as a center of power, and only its readers can rescue it (or not) from this determination. Even when ironic or parodic fabulation can be seen as ideologically neutral with respect to the institution of literature, its politicization consists not in locating in a given text some specific ideological content so much as grasping clearly the reflexive dimension of its language and asking whether it raises the question of discursive rationality.

     

    7. By pure perception I mean to echo Merleau-Ponty’s emphasis upon a non-thetic or “pure description of phenomena prior to the objective world…giving us a glimpse of ‘lived’ depth, independently of any kind of geometry” (258). The anterior “depth” at which neither objects nor the I/eye have been posited becomes the enveloping or engrossing “situation” of the existential subject, who is grasped in terms of implication and motivation rather than production or causality. Phenomenal space for this subject “is neither an object, nor an act of unification on the subject’s part; it can neither be observed, since it is presupposed in every observation, nor seen to emerge from a constituting operation, since it is of its essence that it already be constituted…” (254). Even though phenomenal space, pre-objective and pre-logical, is distinguished for Merleau-Ponty from being (nothing in it is or exists as determined), phenomena do have a “significance” that can be “recognized” if not “thematized.” This non-thematic recognition–or a version of it linking its independence from a thetic order to the “being” of language–is what the designation “pure” perception is meant to convey here.

     

    8. When Merleau-Ponty maintains that “geometrical space” is “temporal before being spatial,” he means that its necessary pre-condition is the (no)thingness of an always passing present (or nun). “Things coexist in space because they are present to the same perceiving subject and enveloped in one and the same temporal wave. But the unity and individuality of each temporal wave is possible only if it is wedged in between the preceding and the following one, and if the same temporal pulsation which produces it still retains its predecessor and anticipates its successor. It is objective time which is made up of successive moments. The lived present holds a past and a future within its thickness….We know of movement and a moving entity without being in any way aware of objective positions, as we know of an object at a distance and of its true size without any interpretation, and as we know every moment the place of an event in the thickness of our past without any express recollection” (275). What Merleau-Ponty calls a “lived present” in which knowledge happens without a rational knower (i.e., “only with the help of time,” he writes) is understood here in a distinctly catastrophic or “catastropic” register: the lived present is never self-present or proper to itself and cannot secure even a phenomenological description from the slippages of meaning that index themselves in the language of its expression.

     

    9. Apropos of the functions of the “frontier” and the “bridge” in the “story,” De Certeau maintains that the “bewildering exteriority” accessed via the “bridging” of the frontier causes its conversion into an “alien element” previously arraigned (by this very process) in the interior. By virtue of a coming into contact with the outside, that is, the subject of narrative (the “traveller”) “gives ob-jectivity…expression and re-presentation…to the alterity which was hidden inside the limits.” As a result, his or her departure from the fold of the familiar ends with a return experienced as a discovery, in objectivized form, of the very exteriority sought beyond the frontier. “Within the frontiers, the alien is already there, an exoticism or sabbath of the memory, a disquieting familiarity. It is as though delimitation itself were the bridge that opens the inside to its other” (128-29). By internal difference, then, I mean the incorporated “other” or limit that conditions this repetitition and that constitutes the text’s implicated relation to a colonialist history.

     

    Works Cited

     

    • Boyle, T. Coraghessan. “Mason & Dixon.” New York Times Book Review 18 May 1997: 9.
    • De Certeau, Michel. Heterologies. Trans. Brian Massumi. Minneapolis: U of Minnesota P, 1986.
    • —. The Practice of Everyday Life. Trans. Steven Rendall. Berkeley: U of California P, 1984.
    • Freud, Sigmund. Beyond the Pleasure Principle. Trans. James Strachey. New York: W.W. Norton, 1961.
    • Gray, Paul. “Drawing the Line.” Time 5 May 1997: 98.
    • Lane, Anthony. “Then, Voyager.” The New Yorker 12 May 1997: 97-100.
    • Leonard, John. “Crazy Age of Reason.” The Nation 12 May 1997: 65-68.
    • Menand, Louis. “Entropology.” The New York Review of Books 12 June 1997: 22-25.
    • Merleau-Ponty, Maurice. The Phenomenology of Perception. Trans. Colin Smith. New York: Routledge, 1962.
    • Skenazy, Paul. “Pynchon Draws the Line.” The San Francisco Chronicle 27 April 1997: 1, 8.

     

  • From Freaks to Goddesses

    Charles D. Martin

    Department of English
    Florida State University

    cmartin@mailer.fsu.edu

     

    Rosemarie Garland Thomson, Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature. New York: Columbia University Press, 1997.

     
    In the last two decades, much critical attention has been focused upon the cultural importance of the sideshow freak, emphasizing the effect of the exhibit on the audience. In his book Freaks: Myths and Images of the Secret Self, Leslie Fiedler, reaching back initially to his own childhood experiences, uses a Freudian lens to demonstrate that the exaggerated corporeal difference of the sideshow attraction embodied childhood nightmares and anxieties over scale, the limits of the body, individuality, even the primal scene of the child’s creation. In exhibition, the freak helps constitute the “normality” of the audience. The advent of modern medical science, in Fiedler’s eyes, has “desacralized human monsters forever,” and has replaced the audience’s awe with a quotidian curiosity that diminishes the once-exalted status of the freak as a wonder and a miracle (19). Robert Bogdan also confesses a childhood experience with the freak show in the prefatory statement of his study Freak Show: Presenting Human Oddities for Amusement and Profit, as he was hurried away from the tent by his parents, leaving him with shame and a sense that he somehow had transgressed into a domain cordoned off by taboo. Bogdan advances the study of sideshow exhibitions by perceiving the construction of the freak in the hierarchical relationship between the attraction and the audience. “A ‘freak,’” according to Bogdan, “is a way of thinking, of presenting, a set of practices, an institution–not a characteristic of an individual” (10). Bogdan turns away from the use of the term “freak,” offering instead the seemingly more humanizing one of the “disabled” for those attractions with real, not manufactured, physical anomalies. Susan Stewart, in her book On Longing, extends the idea of social construction by succinctly declaring the lusus naturae, or freak of nature, instead a “freak of culture” (109). The exhibit of this social construction domesticates and naturalizes those bodies determined to be congenitally or ethnically different in a spectacle of colonialization. “On display,” Stewart writes, “the freak represents the naming of the frontier and the assurance that the wilderness, the outside, is now territory” (110). In the freak is evidence of the colonial impulse to know and to dominate the unknown, the exotic. Common to all three of these critical works is the emphasis placed upon the relationship between the exhibit–the spectacle of the anomalous body–and the audience, which places the burden of meaning upon the exhibit.

     

    In her book Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature, Rosemarie Garland Thomson envisions her mission as one of denaturalizing the disabled figure, and consequently that of the freak, by resacralizing it and giving it agency. Late in her introductory chapter, in a section which she calls a manifesto, she expresses her desire to rescue the disabled figure and to establish it as a political category alongside class, ethnicity, sexuality, and gender, among others. For Thomson, extending the arguments of Bogdan and Stewart, the figure of the disabled is as much a social construction as the freak. She also incorporates into those constructions the figure of the “normate,” a term she coins to define “the social figure through which people can represent themselves as definitive human beings,” a subject position which requires its antithesis–the figures, among others, of the disabled and the freak–in order to constitute itself (8). The exhibition of the “extraordinary body,” the term she prefers for the figure of the disabled and the freak, relies, as with most exhibitions, on the visibility of the body. At this point, a reader might expect a gloss on the Enlightenment shift to the institutional reliance on the visible that fueled the delineations of the natural world into rigid, authoritarian, easily discernable categories. But, unlike some of her predecessors–Bakhtin and Fiedler, for instance–she finds little difference in effect between the display of the extraordinary body as an anti-authoritarian exhibition of a world turned topsy turvy (a prelapsarian vision of folk culture before the Age of Reason); the Barnum presentation of the sideshow freak as prodigy and potential humbug, a spectacle to be deciphered; and the rational rhetoric of medical case history that diminishes the extraordinary body to an anomalous specimen of a malady in need of treatment. In each case, the exhibition reduces the body to one feature, a synecdoche that erases the rest of the whole that it represents.

     

    In her second chapter, “Theorizing Disability,” Thomson demonstrates a correspondence between feminist theory’s emphasis on the politics of the body and her analysis of disability discourse. Feminist theory, though, serves more as a guiding spirit for her study than as a critical foundation, influencing her to select in particular the disabled female body as her primary subject. Even though she refuses to conflate the female body and the disabled body, she uncovers conflation in works by Aristotle, Freud, and Veblen, who each envision the female body as disabled or mutilated in comparison to the culturally normalized male body. This conflation provides the occasion for the introduction of feminist theory. Thomson finds an analogue between the spectacle of the female body and that of the disabled body in the relationship each spectacle has with its spectator, a relationship in which the spectator–the normate, who is by cultural definition white, male, and physically abled–constructs his spectacle. “If the male gaze makes the normative female a sexual spectacle,” Thomson writes, “then the stare sculpts the disabled subject into a grotesque spectacle” (26). Thomson, though, is not a pure constructionist; she does not deny bodily difference. The disabled body is different from the abled. She maintains the flexibility of the constructionist view while refusing to erase the physical reality of difference, the materials from which the spectator constructs the category.

     

    For her critical foundation, Thomson incorporates theories from three different sources: Erving Goffman’s theory of stigmatization as a cultural process, Mary Douglas’s theory of dirt as a cultural contaminant, and Michel Foucault’s docile bodies. The result of this hybridization illuminates the forces at work that identify, isolate, and ostracize the extraordinary body. According to Thomson, Goffman’s theory “untangles the processes that construct both the normative as well as the deviant and…reveals the parallels among all forms of cultural oppression while still allowing specific devalued identities to remain in view” (32). In order to establish and cultivate a definition of normality, a society needs to identify and stigmatize normality’s antithesis, creating and naturalizing categories of superiority and inferiority. Society maintains order by distinguishing the anomalous. In Thomson’s reading of Douglas’s theory, “[d]irt is an anomaly, a discordant element rejected from the schema that individuals and societies use in order to construct a stable, recognizable, and predictable world” (33). The anomalous, or the extraordinary as Thomson prefers, threatens the treasured uniformity of society. Thomson aptly fuses these two theories, asserting succinctly that “human stigmata function as social dirt” (33). Choosing to historicize at this point, Thomson introduces Foucault’s theories on the construction of the modern subject and the institutional processes set up to regulate the body, through measurement and classification, and to root out those anomalous bodies that violate the norm of the Cartesian solitary, autonomous, productive individual–in particular, the disabled bodies. As Thomson makes clear, “[d]isability is the unorthodox made flesh, refusing to be normalized, neutralized, or homogenized” (24). Since the disabled figure exceeds the rigid taxonomy of the modern subject and cannot be normalized, it must be institutionally identified and contained. Once again, in her too-brief discussion of the applicability of Foucault’s theories, Thomson neglects to note the importance of visibility to enforce this containment. One of the primary panoptical institutions of the late-eighteenth and nineteenth centuries was the nascent natural history museum, designed not only to display the natural world in a rigid and highly visible hierarchical taxonomy, but also to influence and contain as well the behavior of its patrons. The freak show, a related institution of containment, developed out of the American Museum of Charles Willson Peale and its later proprietor, P. T. Barnum.

     

    Thomson devotes her last three chapters to a limited, but distinctive, list of cultural and literary sites where the extraordinary body receives representation: the freak show, the sentimental novel of reform, and the African-American liberatory novel. Unlike her presentation of the history of the exhibition of the extraordinary body up to this point as unvarying objectification, she arranges these sites as gradual, if at times incremental, improvements in the cultural representation of the extraordinary body, a freak’s progress, if you will. Each of these sites performs specific cultural work, improving the lot of the extraordinary body as it climbs its way up what might be called a Great Chain of Representation and offering initially endorsement, then criticism of liberal individualism and the ideal American self promoted by Ralph Waldo Emerson in that bible of liberal individualism, “Self-Reliance.” Emerson’s ideal of broad-chested masculinity, fully naturalized as a self-governing, atomized individual, requires the opposition of the figure of the disabled, the invalid, the body ungovernable, unconforming, dependent.

     

    In her third chapter, Thomson embraces Fiedler’s assumption that freaks help establish the normality of those who witness the spectacle and adds to the achievement of the cultural work of the American freak show the constitution of Emerson’s ideal American self. Simply put, the extraordinary body of the freak helps constitute Emerson’s ideal American self by displaying its antithesis, of which, to Thomson, Joice Heth was the best example. Presented by Barnum as his first major attraction and humbug, Heth was billed as the impossibly ancient nurse of the young George Washington. Thomson describes Heth as “[a] black, old, toothless, blind, crippled slave woman, she fuses a combination of characteristics the ideal American self rejects” (59). In presenting the body of Joice Heth to the reader, Thomson effaces the narrative of the exhibit, the humbug romance of the founding father Barnum uses to frame the extraordinary body, in order to offer an unalloyed narrative of her own. Thomson complicates the simple economy between spectacle and spectator with the examples of Sartje Baartman (the Venus Hottentot) and Julia Pastrana (the Ugliest Woman in the World), who, according to the author, disrupt rigid, naturalized categories “that underpin Western rationality,” those of race, gender, and sexuality (74). Thomson limits the liminality of the extraordinary body to binary constructions that do not apparently threaten the spectator’s ability to constitute himself.

     

    In order to satisfy her mission, Thomson necessarily views the exhibition of the extraordinary body as unmitigated containment and objectification. Although she gives a brief nod to the carnivalesque properties of the extraordinary body, she does not linger long on the disruption the figure causes to the exhibition space in the attempts to contain it. She assumes that all disruptions are contained, all threats neutralized by the apparent hierarchy of the space. Thomson also erases distinctions between audience members, lumping them all into the construction of the ideal American self. Yet most patrons must have realized as they witnessed Barnum’s exhibitions of the extraordinary and the exotic that the same fate could await them. Beneath the glee that urban working class, rural poor, and immigrant populations experienced in being potentially normalized by the display of difference lay the anxiety that if they did not conform to expectations, they too could be exhibited as anomalous bodies, exiled from membership in Emerson’s ideal. Contemporary literary representations of Barnum disclose an anxiety concerning exhibition. In George Washington Harris’s Southwestern humor tale, “Sut Escapes Assassination,” Sut Lovingood meets up with P. T. Barnum, who threatens to stuff and display the gangly, rural poor youth as a nondescript (130). The presence of Barnum not only jeopardizes Sut’s status as an autonomous American self, it endangers his life, underscoring the anxiety experienced among audience members at the margins.

     

    Thomson is more concerned with the theoretical demands of her mission than with the historical minutiae of the era she portrays, consequently (and ironically) homogenizing the concept of the freak show and its presentation. All exhibitions and exhibition spaces for the anomalous body are alike in her eyes, denying the changes in context and the complex set of relationships that arise from those changes. Around the name Barnum gave for his exhibition space (the Lecture Room), Thomson places quotation marks, an attempt, I imagine, to indicate a euphemism for a freak show stage, yet Barnum did use the space for lectures and temperance melodramas, as well for the display of the extraordinary body. Barnum, as Bluford Adams has recently demonstrated in his book E Pluribus Barnum, used his freak show exhibits between acts of his moral dramas, often to interesting effect. He added a General Tom Thumb in blackface to the cast of a dramatization of Harriet Beecher Stowe’s Dred, which consequently mitigated the anti-slavery message of the play and disrupted the high seriousness of the melodrama at the same time as it helped constitute the normality of his audience (142). Thomson also oversimplifies the hierarchy between Barnum’s displays and his patrons. Not only did the audience have to resolve what Thomson calls an “affront” to the categories, the audience had to discern what kind of operation was at work (N. Harris 57). Those who could not discern the operation became, in a sense, part of the show, reduced in status in the hierarchy of Barnum’s exhibition space.

     

    Thomson fares better with the literary materials of the sentimental novel of reform and the African-American liberatory novel. She capably calls attention to the disabled figures in each of these novels and demonstrates how integral they are to each novel’s purpose and structure. In her fourth chapter, “Benevolent Maternalism and the Disabled Women in Stowe, Davis, and Phelps,” Thomson seeks an analogue between the hierarchical relationship of the spectacle and the spectator in the American freak show, and that of the sentimental novel’s disabled women and the “maternal benefactress heroines,” as the author terms them. Even in the economy of sympathy generated by these two figures, the relationship remains largely parasitic. Like the sideshow freak, the figure of the disabled woman remains passive and objectified before the gaze of the benefactress, who benefits from the misery of the spectacle through the offer of compassion, a culturally approved response. The disabled woman, generating maternal affection in her audience, helps constitute a benefactress otherwise refused membership as an American self and gives her an opportunity at a public life. The benefactress can only achieve agency by witnessing the display of the extraordinary body: “The disabled figures thus legitimated the middle-class woman’s move out of the sequestered home while remaining within the maternal role” (89). Thomson successfully reveals the freak show template at work in the sentimental novel of reform, but she could have extended the analogue further concentrically to the relationship between the staged drama of the book–not unlike the melodramas on Barnum’s Lecture Room stage–and its readership.

     

    In her fifth chapter, “Disabled Women as Powerful Women in Petry, Morrison, and Lorde,” Thomson sees the extraordinary body as a vehicle for empowerment and agency. The obese, heavily scarred Mrs. Hedges in Ann Petry’s The Street presents a transitional figure in the recovery of the extraordinary body. Generating sympathy, she still represents the misery and abjection of the sentimental novel’s disabled figures, yet she achieves empowerment through her body, an empowerment that Lutie, the character who attempts to normalize herself, cannot accomplish in the racist, sexist society of the book. The culmination of Thomson’s critical achievement is her extended discussion of the disabled figures in Toni Morrison’s novels, in which she deftly shows the ubiquity of these extraordinary bodies and their importance to Morrison’s work. The marked bodies of Morrison’s novels–the amputee Eva and her birthmark-afflicted daughter in Sula, the blind Therese in Tar Baby, Sethe and her scarred back in Beloved, among others–give testimony to the hardships inflicted by the dominant society. These afflictions, though, as they mark a physical deviation from the norm, also indicate “the markings of history,” a history that each character needs to embrace in order to achieve empowerment (122). The extraordinary bodies of Morrison’s novels indicate “a transformed social order, one that reconfigures value hierarchies, norms, and authority structures” (123). Thomson, in this chapter, abandons the idea that the disabled body still serves to constitute Emerson’s ideal, even though the process is still much in evidence. Morrison denaturalizes the Emersonian ideal American self and renders it perverse and evil. Reducing African-American slaves to the status of natural history exhibit, the schoolteacher in Beloved obsessively enters inconsequential measurements into his notebook. Even though Morrison’s characters repudiate the ideal American self as Emerson constructed him and struggle with the social order that embraces the figure, they still embody the spirit of self-reliance; by Thomson’s admission, “they literally constitute themselves with a free-ranging agency whose terms are tragically circumscribed by an adversarial social order” (116). The newly empowered extraordinary body still bears the residue of the ideal American self.

     

    To counter the hegemony of Emerson’s ideal, Thomson proposes the constitution of a postmodern self, a politicized recovery of the pre-Enlightenment grotesque body as a celebration of difference and the transgression of boundaries that dismisses the authoritarian construction of the ideal American self as mundane and undistinguished. The authors of the African-American liberatory novel–Morrison and Lorde, in particular–renounce the objectification of the freak show, imbue the extraordinary body with a mythic glow, and imagine their disabled figures as metaphoric goddesses and priestesses.

     

    The mythic becomes critical to Thomson’s mission to lift the disabled body from the objectification of the freak show. She embraces the spiritual subtext of Morrison’s and Lorde’s works as a vehicle of the disabled figure’s redemption and applies the same terminology to achieve her goal, a critical laying on of hands, as it were, to cast a nearly divine light on the disabled figure and invest it, it appears, with the goddess myth from popular psychology. The effect, even if unintentional, is unfortunate.

     

    The shortcomings of Extraordinary Bodies do not diminish the achievement of its mission. Thomson accomplishes her goal of rescuing the figure of the extraordinary body, denaturalizing the categories of freak and normate in the process, and adding to the ongoing literature of the freakshow and its cultural work in the nineteenth and early-twentieth centuries. Most important to future work on freakshow exhibitions, Extraordinary Bodies testifies to the role the freakshow played in the institutions of liberal individualism and in constituting the Emersonian ideal of the masculine, autonomous self.

     

    Works Cited

     

    • Adams, Bluford. E Pluribus Barnum: The Great Showman and U. S. Popular Culture. Minneapolis: U of Minnesota P, 1997.
    • Bogdan, Robert. Freak Show: Presenting Human Oddities for Amusement and Profit. Chicago: U of Chicago P, 1988.
    • Fiedler, Leslie. Freaks: Myths and Images of the Secret Self. New York: Simon and Schuster, 1978.
    • Harris, George Washington. “Sut Escapes Assassination.” High Times and Hard Times. Ed. M. Thomas Inge. Nashville: Vanderbilt UP, 1967.
    • Harris, Neil. Humbug: The Art of P. T. Barnum. Chicago: U of Chicago P, 1973.
    • Stewart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Durham, N. C.: Duke UP, 1993.

     

  • Tuned In

    Matthew Roberson

    Department of English
    University of Wisconsin-Milwaukee

    matthewr@csd.uwm.edu

     

    Larry McCaffery, Some Other Frequency: Interviews with Innovative American Authors. Philadelphia: University of Pennsylvania Press, 1996.

     
    For two decades few critics have done more than Larry McCaffery to map the terrain of contemporary American fiction. His book The Metafictional Muse (1982) was one of the first in-depth studies of 1960s and 1970s American metafiction. His edition of essays on contemporary science-fiction, Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction (1991), is a seminal collection of some of the most interesting and genuinely serious essays about the current SF scene. Editor of the journals Fiction International and Critique, McCaffery has also in the recent past been in charge of an issue of Postmodern Culture devoted to postmodern fiction. Add to these things his more recent work as an editor–his massive Postmodern Fiction: A Bio-Bibliographic Guide (1986); his editions of Avant-Pop fiction, Avant-Pop: Fiction for a Daydream Nation (1993) and After Yesterday’s Crash: The Avant-Pop Anthology (1995); as well as a forthcoming edition of essays on one of America’s first postmodern fictioneers, Raymond Federman: From A to X-X-X-X–and it becomes clear just how extensive and expansive is his contribution to the study of the diverse field of contemporary writing.

     

    This bibliography, however, does not cover what is perhaps McCaffery’s most significant contribution to the study of contemporary fiction: his continuing series of interviews with cutting-edge experimental American writers. Beginning in 1983 with Anything Can Happen: Interviews with Contemporary American Novelists, which he co-edited with Tom LeClair, McCaffery went on to produce Alive and Writing: Interviews with American Authors of the 1980s (1987), which he co-edited with Sinda Gregory, and Across the Wounded Galaxies: Interviews with Innovative Science Fiction Writers (1990). These collections have now been joined by a fourth, Some Other Frequency: Interviews with Innovative American Authors.

     

    While McCaffery is careful to avoid broadly labeling as “postmodern” the contemporary writers he interviews, the ideas that the first three collections trace, in one shape or another, are ones most readers will recognize as postmodern. Anything Can Happen, a collection of 1970s writers, focuses on artists in particular with a “common sense that crisis was [in the 1960s and 1970s] at hand, for literature and society at large–and that extreme measures were needed to rescue the novel and the community from the grips of outmoded assumptions” (AW 1). Alive and Writing is primarily interested in seeing how this crisis comes out; its galvanizing question asks how 1980s writers take advantage of the battles won by the writers included in ACH. The writers included “in this volume simply take it for granted that many of the features of postmodernism that once seemed extreme…are perfectly valid ways for approaching the creation of fiction” (AW 2). Across the Wounded Galaxies takes as its premise that the study of SF has by 1990 become a serious institution; this is because SF itself is not only a central influence upon the styles of our times, but because it has been influenced by some of our time’s major ideas. These ideas, one of which is that in this quantum age we cannot divorce science from the arts, is for better or worse recognizably postmodern.

     

    Although continuing the earlier collections’ interests in innovative (or fringe or experimental)1 American authors, Some Other Frequency seems at first glance unwilling to commit to McCaffery’s overarching interest in postmodernism. In terms of the authors that McCaffery includes, there is no postmodern party line, or at least certainly not the kind of party line shared by some of the breakthrough postmodern innovators–Coover, Barthelme, Sukenick, Federman, Katz.2 In fact, it seems at times as if the only party line ascribed to by the writers included in Some Other Frequency is that they are not postmodern, or even necessarily avant-garde. As McCaffery sums up this point in his introduction, not only do “very few of the authors interviewed [in the collection] feel any sense of kinship to the concept of ‘postmodernism’ however that term is defined,” but it is also difficult for these authors to be avant-garde when the avant-garde’s “relevance as an artistic movement may have permanently ended during the 1960s, when artists like Andy Warhol helped dismantle the distinction between an aesthetically radical, adversarial ‘underground’ and the ‘mainstream’” (SOF 3).

     

    The authors included, to be sure, make up a disparate group with diverse backgrounds and aesthetic goals, and a group that on the largest scale McCaffery justifies pulling together only because they are part of a community of American writers who publish “formally daring and thematically rich works of fiction, mostly outside the ‘official channels’ of our commercial presses” and the strictures of traditional realism (SOF 2).[3] The end result here, then, is that although some of the included authors–Kathy Acker, Clarence Major, Kenneth Gangemi, and Harold Jaffe–are, and have been for some time, considered postmodern, these four in particular have all always been in one way or another on the fringes of postmodern fiction, not strictly postmodern or not always postmodern.4

     

    Mark Leyner and William T. Vollmann belong to a post-postmodern generation less interested in fighting postmodern battles than in absorbing the aftereffects of those battles and in searching for new struggles with which to engage and new subjects to plumb. A good number of authors who have done some work that must be considered postmodern “fiction,” but who are not typically considered postmodern writers (and certainly not postmodern novelists) are also included: Gerald Vizenor, Richard Kostelanetz, David Antin, Lydia Davis, Lyn Heijinian, Derek Pell. They are poets, visual artists, multimedia artists, and translators. McCaffery also includes two authors who for all intents and purposes seem to have very high-modernist sensibilities: Marianne Hauser and Robert Kelly.

     

    When all is said and done, though, it becomes clear that certain concepts and tropes can best and perhaps must be employed in order to discuss the innovations of this varied group. The concepts and tropes that pervade the interviews are as McCaffery himself lists them: textuality, defamiliarization, narrative, the “I” narrator, realism, history, reality, originality, invention, appropriation, authority, representation, and collaboration. These terms refer, noticeably, to issues bound up in the postmodern moment. Considering this, it is clear that even if postmodernism does not seem to be an immediate concern of or influence upon these innovative writers, and even if the writers in SOF in many ways disavow a connection to postmodernism and postmodern fiction, the ideas involved in postmodernism do in many ways seem to subtend their work.5

     

    What is unique to the postmodernism that emerges in this collection of interviews, however, is a valuable new understanding of “the real.” Like the writers included in Alive and Writing, the writers in Some Other Frequency have no static tradition of realism against which to rebel, unlike the breakthrough postmodernists. What they have instead is a primary understanding of the fluidity of reality, “a casual acceptance of the view that both reality and the self are in fact discontinuous entities” (SOF 9). As McCaffery sees it, their texts are distinguished by an immanence to this fluidity, and he is particularly interested in the ways that they “reconfigure assumptions concerning relationships between author and story, inner and outer, self and other, history and imagination, and truth and reality” (SOF 10).

     

    The notion that the interviews frequently pursue, then, is that contemporary innovative writers do not abandon realism’s need to “tell it like it is,” but instead they do their telling with an awareness that “the real…is not some discrete, isolable identity that can be represented objectively but is in actuality a network of relationships that can be rendered ‘realistically’ only via formal methods that emphasize rather than deny the fundamentally fluid, interactive nature of this network” (SOF 10).6 They are motivated by, as McCaffery puts it, an interest in exploring this new kind of “reality,” and writing in order to enlarge “readers’ perceptions” and inject “meaningful choices, diversity, and unprogrammable possibilities into lives and imaginations that seem to be increasingly drained not only of originality but of the ‘real’ itself” (SOF 6).

     

    One consistently notable quality of McCaffery’s interviews is that they are, in a way, postmodern artifacts themselves. As collaborative pieces aimed at opening up a dialogue between interviewer and interviewee, they often seem to be freefloating; they are obviously conducted only after the most careful preparation, but they also always operate with a feel for improvisation. Ideas in these interviews are taken up without undue anxiety over a preset plan or structure into which they should fit. There is due insistence, too, that although the interviews will eventually be presented in written form, they are not simply transcripts of some “real” event. McCaffery makes very clear in his foreword to the interviews that each is left open to extensive, communal revisions between McCaffery and the interviewees.

     

    That is, although the question and answer format is retained in the interviews in Some Other Frequency, the pieces are in many ways “collaborative texts based on actual conversation rather than as a direct rendering of that conversation” (SOF 12). To interviews, then, McCaffery brings a clear sense of poststructuralism’s insistence that we be aware of the complexities involved whenever “reality” is transformed into words. He also insists on making evident the interplay that occurs when throughout the interview process spoken words are in many ways translated to written, revealing how the entire process is a slippery, and, where he is concerned, a self-conscious game.

     

    McCaffery claims that there are four things crucial to successful interviewing:

     

    You've got to flat out know your material, be able to think on your feet (because an interview is a kind of live performance involving the improvisation of ideas and structures), to be able to read people, and have the ability to communicate at both the intellectual and human levels, so that people are willing to answer questions about their intimate feelings, about their work or failed marriages fifteen minutes after you've first met them. ("Interview with LM" 157)7

     

    Where the first of these things is concerned, what flat out knowing your material equals for McCaffery in Some Other Frequency is an enormous familiarity with not only all of the works of all of the authors in question, but all of the secondary work relating to these authors, as well as the various traditions leading to and surrounding each novelist. (An extensive and tremendously helpful bibliography of every writer precedes his/her interview.) With Kathy Acker, for example, conversation can range freely from Baudelaire, to John Cage, to Deleuze and Guattari, to Sade, to Bukowski. In the very next interview, though, with David Antin, conversation can switch with seeming effortlessness to discussions of Kafka, Dostoyevsky, Gogol, and Tolstoy. Not only are there fluid switches between traditions and authors, but genres as well, and McCaffery throughout seems as comfortable discussing translations with Lydia Davis as he does discussing language poetry with Lyn Heijinian, or performance art with Richard Kostelanetz.

     

    In a way, the other interviewing skills mentioned by McCaffery are intertwined; they all involve being sharp in a swift and frequently personal way. This translates in Some Other Frequency into knowing who will receive and actively engage highly theoretical questions (Acker), and who is not going to be particularly interested in discussing postmodernism, at least in the language of postmodernism (Kelly). It involves a tremendously fast dance when the overarching concepts and tropes of Some Other Frequency are met with clear resistance, and a turn to a discussion of craft and personal background is clearly the preferred avenue of conversation (Davis). It also involves a full-throttle engagement with questions postmodern and avant-poppish when the writers are game (Leyner, Vollmann). At times McCaffery can seem a bit indulgent, letting writers strike what (dare-devil) poses they will (Kostelanetz), but this also bears fruit in a kind of high-energy, larger than life, extremely animated sort of way.

     

    McCaffery’s comments about the interview form also point to perhaps its most appealing quality–its unique entrance onto the personal. For readers, one imagines that this “personal” view of a subject is at times the interview’s greatest draw; it can tap into a writer’s immediate insights, for example, about his or her work; it can also offer, in many ways, interesting voyeuristic moments, glances at the “real,” behind-the-scenes workings of an interviewee’s life. In any case, the interview does often, more than many other discourses, offer a more direct, one-on-one connection with a life, a mind, a personality. For the person interviewed, this personal side to interviews often seems to offer itself as a form through which to “write” autobiographically. In Some Other Frequency, Marianne Hauser is able to deliver not only ideas about contemporary fiction, but stories of a life that has spanned the whole of the twentieth century. Kenneth Gangemi supplements a discussion of his work with a revealing look at the charged (night)life of a New York City bartender. And it is also possible to see in Some Other Frequency the details of Harold Jaffe’s life as Buddhist (as well as “hear,” I must note, that virtually everything that comes out of this man’s mouth is remarkably insightful).

     

    In all, probably the greatest strength of McCaffery’s collection of interviews is its diversity of authors, ideas, angles of approach, and insights both into the life of writing and writer’s lives. At times this diversity of authors, in particular, seems to be had at the cost of hearing from many other talented contemporary writers for whom there did not seem to be space in Some Other Frequency: Carole Maso, David Foster Wallace, Steve Erickson, Eurudice, Richard Powers. On the other hand, one can hope that the desire to interview some or all of these writers (and certainly others as well) will motivate McCaffery to generate his next important collection.

     

    Notes

     

    1. Obviously, one can find a host of terms used to describe the contemporary avant-garde. Settling upon a label for these writers is certainly no easier now than it was in the seventies, when critics trumped one another almost daily with new terms: surfictionists, superfictionists, metafictionists, fabulationists, and so on. The way the subtitles of McCaffery’s interview collections sample from this grab-bag of terms shows that he is not unaware of, and possibly not (a bit) unamused by this situation.

     

    2. As Steve Katz says in an interview with McCaffery, for this group of writers, certain shared things were “in the air,” in a manner of speaking: “…all of us found ourselves at the same stoplights in different cities at the same time. When the lights changed, we all crossed the streets” (ACH 227).

     

    3. McCaffery finds that this community of writers is in some ways like the Tristero of Pynchon’s Crying of Lot 49, existing on some other frequency of American life (and it is from a scene in Lot 49 that McCaffery draws his title).

     

    4. They are considered postmodern in as much as they have shared “streetlights” with the breakthrough innovators mentioned earlier; they are frequently interested in exploring unusual typography, discontinuous and nonlinear narratives, and self-consciousness. They are not strictly or always postmodern in as much as they can also, variously, be categorized as feminist-postmodern, African-American postmodern, and so on.

     

    5. As McCaffery notes, postmodernism, “like Melville’s white whale, is forever destined to elude all human efforts to categorize and define it” (SOF 3).

     

    6. This new realism is in many ways tied to the “avant-pop” fiction that McCaffery discusses in a number of essays, and in the forewords to his recent editions of avant-pop fiction. Avant-pop fiction wants to “tell it like it is” in a late 20th-century world colonized everywhere by consumer and pop culture. That is, it wants to survive somehow as “serious” art in a world that is less a “literal territory than a multidimensional hyperreality of television lands, media ‘jungles,’ and information ‘highways,’ a place where the real is now a desert that is rained on by a ceaseless downpour of information and data; flooded by a torrent of disposable consumer goods, narratives, images, ads, signs, and electronically generated stimuli; and peopled by media figures whose lives and stories seem at once more vivid, more familiar, and more real than anything the artist might create” (AYC xiv).

     

    7. It strikes me, too, that these are qualities that one finds in the very best of teachers, and it’s not hard when reading through the interviews in Some Other Frequency to imagine that in them McCaffery is (superbly) leading a seminar peopled by some of America’s most precocious and talented and contentious students.

     

    Works Cited

     

    • McCaffery, Larry. Across the Wounded Galaxies: Interviews with Innovative Science Fiction Writers. Urbana: U of Illinois P, 1990.
    • —, ed. After Yesterday’s Crash: The Avant-Pop Anthology. New York: Penguin, 1995.
    • —. Alive and Writing: Interviews with American Authors of the 1980s. Urbana: U of Illinois P, 1987.
    • —. Anything Can Happen: Interviews with Contemporary American Novelists. Urbana: U of Illinois P, 1983.
    • —, ed. Avant-Pop: Fiction for a Daydream Nation. Normal: Fiction Collective Two, 1993.
    • —. The Metafictional Muse: The Works of Robert Coover, Donald Barthelme, and William H. Gass. Pittsburgh: U of Pittsburgh P, 1982.
    • –, ed. Postmodern Culture (Special Fiction Issue Devoted to Postmodern Fiction) 3:1 (1992).
    • —, ed. Postmodern Fiction: A Bio-Bibliographic Guide. New York: Greenwood Press, 1986.
    • —. Some Other Frequency: Interviews with Innovative American Authors. Philadelphia: U of Pennsylvania P, 1996.
    • —. Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction. Durham: Duke UP, 1991.
    • Shiner, Lewis. “An Interview With Larry McCaffery,” Mississippi Review 20:1-2 (1991): 155-167.

     

  • Renegotiating Culture and Society in a Global Context

    Stacy Takacs

    Department of English
    Indiana University

    stakacs@indiana.edu

     

    Anthony King, ed. Culture, Globalization and the World-System: Contemporary Conditions for the Representation of Identity. Minneapolis: University of Minnesota Press, 1997.

     
    Marxist theorist Antonio Gramsci is credited with offering the first full-fledged analysis of Fordism as both an economic and a cultural system. His major insight was to recognize that the “rationalization of work” entailed by the reorganization of the productive processes under Fordism necessitated a certain reorganization of social behavior as well. For Gramsci, Fordism was more than a technological paradigm; it was “the biggest collective effort to date to create, with unprecedented speed, and with a consciousness of purpose unmatched in history, a new type of worker and of man” (302).

     

    One cannot help but hear the echo of Gramsci in the recent plethora of Marxist accounts of the contemporary transition to a so-called post-Fordist regime of accumulation.[1] Clearly, contemporary cultural critics have learned from Gramsci which questions about culture and society are worth posing. Gramsci’s analysis of Fordism asks not whether, but how social transformation occurs. In linking the rationalization of work to the regulation of social bodies, he focuses less on the nature of productive relations than on how those relations are reproduced over time and across space. This means introducing into the science of political economy questions about the role of politics, culture, ideology, and identity in the regulation of a given set of capitalist relations. Finally, Gramsci seeks to understand the relationship between the economic base of capitalist society and these airy superstructures without reducing the latter to mere expressions of the former. In this sense, he should be seen as an intellectual forefather of the interdisciplinary field of Cultural Studies, which takes this task as its guiding problematic.

     

    Culture, Globalization and the World-System: Contemporary Conditions for the Representation of Identity, edited by Anthony King, fits squarely within this growing body of material designed to apply Gramsci’s insights to the emerging post-Fordist[2] socio-cultural complex. As the serial form of the title indicates, the text attempts to cover a lot of ground in a short period of time. The first part of the title offers a broad outline of the terms of engagement, so broad as to be disorienting, I would argue. The second part seems designed to temper the excesses of the first by establishing identity as the primary vehicle through which to pursue the study of culture, globalization, and the world-system. The implicit question it poses is: how do structural changes in the organization of society impact the ability to locate oneself vis-à-vis others in the world? This is a provocative question. Unfortunately, as I will demonstrate, the text fails to fulfill the promise of its subtitle. Instead of charting a course through the maze of the global via an examination of lived identity, Culture, Globalization and the World-System ends up reinscribing disciplinary boundaries in a defensive attempt to ward off the cognitive disorientation unleashed by the widespread social transformations it describes.

     

    The text’s production history provides some insight into why the title of the volume appears so expansive as to be virtually meaningless: the organizers of the original symposium were attempting to provide an introduction to the history of study in these areas. As King explains in his introduction, each term in the title is designed to connote an entire body of theory connected, for the sake of convenience, to a single theorist who becomes the representative of this body of theory within the space of the symposium/text. The term “culture” is intended to reference the works of Cultural Studies guru Stuart Hall and anthropologist Ulf Hannerz; “globalization” refers to the work of Roland Robertson; and “the world-system” refers to Immanuel Wallerstein’s ground-breaking work in international political economy. Hall’s two lectures were presented prior to the symposium while Robertson, Wallerstein, and Hannerz’s lectures served as the focal points for the symposium itself. Respondents included Janet Abu-Lughod, Barbara Abou-El-Haj, Maureen Turim, King, John Tagg, and Janet Wolff, who provided the (admirable) summation of the proceedings. As I will show, the respondents were also made to bear the responsibility of representing their disciplines and/or their theoretical orientations, but in a more enabling way.

     

    To my mind, the content of Culture, Globalization and the World-System is less important than its structure as an interdisciplinary conversation about the various economic, political, and cultural processes of globalization. Unfortunately, as I will demonstrate shortly, what it stages is only a pseudo-dialogue that can neither bridge the gap between the social sciences and the humanities, nor think the economic in conjunction with the cultural. Stuart Hall’s two essays are, perhaps, the exceptions to this general rule, and before I embark on a critique of the rest of the text, I want to outline some of his arguments. As the former director of the Birmingham Center for Contemporary Cultural Studies–the institutional hub of British Cultural Studies for over two decades–Hall has the most experience a) crossing disciplinary divides and b) analyzing the relationship between culture and the material basis of capitalist society. Thus, he has a certain advantage over the other presenters. Given his background, it is not surprising that he would be the only one of the primary speakers to take up the challenge posed by the symposium’s subtitle. Like the others, he details the structural transformations wrought by new forms of capitalist organization and new modes of production. Unlike the others, however, he refrains from abstraction and so is able to present a much more complex picture of the contradictory and uneven nature of the processes of globalization.

     

    Hall’s outline of the macro-level transformations follows the basic structure of the “New Times” position, which, in turn, follows the basic outlines of French Regulation theory.[3] The Regulationists conceive of the capitalist system as inherently crisis-prone and seek to explain how the periodic phases of crisis, like the current crisis of Fordism, are managed or controlled so that the system as a whole does not break down. They emphasize the role of social institutions and informal norms in stabilizing, or “regulating,” capital at such moments of crisis. Thus, for them, a phase of capitalism consists of both a “regime of accumulation” and a clearly defined “mode of social regulation.”4 Fordism was characterized by the twin dynamics of mass production and mass consumption. Its key institution of regulation was the Keynesian welfare state, which both mediated between capital and labor to secure the indexing of wages to productivity and stimulated consumer demand by providing money and social services to groups formerly marginalized by the economy. Since the 1970s, declining corporate profits caused by increased international competition, the growing burden of wages indexed to productivity, and a shift in the patterns of consumption (from mass to individualized consumption) have spurred corporations to reorganize their production processes in order to respond more flexibly to changes in labor and consumption markets. The new, flexible paradigm involves the geographic dispersal of production processes and concomitant centralization of command functions, both of which are enabled by new technologies of information, communication, and transportation. It is also characterized by an increase in the production of non-material or “postindustrial” commodities, especially information and entertainment. Of course, Hall does not offer quite this level of detail, but he does define the economic basis of globalization in these terms.

     

    He then proceeds to argue that the reorganization of capitalism has undermined the material basis of personal and national identity. As a result, new habits of thought and modes of resistance are required to combat the worst effects of the structural adjustments. To a certain extent, this is a practical argument: global flows of people, money, machines, images, and ideas[5] transgress the boundaries of the nation-state virtually at will, undermining its geographical and ontological security. As corporations set their sights on the global marketplace, the traditional relationship between industrial enterprise and national identity also erodes. Moreover, flexible production has caused drastic cutbacks in industrial employment as corporations downsize and travel abroad seeking a more favorable wage bargain. The loss of manufacturing jobs as well as the increase in service sector and managerial employment have irrevocably altered the class relations of (Western) societies, weakening labor unions and temporarily paralyzing political response to these social changes. These developments lead Hall to conclude that “[the] logic of identity [as we have known it] is, for good or ill, finished” (43). The contemporary conditions for the representation of identity are not conducive to the types of homogeneous collectivities on which political activity had previously been based (44-45). These material adjustments are compounded by the theoretical decenterings of the Cartesian subject from within the fields of linguistics, psychoanalysis, feminism, and post-colonialism, to name just a few. The connection between the epistemological and material crises of the subject is one of Hall’s key insights, and one that escapes the remainder of the volume’s contributors.

     

    Together, Hall’s two essays complement each other nicely. In “The Local and the Global: Globalization and Ethnicity” (19-40), Hall describes the crisis of Fordism and the decline of the nation-state via the disintegration of a unified sense of national identity. He demonstrates how the concept of “Englishness” was produced and sustained by an earlier moment of globalization, more commonly referred to as imperialism. This identity depended on a certain construction of the “other” against which it could define itself as good and moral. Once firmly grounded in its sense of ethnic homogeneity, this strand of nationalism has given way, under the pressure of contemporary processes of globalization, including the invasion of the colonial center by its formerly peripheralized populations, to a more lethal brand of English nationalism. Because its homogeneity is harder to maintain, this version of nationalism must resort to extreme, sometimes violent measures to produce the ideological closure its seeks. The major insight here is that this virulent brand of ethnic nationalism is not an atavistic or anomalous eruption in an otherwise happily integrated global village. It is a constitutive feature of globalization, and, especially, of transnational corporatism, which fetishizes localities in order to a) commodify them or b) pit them against each other in competition for scarce economic resources (jobs and money).

     

    His second essay, “Old and New Identities, Old and New Ethnicities” (41-68), elaborates on these insights by tracing the emergence of “Black” as a political category of identity positioned to challenge the hegemonic formulation of Englishness as whiteness. The title of this essay offers a succinct outline of his major points: Identity, associated with the older forms of social collectivity (class politics, etc.), has given way to Ethnicity, a more contingent and open-ended process of social location based on the strategic coalescence of the interests and needs of different individuals. Hall argues that, in the face of the homogenizing forces of globalization, resistance must involve a process of “imaginary political re-identification, [a] re-territorialization” designed to reclaim place from space and establish a ground from which to enunciate common demands. As he notes, however, because this is a precarious positioning always open to co-optation by the forces of capitalism or by regressive forces within a given grouping, such an identity politics is necessarily a politics without guarantees. In a world too prone to homogenization, however, this style of politics promises to avoid the tendency to imagine that one’s views are universal.

     

    The only criticism I have to make of Hall’s contributions is a criticism that many have had of the “New Times” position in general. That is, while it is able to hold the global and the local in tension without subsuming one under the sign of the other, it is not as successful at holding the new and the old in tension. The very name “New Times” implies that what is being described is unlike anything that has come before. As a result, habits of thought and modes of action that were characteristic of the previous phase of capitalism are made to seem irrelevant and even useless in the analysis of the emerging dynamic. This is problematic, for as Marx himself notes, capitalism is always unevenly developed. Emergent and residual forms of capitalist organization coexist with the dominant in any given historical context. Therefore, the call to abandon previous habits of thought and forms of action in the contemporary context seems, at best, premature, and, at worst, foolhardy.[6]

     

    I want to turn now to the other essays within Culture, Globalization, and the World-System in order to demonstrate how the structure of dialogue works to reinforce disciplinary divides in ways that are ultimately debilitating for the analysis of culture in general. The text reinforces some of the problems with the organization of the symposium itself. For one thing, the primary essays–by Hall, Robertson, Wallerstein, and Hannerz–are neatly sectioned off from those of the respondents, thereby creating hierarchical distinctions between the participants. Not the least debilitating of these distinctions is the one between the global “stars” (Hall, Wallerstein, Robertson, and Hannerz) and the local “peons” (five of the six respondents were from the New York area, three from the host institution). In the way that generalized discussions of the global tend to subsume the local, this hierarchical organization marginalizes the respondents, according them a certain oppositional status but very limited power. The relative value of each essay/speaker to the symposium is registered quantitatively in the amount of time/space the speaker is allowed to command (respondents rarely merited more than twenty minutes, it would seem). The conspicuous absence of audience participation in the text of the symposium[7] raises most concretely the question of who is authorized to speak about the dynamic of globalization. Finally, the way in which the partitioning of the text is accomplished produces a divisive and often dismissive quality in the essays. Labeling the second section “Interrogating Theories of the Global” prepares both the respondents and the readers to assume an antagonistic role in relation to the primary essays. Many of the respondents take this role too much to heart, neglecting to give credit where it is frequently due. The result is less an inter- or even transdisciplinary conversation about the problems of globalization than a fortification of institutional divides, particularly the one between the humanities and the social sciences.

     

    King, in his introduction, and Wolff, in her concluding essay, both draw attention to this disabling dynamic and recognize the complicity of the organizers in its production. That is, by naming the various methodological divides–“Culture, Globalization and the World-System”–the symposium inadvertently reified them. In addition, it formulated a new divide between these concepts (and the methodologies associated with them) and the problem of identity, which, by virtue of its position in the subtitle, was ultimately subordinated to the “main topics.” As King points out, this was a divide the organizers had hoped the speakers would bridge, but only Stuart Hall “addressed both the title and subtitle of the main theme mapping” (14). An interesting and troubling dynamic resulted: while the three primary speakers (Robertson, Wallerstein, Hannerz) focused their energies on reconciling the terms of the main title, the respondents, especially John Tagg and Maureen Turim, emphasized the issue of identity and the constitutive role played by economic, political, and cultural conditions in the formation of identity. Not surprisingly the different emphases produced different levels of discourse, ranging from the highly abstract and totalizing mappings of Robertson and Wallerstein to the concrete counter-examples offered by Abu-Lughod and Abou-El-Haj to demonstrate the heterogeneity and unevenness of the processes of globalization. Wolff reads this divide as a symptomatic expression of an on-going problem within the (supposedly) interdisciplinary field of Cultural Studies–namely, the failure of the social sciences to take the humanities seriously. Her point is well-taken, though I would argue, based on my experience studying television within an English department, that any disregard or outright enmity is, in fact, mutual.8 Certainly the disregard exists, and it is symptomatic of a general failure to be interdisciplinary enough when it comes to the study of culture, particularly at the supra- and sub-national levels.

     

    Read against the grain, however, the structural divide that the text performs illuminates the inadequacies of our current imaginings of interdisciplinary practice. In other words, as an example of a post-disciplinary practice that might complement the shift toward a post-national conception of culture, the volume is an utter failure; as a lesson for future interdisciplinary approaches to the study of global culture and society, it has its moments. For one thing, the participants are highly self-conscious about the symposium’s failings. Thus, I would disagree with Wolff’s assertion that the theoretical differences between the speakers were submerged during the symposium (163-164). On the contrary, the respondents were quick to call Wallerstein and Robertson out for their “econocentrism” (Turim 146). John Tagg goes so far as to accuse them of offering “totalizing” accounts that are, at worst, complicit in the construction of uneven and coercive power relations–as if theory were of the same order of violence as material deprivation or physical punishment–and, at best, guilty of “[putting] us back, once more, in the primitive architecture of the base and superstructure model of the social whole” (156). Meanwhile, Tagg’s own theoretical excesses–he takes Derrida’s prescription that “there is nothing outside of the text” far too literally, denying the existence of any material reality outside of representation–make his discursive positioning obvious. Indeed, at all times, either directly or indirectly, the reader is made aware of the theoretical and methodological biases of the contributors. They become representative figures for their disciplines, charting a course through the larger institutional and epistemological struggles over how best to know and understand the world. Again, I say, this is a virtue. There can be no better introduction to the cross-disciplinary squabbling that characterizes the study of contemporary culture than to have it staged in the open like this.

     

    As Hall notes, “you have to be positioned somewhere in order to speak. Even if you are positioned in order to unposition yourself…you have to come into language to get out of it” (51). Too often, as King’s introduction makes clear, the theoretical baggage accompanying concepts like “culture,” “globalization” and “the world-system” goes uninterrogated by the people who deploy it. His sophisticated critique of the nationalist bias under which cultural studies operates is a case in point. The study of culture has always proceeded as if the nation somehow defined the essence of culture. Multinational capitalism’s aggressive demystification of this common sense assumption has, therefore, caught cultural studies unaware. A coherent formulation of what a post-national methodology for the study of culture would look like has yet to emerge from within any discipline. Likewise, no one has yet formulated a post-disciplinary praxis that would be capable of addressing the economic and the cultural as an interpenetrated and indistinguishable complex. Adorno and Horkheimer once proposed that what was novel about contemporary culture was not so much the fact that it commodified the aesthetic, but the degree to which the economic base invaded and took over the superstructure, making it impossible to think the one independently of the other. The very existence of a text like Culture, Globalization and the World-System demonstrates that these epistemological conundrums have yet to approach a satisfactory resolution. But it does point the way, if only through its failings.

     

    Notes

     

    1. The literature on the topics of post-Fordism, transnationalism, and globalization is extensive to say the least. Readers interested in pursuing the debates are encouraged to turn to the journals Theory, Culture, and Society and Public Culture. Texts that might be of interest include The Condition of Postmodernity by David Harvey; Global Culture, edited by Mike Featherstone; New Times, edited by Stuart Hall and Jacques Martin, especially Michael Rustin’s contribution “The Politics of Post-Fordism: or, the Trouble with ‘New Times’”; Post-Fordism: A Reader, edited by Ash Amin; Global/Local: Cultural Production and the Transnational Imaginary, edited by Rob Wilson and Wimal Dissanayake.

     

    2. When I use the term “post-Fordism,” I do not mean to imply that the world has entered an entirely new phase of capitalism. Rather, I use it quite literally to connote the time period after the onset of the crisis of Fordism. That is, the time period after the recession of 1973.

     

    3. Most commonly associated with Michael Aglietta and Alain Lipietz.

     

    4. To clarify the terminology a bit, “regime of accumulation” designates all of the macroeconomic conditions that enable a particular type of capital accumulation, including the organization of production, labor relations, conditions of exchange, and patterns of consumption and demand during a given historical moment. Those institutional structures, cultural habits, and social norms responsible for reproducing a particular regime of accumulation are known as the “mode of regulation.”

     

    5. Arjun Appadurai lists several types of global flows: ethnoscapes (flows of people), technoscapes (flows of technology), financescapes (flows of money), ideoscapes (flows of ideas and political ideologies), and mediascapes (cultural flows, especially of images). He emphasizes that these flows are uneven and multidirectional; therefore, power relations are much more difficult to pin down.

     

    6. For an elaboration of these critiques and others, see Rustin.

     

    7. The substance of the question and answer session following Stuart Hall’s second lecture is included, but the names and identities of the questioners are effaced.

     

    8. Having monopolized the study of culture for years, English departments are generally reluctant to surrender their interpretive privileges to “quantoids” in the social sciences who prefer to study “degraded” forms of culture like TV. Likewise, social scientists consider humanities-style approaches to culture to be shoddy because they do not subscribe to the same rules of evidence.

     

    Works Cited

     

    • Aglietta, Michael. A Theory of Capitalist Regulation: The US Experience. London: New Left Books, 1979.
    • Amin, Ash. Post-Fordism: A Reader. Cambridge: Blackwell, 1994.
    • Appadurai, Arjun. “Disjuncture and Difference in the Global Cultural Economy.” Global Culture. Ed. Mike Featherstone. London: Sage Publications, 1990. 295-310.
    • Featherstone, Mike, ed. Global Culture. London: Sage Publications, 1990.
    • Hall, Stuart, and Jacques Martin, eds. New Times: The Changing Face of Politics in the 1990s. London: Lawrence and Wisehart, 1989.
    • Gramsci, Antonio. “Americanism and Fordism.” Selections From the Prison Notebooks. Eds. Quintin Hoare and Geoffrey Nowell Smith. New York: International Publishers, 1971. 279-320.
    • Harvey, David. The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. Cambridge: Blackwell, 1990.
    • King, Anthony, ed. Culture, Globalization and the World-System: Contemporary Conditions for the Representation of Identity. Minneapolis: U of Minnesota P, 1997.
    • Lasch, Scott and John Urry. Economies of Signs and Space. London: Sage Publications, 1994.
    • Lipietz, Alain. Mirages and Miracles: The Crisis of Global Fordism. London: Verso, 1987.
    • Marx, Karl. Capital, Volume One. New York: Vintage Books, 1979.
    • Rustin, Michael. “The Politics of Post-Fordism: Or, The Trouble With ‘New Times.’” New Times: The Changing Face of Politics in the 1990s. Eds. Stuart Hall and Jacques Martin. London: Lawrence and Wisehart, 1989. 303-320.
    • Wilson, Rob and Wimal Dissanayake, eds. Global/Local: Cultural Production and the Transnational Imaginary. Durham, NC: Duke UP, 1996.

     

  • Structuralism’s Fortunate Fall

    David Herman

    Department of English
    North Carolina State University

    dherman@unity.ncsu.edu

     

    François Dosse, History of Structuralism, Vols. I (The Rising Sign, 1945-1966) and II (The Sign Sets, 1967-Present). Translated by Deborah Glassman. Minneapolis: The University of Minnesota Press, 1997.

     

    Believe it or not, this two-volume, 975-page history of French structuralism, originally published in French in 1991-1992 and based on interviews with some 123 French academics and intellectuals, reads like a good novel. Once you pick it up, it is hard to put Dosse’s History down. From the beginning, structuralism makes for an ideal protagonist, fighting against impossible odds and winning our sympathies throughout all its difficulties and vicissitudes. Indeed, in Dosse’s account the early structuralists come across as heroic revolutionaries, underdogs opposed by powerful reactionary forces visibly operative at the Sorbonne, but deeply entrenched in French academe at large (I: 191-201). In these postpoststructuralist times, it is easy to forget that the structuralists were in fact the Young Turks of their day. They were articulate champions of avant-garde literature and art (II: 154-55, 200-206), formidable analysts of specifically sociopolitical structures (I: 142-57, 309-15; II: 247-59), tireless promoters of intellectual revitalization, ingenious methodological innovators (I: 202-22), and fearless breakers-down of accepted disciplinary boundaries. At the same time, Dosse engrossingly emplots the structuralist adventure in France as a particular kind of rise and fall: after revolutionizing philosophy, psychoanalysis, literary theory and the social sciences, structuralism died a spectacular death, and no disciplinary tradition will ever be the same. This overarching plot allows the author to attach localized episodes to his ongoing historical narrative. Thus, whereas the structuralist dissolution of the subject proved untenable and was ultimately abandoned, it forced a rethinking of the kind of subjectivity that underwrote prestructuralist humanism (II: 324-63). The same goes for the banishment of history from the domain of structuralist analysis (I: 181-83; II: 364-375, 427-36); history is back, but it is not the same as it used to be. What is more, Dosse’s character vignettes make such reversals (or perhaps zigzags) of fortune come palpably alive. The two volumes are studded with portraits of major and minor figures who lived the structuralist revolution and its aftermath–from Roman Jakobson, Claude Lévi-Strauss, Georges Dumézil, Algirdas Julien Greimas, Roland Barthes, Gérard Genette, Oswald Ducrot, Julia Kristeva, Michel Foucault, Louis Althusser, Jacques Lacan, Gilles Deleuze and Jacques Derrida, to Gaston Berger, Jean-Marie Auzias, Louis Hay, Joseph Sumpf and Jean-Marie Benoist, among many others.

     

    Here emerges a second assumption at the basis of Dosse’s account: that the history of structuralist thought reduces, at one level of analysis, to a collocation of the biographies of its proponents, fellow-travellers, and detractors. This is therefore a history that takes shape through an encyclopedic assemblage of highly memorable images: Lévi-Strauss being dazzled in the early 1940s by Roman Jakobson’s classes on sound and meaning at the New School for Social Research, while both men were in exile from Europe (I: 12, 21-24); Barthes finding his way to Greimas in Alexandria, Egypt, in 1949 and undergoing his fateful semiological conversion, like a Saint Paul converted on the way to Damascus (I: 68, 74); Lacan implementing his principle of “scansion,” or pointed break, by cutting short his sessions and thus multiplying the number of patients he could see and charge (I: 95-97); Foucault brilliantly defending his thesis on the history of madness in 1961, amazing a thesis committee that included Georges Canguilhem and Jean Hyppolite (I: 150); André Martinet lecturing to classes of six hundred students during the height of linguistics’ popularity as a “pilot science” for structuralist theorizing (I: 192); Nicolas Ruwet reading a text on generative grammar on the train from Liège to Paris and embracing the Chomskyean model by the time he arrived (II: 4); Derrida opposing Lacan’s candidacy to become head of the department of psychoanalysis being founded in the late 1960s at the then-experimental university at Vincennes (II: 148); Tzvetan Todorov being profoundly transformed, shifting from formalist to more broadly socioideological concerns, as a result of his 1981 translation of Bakhtin’s writings (II: 324-326); and the “master thinkers” of structuralism–Barthes, Lacan, Foucault, Althusser–all dying in relatively quick succession in the span of a decade (II: 376-90). Such character profiles help make Dosse’s History of Structuralism a gripping, eminently readable account of a period that has proved foundational for subsequent work in literary and cultural theory. More than that, though, the biographical sketches ensure that the text will be an indispensable reference work for anyone interested in recent intellectual history, particularly the history of philosophy, literary studies, and the social sciences in postwar France.

     

    Yet a catalogue of the experiences of (more or less renowned) structuralist thinkers does not suffice to explain what structuralism was or why it exerted such a tenacious hold on the French imagination during the later 1950s, the 1960s, and the 1970s. Nor is the telling of structuralism’s rise and fall tantamount to an evaluation of its significance, an assessment of what its history might mean for those of us living in its wake. What makes documentation of the structuralist enterprise more than just antiquarianism in Nietzsche’s sense, an inert chronicling divorced from the concerns that define the epoch of the present? At the outset, Dosse points to

     

    the necessity of illuminating the richness and productivity of structuralism before seizing upon its limits. This is the adventure that we will undertake here. Notwithstanding the dead ends into which structuralism has run on occasion, it has changed the way we consider human society so much that it is no longer even possible to think without taking the structuralist revolution into account. (I: xxiii)

     

    Historicizing structuralist thought, then, also involves a reconsideration of the extent to which we can call ourselves “beyond” structuralism. To think today about language, literature, society, identity and their interconnections is to live a certain relationship to structuralism–to its origins, presuppositions, methodologies, and aims. Dosse’s achievement–no small feat–is to help us live that relationship more critically; his History expands the range of contexts in which the structuralist legacy can itself become an object of inquiry.

     

    It is worth recalling that the provenance of the term structuralism is essentially linguistic (I: xxii). Troubetzkoy, Jakobson, and Hjelmslev, extending and refining the model developed in Saussure’s Course in General Linguistics, all referred to a “structural linguistics” in their work during the years preceding WWII. Significantly, although Saussure used the word system 138 times in the Course, not once did he use structuralism, which apparently was Jakobson’s coinage (I: 45). Saussure’s model was distinguished by two major features, which Dosse also detects in structuralist extrapolations from the Course. First, the model emphasized the synchronic relations between the elements constituting the linguistic system, as opposed to the diachronic relations between earlier and later stages of a given system or between earlier and later versions of a particular linguistic variant. There is thus a conscious analytic decision to background the historicity of systems/structures, a decision that inflected the work of the French structuralists. In this light, Dosse describes Ferdnand Braudel’s focus on the longue durée as an effort on the part of the Annales historians to reconcile structure and history, i.e., “to slow down temporality” (II: 229) and frame a “history of inertias” (II: 230). Foucault’s Archaeology of Knowledge (1969) works toward an analogous neutralization of diachrony (II: 234-46). Second, Saussure’s model focused on signifiers (sound-images) and signifieds (concepts) to the exclusion of extralinguistic referents and, more generally, the circumstances of enunciation.1 Hence, from a Saussurean perspective “the linguistic unit…always points to all the other units in a purely endogenous combinatory activity” (I: 48). Structuralists similarly favored the construction and formalization of abstract relational networks, in a way that often set structuralists and Marxists, for example, at odds with one another (II: 88-98: cf. I: 306-308).

     

    Saussure’s approach was the governing paradigm for the linguists affiliated with the Prague and Geneva Schools in the 1920s and 1930s; but it was an article written in 1956 by Greimas, “L’actualité du saussurisme,” that generalized the appeal of Saussure’s ideas and highlighted connections between Saussurean linguistics and the work of Merleau-Ponty, Lévi-Strauss, Barthes, and Lacan (I: 45). An earlier event, already mentioned, was even more crucial in this context. Lévi-Strauss’s discussions with Jakobson at the New School for Social Research resulted in the former’s adoption of structuralist phonology as a model for anthropological research. Thus, in Structural Anthropology (1958) Lévi-Strauss wrote: “Like phonemes, kinship terms are elements of meaning; like phonemes, they acquire meaning only if they are integrated into systems” (quoted at I: 22).2 Dosse identifies 1964, however, as the year of the real “semiological breakthrough” (I: 203-209). Communications published an issue that included articles by Todorov on formal techniques for analyzing literary signification, Bremond on the possibilities and limits of Propp’s groundbreaking Morphology of the Folktale (1928), and Barthes on Saussurean linguistics and Hjelmslev’s glossematics as tools for semiological analysis. In the same year, Barthes published Critical Essays, which included his programmatic statement of “The Structuralist Activity,” defined as an activity that transcends the division between science and art and that aims “to reconstitute an object in such a way as to reveal the rules by which the object functions” (quoted at I: 207). In this sense, Mondrian and Butor, as well as Troubetzkoy and Dumézil, could be brought under the structuralist aegis.

     

    It was during the 1960s, too, that structuralism developed the “ideology of rigor” (I: 219) for which it would later become notorious. In The Elementary Structures of Kinship (1949), Lévi-Strauss had already whetted the French appetite for scientificity. From the start he drew on linguistic and mathematical models in an effort to establish anthropology, and the social sciences more generally, on the same footing as the natural sciences (I: 23-24; cf. I: 259-61 and II: 197-99). Likewise, Lacan framed his “return to Freud” using linguistic and mathematical formalisms; both were part of an attempt to demedicalize the psychoanalytic project and rescientize it on other grounds. “The Agency of the Letter in the Unconscious” (1957) included references to Saussure and Jakobson and diagrammed the operations of the sign to argue that the unconscious is structured like a language (I: 105-10). By 1970, though, Lacan had turned from linguistic to topological demonstrations:

     

    Lacan gave more and more seminars on topological figures, including graphs and tores, and on stage he used string and ribbons of paper, which he snipped into smaller and smaller pieces to demonstrate that there was neither inside nor outside in these Borromean knots. The world was fantasy, and sat beyond intraworldly reality; its unity was accessible only through what is missing in languages. "Mathematization alone achieves a reality, a reality that has nothing to do with what traditional knowledge has sustained...." (II: 196-97)3

     

    Meanwhile, Althusser and his followers (including Pierre Macherey, Michel Pêcheux, and Étienne Balibar) tapped into the “ambient climate of scientism” (I: 290). During what Dosse calls “The Althusserian Explosion” (I: 293-308), the scientificity of a properly Marxist discourse–a mode of theorizing that was to have fully extricated itself from ideology–became an explicit and canonical theme. Indeed, no longer content to measure its progress within specific disciplines, with Althusser structuralism broadened its horizons “to include a structuralist philosophy that presented itself as such, and as the expression of the end of philosophy, the possibility of reaching beyond philosophy in the name of theory” (I: 295-6). Thus Althusser did not hesitate to give lessons in scientificity to practicing scientists (I: 392).

     

    What remains to be explained, however, is why the ideology of rigor, the climate of scientism enabling and pervading the struturalist revolution, became such a dominant force in France during this period. According to Dosse, the problematic status of the social sciences in postwar France created an environment especially–perhaps uniquely–favorable to structuralism. Volume I opens with the claim that the birth of structuralism came at the cost of the death of existentialism. Yet the reaction against Sartre is contextualized as only part of a larger antiacademic revolt (I: 380-93). This was a time when the social sciences were forcing their own institutional recognition, and Sartre’s philosophy of the subject had made no effort to establish a middle ground between the traditional humanities and the hard sciences (I: 4-5; cf. I: 382-83). Indeed, after the war “the weight of the humanities in France blocked the social sciences within the French university, contrary to the situation in the American universities, where they were triumphing” (I: 391). The structuralist revolution thus represented a broad-based attempt by the philosophical avant-garde and the nascent social sciences to make a place for themselves within a recalcitrant French university, notorious for its highly centralized and routinized modus operandi. To those embroiled in debates about how best to reconfigure instructional practice and the organization of the academic disciplines, structuralism appeared as a unifying, transdisciplinary project that could “confederate the human sciences around the study of the sign” (I: 388). Once those sciences established themselves methodologically and secured their institutional footing, disciplinary segregation set in again and weakened the hold of structuralism as a quasi-universal research paradigm (II: 276ff.).4 Domains of inquiry that fell outside structuralist theorizing now started to gain more attention: the dialogic and more broadly intersubjective aspects of communication (II: 325-31); ethical concerns (II: 282-87); biography and autobiography as routes to knowledge of the subject (II: 354-56); the role of events in a history once more viewed as dynamic and irreversible (II: 373-375).

     

    Dosse addresses his main topic in this study–i.e., the philosophical and social-scientific contexts of structuralism’s rise and fall–in a remarkably compelling way, interspersing textual analysis with quotations from interviews, citations from reviews of major structuralist publications, and tabulations of the number of books sold by key structuralist authors from year to year. The two volumes weave a rich tapestry of biography, historico-institutional analysis, critical exegesis, and synoptic commentary on the migration of structuralist concepts and methods from one area of inquiry to another. This is not to say that the History is without flaws, however. For example, when the author turns from the analysis of particular structuralists and structuralist works and begins to make larger claims about precedents for structuralism, his account sometimes loses focus and cogency. Consider this passage from a chapter towards the end of the first volume, “The Postmodern Hour Sounds” (351-63), where careful argumentation sometimes gives way to stylistic exuberance:

     

    Western society underwent a number of changes during the interwar years that...upset the relationship between past, present and future. The future was reduced by computerized programming to little more than a projected reproduction of the present, but it was impossible to think a different future....this atemporal relationship became fragmented into myriad uncorrelated objects, a segmentation of partial and disarticulated knowledge, a disaggregation of the general field of understanding, and the gutting of any real contents. This socioeconomic mulch would particularly nurture a structural logic, symptomatic reading, logicism or formalism that would find its coherence elsewhere than in the world of flat realia. (I: 357)

     

    It would take a lot of work, doubtless, to substantiate these statements. Contrast with such hyperbolic claims problems of the opposite sort: more or less serious omissions, elisions, and foreshortenings.5 For instance, apart from two brief mentions of The Postmodern Condition (I: 354, 360), Dosse omits any discussion of the work of Jean-François Lyotard, whose intellectual biography (tracing a route from phenomenology to psychoanalysis and Marxism to post-Wittgensteinian theories of enunciation) in many ways parallels the history of structuralism. Later, Dosse too quickly assimilates the positions of Barthes and Foucault in their respective essays on “The Death of the Author” and “What Is an Author?” (II: 124). In actual fact, Foucault, far from belonging to the “strict structuralist orthodoxy” on this question, contested Barthes’ claim that authors have simply died off at the hands of modern-day écriture. Instead, Foucault argued for a genealogical approach to the author viewed as a function specifying how discourses can be produced and read in different eras.6

     

    What is more, readers interested in learning about the historical relations between structuralism and feminism–or even about how women as a group responded to structuralist thought–will be disappointed by this text. It is true that, in the unmarked case, structuralism was gendered male. Yet feminists too have oriented themselves around the sciences of the sign and, inversely, the rethinking of structuralism as a dominant research paradigm was bound up with the development of feminism construed as a way of thinking about thinking itself.[7] Nonetheless, the only female figure to make more than a fleeting appearance in this History is Julia Kristeva. Note that she is introduced in a chapter subtitled “Julia Comes to Paris” (I: 343-48): women, it seems, are the only historical personages with whom we can presume to be on a first-name basis. Further, Dosse suggests that it was Kristeva’s marriage to Philippe Sollers that “sealed Kristeva’s intellectual place within Tel Quel” and quotes one of Sollers’ remarks about “‘her grace, her sensuality, [and] this union between grace and physical beauty and her capacity for reflection” (I: 344). In no other case does the author attribute a scholar’s “intellectual place” to marriage, and no other theorist is described in any physical detail, let alone as “sensual.”

     

    Dosse’s overall achievement, however, should not be underestimated. This text contains a wealth of useful information, stylishly and convincingly presented. One of the most interesting chapters is an overview of the new journals founded during the heyday of structuralism (I: 273-83; cf. II: 154-63). Dosse describes the conditions of emergence of journals like La Psychanalyse (founded by Lacan in 1956), Langages (1966), Communications (1961), Tel Quel (1960), La Nouvelle Critique (1967), and Les Cahiers pour l’analyse (1966), reviewing the main editorial mission in each case. Equally illuminating is the author’s account of the radical protests of May 1968 and their effect on structuralism and individual structuralists (II: 112-132). Whereas Greimas was of the opinion that “‘All scientific projects will be set back twenty years’” (II: 114), Lacan boldly proclaimed during an argument with Lucien Goldmann: “‘If the events of May [1968] demonstrated anything at all, they showed…precisely that structures had taken to the streets!’” (II: 122). Lacan proved to be right: the protest movement sided with the structuralist critique of academic traditionalism and, in its dissatisfaction with received educational practices, reinforced the structuralist desire for scientific rigor (II: 128-30). One of the lesser-known episodes in the history of structuralism involves geography, and Dosse provides a fascinating glimpse into the delayed transformation of an “objectless discipline” via structuralism (II: 312-23). This incident confirms that the impact of structuralism on the separate social sciences was nonsynchronous. Even though structuralism prioritized spatial relations at the expense of historical analysis, creating an environment that would seem to favor a reexamination of cartographic techniques, geographers at first failed to structuralize their discipline. But there was a discipline-specific reason for this:

     

    geography in the sixties had continued to be defined as a science of the relationship between nature and culture, between the elements of geomorphology and climatology and those belonging to the human valorization of natural conditions. Consequently, the structuralist ambition of basing the sciences of man solely on culture, modeled by linguistic rules, appeared somewhat foreign to the geographer's concerns for basing disciplinary unity on the correlationship [?] between levels of nature and culture. (II: 312)

     

    Starting in the 1970s, however, geographers such as Yves Lacoste drew on structuralist ideas to distinguish between “space as a real object and as an object of knowledge” (II: 317). Foucault’s work on observation and the logic of spatial organization also came into play. By 1980, Roger Brunet had developed the notion of the “choreme,” the geographical equivalent of the phoneme and “the smallest distinctive unit for describing graphic language around elementary spatial structures” (II: 323). This latecomer to structuralist theorizing had revolutionized itself, even as the structuralist paradigm was on the wane.

     

    What does it mean, though, to talk about the “fall” of structuralism? Arguably, like other falls in other myths, this fall has not been a bounded, discrete event; it remains a fall in progress, one that we continue to live. Granted, developments in the human sciences during the last twenty-five years have enabled us to demystify the structuralists’ idealization–and ideologization–of scientific rigor. As Dosse’s study reveals, a discipline’s valorization of science does not ipso facto make that discipline scientific. Nor, for that matter, was Saussurean linguistics the best candidate for a pilot science, even during the glory days of structuralism. By the 1950s and 1960s, linguistic praxis (outside France at least) had already superseded the theory of language that the structuralists took over from Saussure.8 Judged on the basis of criteria internal to structuralist theory, then, structuralism fell short of the absolute rigor to which it aspired. Its future-looking scientism masked a nostalgia for the Saussurean sign. Paradoxically, however, structuralism’s undoing marked a first step towards the lofty goals that it had envisaged, the tough investigative standards that it had set. A theory can be exact only insofar as it knows where its exactness breaks down. The structuralists, in passing through “The Mirage of Formalization” (II: 191-99), have taught us some of formalization’s limits. At the same time, it is at our own peril that we ignore the richness and fecundity of their efforts to formalize–to frame explicit models for the description and explanation of a wide variety of phenomena, literary, linguistic, anthropological, historical, geographical, socioeconomic. Indeed, the history of structuralist thought is the history of a refusal to view languages and texts, human beings and cultures, as random assemblages of inexplicable elements. That refusal amounts of course to an infinite task. But structuralism’s fall has made it easier to grasp both the impossibility of wholly rigorous explanations and the necessity of attempting them.

     

    Notes

     

    1. In 1939, however, Émile Benveniste argued that despite Saussure’s stated position, his approach presupposed a concept of the referent. For Benveniste, Saussure’s arguments about the arbitrariness of the sign did not prove that concepts and sound-images are only arbitrarily related; indeed, if the signifier-signified relation were truly arbitrary, languages would lack the systematicity that enables communication. (In such a scenario, if I said structuralism you would have no way of knowing whether I meant lukewarm, Montana, postmodernism, or indefinitely many other possible candidates.) What Saussure’s arguments demonstrated, rather, was that different systems of signification–i.e., different languages–relate to referents in a merely conventional way. Thus referring expressions from different languages are inter-translatable precisely because no single language stands in a natural, non-conventional relation to a given domain of referents.

     

    2. For a devastating critique of Lévi-Strauss’s attempt to use phonological notions to build a theory of the combinatory patterns of “mythemes,” see Pavel 18-37.

     

    3. Dosse takes this quotation from Jacques Lacan, Le Séminaire, Livre XX, Encore (1973-1974) (Paris: Seuil, 1975), 118.

     

    4. The author identifies other causes for structuralism’s decline as well. For example, Dosse discusses the shock waves set off by the translation of Solzhenitsyn’s The Gulag Archipelago into French in 1974. This book had an especially powerful effect on those who followed Althusser in propounding a structural Marxism (II: 269-75).

     

    5. A third class of problems must be ascribed not to Dosse but to the translator. Usually supple, lively, and accurate, the translation does have a few glitches, as when Glassman offers nonstandard translations of well-known titles (e.g., Logical Searches for Husserl’s Logische Untersuchungen) and contorts English syntax in sentences like “The avoidance of a certain number of properly philosophical questions, by choosing the social sciences, had led people to think that with structuralism, questions on ethics and metaphysics were made obsolete once and for all” (II: 282).

     

    6. In other places, however, Dosse writes persuasively about Foucault’s complex relationship with structuralism. There is for example an excellent assessment of The Order of Things in Volume I (330-42).

     

    7. The formulation is Myra Jehlen’s (95).

     

    8. Pavel (125-44) discusses ways in which structuralism grew out of the delayed exposure of French linguistics and philosophy of language to ideas developed elsewhere, particularly in the neopositivist tradition associated with the Vienna Circle and in Anglo-American language theory.

     

    Works Cited

     

    • Benveniste, Émile. “The Nature of the Linguistic Sign.” Critical Theory Since 1965. Eds. Hazard Adams and Leroy Searle. Tallahassee: UPs of Florida, 1986. 725-28.
    • Jehlen, Myra. “Archimedes and the Paradox of Feminist Criticism.” Feminisms: An Anthology of Literary Theory and Criticism. Eds. Robyn R. Warhol and Diane Price Herndl. New Brunswick: Rutgers UP, 1991. 75-96.
    • Nietzsche, Friedrich. “On the Uses and Disadvantages of History for Life.” Untimely Meditations. Trans. R. J. Hollingdale. Cambridge: Cambridge UP, 1983. 59-123.
    • Pavel, Thomas G. The Feud of Language: A History of Structuralist Thought. Trans. Linda Jordan and Thomas G. Pavel. Oxford: Basil Blackwell, 1989.