Archive | June, 2013

“Look What the Queers Have Done to Marriage: Adulterous Intentions and Fragile Realities” – ENG 494: Queer Theory

14 Jun
-3

Adam and Steve

Queers love to argue about gay marriage; and to be fair, the American people love to argue about gay marriage. This is not new information or a profound unveiling of an unspoken reality. The pleasure and pain that is felt discussing this issue is axiomatic to American political discourse. As the far right likes to say, marriage is an institution that needs sanctity and protection through exclusion. And the far right is not incorrect in arousing such protective anxieties since the far left often, actually, actively wants to dismantle the institution of marriage within this nation. Both the far-right and the academic far-left find an interesting common ground in their understanding of marriage as an incredibly strong institution but also as one that relies upon constant faith that, if lost, may shatter its foundations altogether.  Avowal and disavowal, endeavoring, reification, rectification, upholding, inclusion, and exclusion are a shared language between the two polarities—both left and right use words and ideas like this to talk about marriage. Bersani, Brown, Butler, Foucault, Kipnis, and Warner, all work together to inform and illuminate how hegemonic institutions like identity, gender, sex, sexualities, can meet and mingle within a discourse of gay marriage and thrive upon the strengths and protections of the state and what is allowed to be known. Simultaneously theorists also hoist up the importance of an adulterous mindset and a deeply entrenched skepticism to illustrate that gay marriage is a potential outcropping of a homophobic discourse that seeks to demystify queer identity into something normal.

Foucault describes discourse as a system of power, a space where areas of specialized expertise, the juridical, the institutional, the individual, and their normalizing affects congeal together into a frothy mixture of control. Foucault works to unveil the, “Discursive productions” and, “Effects of power…To bring out the ‘will to knowledge’ that serves as both their support and their instrument” (11-12). This unveiling serves to illustrate that despite the societal impression that sex is something that is repressed, it is the  very idea that sexuality is repressed that supports “A ruse to make prohibition into the basic constitute element from which one would be able to write the history of what has been said concerning sex” (12). Power works insidiously in this way, it controls and operates within opacities and artifices; power thrives on lies told at the societal level, using them to mask its machinations.

Discourse is slippery and opaque; it thrives on both utterance and silence and produces the very things which are allowed to be talked about and the things which cannot find—or are denied—a language to be expressed through. Since repression silences, Foucault interrogates how silence operates; he stipulates that, “There is no binary division to be made between what one says and what one does not say” (27). Silence is, “An element that functions alongside the things said, with them and in relation to them within overall strategies” (27). Foucault points to discourse’s insidiousness by qualifying those apparent silences actually uncover the, “Multiplied…forms of discourse on [a] subject; it has established various points of implantation for sex; it has coded and qualified its speakers” (29). And so, individuals who are coded and qualified to do so, are constantly “telling everything concerning [their] sex” believing that they are subverting societal power by doing so; and instead, they are playing directly into a system that is always already creating, “An apparatus for producing and ever greater quantity of discourse about sex” (23). And those who are not qualified to speak about their sex, children, deviants, and some women are excluded from the controlling apparatus, and denied the ability to speak in the own “languages of experience”. This silence does not deny them their sexuality nor does it force them to be silent. Instead, this form of silence is produced by the spoken and unveils the regulatory apparatuses in place to ensure that sexuality is known in specific and particular ways and therefore, controlled. It is not repression, which silences everything; it is instead a power that enables speaking in incredibly mediated ways.

These silences work in tandem with the spoken and so, there are myriad fluctuations within the spoken and unspoken that regulate and inform the societal discourse of gay marriage. Combing the thoughts of Leo Bersani and Michael Warner illuminates one silence within the discourse of gay rights: the silent specter of AIDS, a signification that equates gay male identity with death. It is an identity that is sought—by gay marriage discourse—to be repudiated through a model of monogamous marriage that can rewrite gay male identity into an identity of productive commitment and family. Bersani speaks from a point of, what he rightfully calls, “necessary rage” during the AIDS crisis, showing that, “Power is in the hands of those who give every sign of being able to sympathize more with the murderous ‘moral’ fury of the good vicar than with the agony of a terminal KS patient” (201). The late 80’s were a period in which the gay male became an identity category that was synonymous with death; AIDS was framed as a righteous punishment for sexual immorality and promiscuity. AIDS attached itself, through discursive power, onto gay male identity through the hysteria of an already stigmatized and marginalized identity.

Wendy Brown builds upon and supplements Foucault, who is focusing on sex and sexuality in his work, to illustrate that this societally-believed participation—within a system of power that excludes and represses—mutates and perverts how people talk about themselves, their bodies, and how individuals perceive their self-evident rights. While Brown is discussing economic factors, she is doing so within a foucauldian framework and so she complicates and informs how AIDS remains latched onto and informs how gay men are perceived, to this day. AIDS is one way in which power creates “a new mode of depoliticizing social and economic powers” (Brown 14). In society at-large’s view, HIV-positive men are not the victims of random happenstance or social, economic forces; they instead still bear the stigma of an identity that is considered to be a direct result of their choices as, “A ‘free’ subject who rationally deliberates about alternative courses of action, make choices, and bears responsibility for the consequences of those choices” (16).

Foucault states that, “It was essential that the state know what was happening with its citizen’s sex, and the use they made of it, but also that each individual be capable of controlling the use he made of it” (26). Power, though useful and productive towards state ends, also instilled the belief within individuals that they were microcosms of the state; people now had a status both within and without the state. It produced forms of identity that both internalized the state and allowed people to consider themselves as free-subjects who can subvert state power by asserting their individuality through their sexuality. Which is why discourses of repression and oppression work so powerfully to control, they control by producing forms of liberty and freedom which help to maintain control, not undermine it (Brown).

This anxiety of AIDS slips-into and out-of the spoken and unspoken within gay-rights discourse. As Michael Warner points out, “It was precisely because of their virulent hatred of gay sex that so many straight Americans neglected to do anything about AIDS” (94). This observation follows an excerpt from Yale’s most visible gay voice, William Eskridge, who states that the AIDS epidemic, “Illustrated the value of interpersonal commitment for gay people” (93-94). Warner then follows Eskridge’s comments with what is again a “necessary rage”; a denunciation and diatribe against his framing that the take-away from the AIDS crisis is the value interpersonal commitment. Both Bersani and Warner argue that homophobia, not the evils of gay promiscuity, and not the value of committed coupling, was what became exposed by the AIDS crisis. Bersani’s opening salvo in his essay states, “There is a big secret about sex: most people don’t like it” and informs Warner’s claim about societal homophobia and makes explicit a silence within gay rights discourse (Bersani 197). While sex, is always being talked about and gay identity is now, mostly celebrated, its legitimacy is always also being undermined by gay sex. People still don’t like gay sex, even gay men like Eskridge don’t like gay sex.

AIDS also belies another conjunction of the spoken and silent within gay marriage discourse and discussions of gay sex; gay men are always at the forefront of the debate while lesbians remain largely invisible. AIDS is clearly one facet of why that is, since it is a disease that has statistically affected gay men and can be moralized as a by-product of their sexual misconduct, it serves the purpose of a greater discourse that wants to make the gay community into a sort of boogeyman. Bersani complicates this by saying, “An authentic gay male political identity therefore implies a struggle not only against definitions of maleness and of homosexuality as they are reiterated and imposed in a heterosexist social discourse” and also elaborates that males bodies themselves as objects of desire and maleness also factor into the equation (209). Bersani demonstrates that gay male identity is something that is feared within anti-gay discourse because it forces an interruption of maleness but still embodies maleness and therefore threatens and upholds structures of male power.

The outcropping of male discursive power repudiates gay marriage and works to ignore or gloss-over the existence of non-male homosexuals in a similar way that male culture made lesbianism within ancient Greek society somewhat unintelligible (Halperin). This is not to say that lesbians are not included into the discourse; they are still visible. But the gain a certain invisibility in their contrast to gay men, gay women are the perceived “respectable branch” and therefore not the threat, danger or risk posed by the gay community—and are therefore largely ignored by conservative politicians.

All of this is not to say that gay rights discourse now disavows or discourages gay sex, but that the power that fluctuates within discourse allows and encourages a specific, normalized gay sex and silently allows other forms outside of the normal to be stigmatized with the threat of disease and AIDS. In an odd way, as Eskridge points out and encourages, gay male sex has become discursively lesbianized and promotes a specificity of partnership and monogamy within gay sex to make it appear outwardly normal. Likewise, lesbian sex is lesbianized and denied a kinkiness or sexiness; in misogynistic power structures, respectable female sexuality continues to be devoid of vulgarity or naughtiness. In this way, discourse allows and encourages gay sex to disavow its queerness. The queerness of gay sex once lay within the ability to form relationships outside of static, gendered monogamy; gay sex once unequivocally and willing allowed promiscuity without being laden with the language of consequence.

Lamentably, gay sex must now also always bear an addendum—the possibility of inviting death into your body through copulation. The way to deny the stigma of AIDS or sexual irresponsibility and gain respectability is through partnership, semi-permanent coupling—ultimately why marriage is sought as an end-goal. Society provides the script through which you have the, “Right to make live or to let die” through your own choices (Foucault, Society Must be Defended 241). All this is to say that the narration of lifestyle choices provided by society to gay men are implicitly, but not entirely limited to, making live through coupling monogamously, remaining single and celibate, or letting die by being queer and allowing themselves to live with the danger of contracting AIDS and dying alone.

AIDS is one facet of the unspoken driving forces that push gays into a discourse of “human rights” through marriage; and this mixes itself into a new, more societally latent homophobia that cannot be ignored as a primary reason why gays are denied the right to marry. One dominant belief within the far right—and within queer studies as well—asserts that being gay is a choice, and so; gays can willingly chose to live their “lifestyle”. But denying gays the right to marry also exposes them to the effects of not participating in a privileged institution; legitimate citizenship becomes fully realized within marriage and comes with the added protections and benefits of state recognition. As Kipnis states, “Adultery summons the shaming language of bad citizenship” and how Kipnis uses adultery, in a discursive sense, is much akin to how gay identity is stigmatized which shows that, “Marriage is meant to function as a boot camp for citizenship instruction” (Kipnis 14). The discursive interruptions of adultery and gay identity act as destabilizing forces against marriage.

Kipnis frames how Adultery is condemned, by arguing that it, “Puts things at risk: from the organization of daily life to the very moral fabric of the nation” (14). And gay marriage works in its own way to affect a similar feeling of risk—from the outside, rather than the inside, of marriage. Laura Kipnis argues for the fragility of the institution of monogamy—and therefore for the fragility of “normal” marriage—expertly,

“If you’re working on monogamy, you’ve already entered a system of exchange: an economy of intimacy governed—as such economies are—by scarcity, threat and internalized prohibitions; secured ideologically—as economies are—by incessant assurances that there are no visible alternatives” (Kipnis 11).

The idea of “working” is so often evoked to describe what makes marriage successful and is laden with language of economy and production. By accepting the language of work, a system of internalized control is developed that produces a behavioral regime within people. This language requires a belief in the idea that whatever system a person is stuck within has no alternative to escape to. In the same way, the homonormative—or what has become the norm within gay culture—creates a longing for the illusion of entrapment; there becomes a sense that things are only imperfect in gay relationships because they lack the “incessant assurances” that marriage provides. There is a security and an anxious confinement within marriage that provides an odd sense of sanctuary. By pursuing this sanctuary, the gay rights discourse becomes ever more normalized to broadcast the preparedness of gays to enter the “boot camp for citizen instruction”.

Kipnis argues in “Adultery” that fragility within the hegemonic is not always easy to unveil but moments of weakness are omnipresent and important; these moments illustrate the inner workings of power structures and provide an opportunity to dismantle or reevaluate them. Within her piece, she expresses the joy that can be felt in moments of weakness through affairs and adultery, surmising that adultery, “May actually raise fundamental questions about what sort of affective world you aspire to inhabit and what fulfillments you’re entitled to” (13). Moments of disavowal against institutions happen all of the time; Eskridge disavows promiscuity and upholds monogamy within the institution of gay male identity as a response to the AIDS crisis—he flees to support a more established, known, supported, and institutional relationship in a moment of weakness. Disappointingly, his disavowal is against gay alternative lifestyles and is an appeal-to and appraisal-of the societal norm, as if he were a born-again Christian, seeking forgiveness from the church that cast him out. Eskridge’s stance is certainly is not an adulterous one to take. Adultery functions as, “A form of social articulation, a way of organizing grievances about existing conditions into a collectively imagined form, and one which offers a vehicle for optimism about other, better possibilities” (Kipnis 14). To be adulterous is to hold out for and consider alternatives to the norm, to attempt to formulate new understandings and possibilities that could replace what’s already established. And so, a healthy sense of skepticism or dread is understandable from the far-right; inviting gays into the institution of marriage is adulterous to what is established as normal: it is new, different, alarming—risky.

Is that risk AIDS? Is it the risky invitation of gay sex into the wedding bed? Is it risking an affront to what is traditionally understood as marriage? There’s something else at work; the answer to all of the above questions is: yes—but also, a resounding no. Marriage is clearly a much embedded facet of society, not necessarily bedrock, but it is deeply woven into the societal fabric. However, there’s a fragile superstructure within marriage that’s exposed when you start to open it up. It reveals fissures in the supportive concrete; it shows that the institution is malleable, that it is just as open to the effects of discourse as anything else within society. Marriage is subject to a productive power that is always already producing new forms of knowledge and what is known and accepted. There is a fear that the gays are the Greeks, rolling a big, hollow horse over the fields and into the walls of Troy and an anxiety that once inside they’ll let open the gates wide for everyone to pillage and plunder the privileged city of marriage—desecrating it. It is a fear that the normalizing power that discourse exerts might not be enough to adequately normalize the queer. There’s a simmering anxiety from the far right that the strength and exclusivity of marriage must be evoked and reiterated, made into law, to maintain itself as a viable institution; it must be something that is endeavored towards. Marriage is hard work, after all.

Butler discusses the power that endeavoring has on the institutional bastions of identity—marriage being one of those bastions—and despite the unforeseen outcomes of discourse, an endeavoring mindset still has the power to mutate queerness into normality. Disavowal is paramount in understanding how gays endeavor to normalize themselves in preparation for acceptance into the institution of marriage and Butler asks, “What does it mean to avow a category that can only maintain its specificity and coherence by performing a prior set of disavowals?” (16). Marriage is the epitome of a performative speech act; one moment you are not married and then, voila! Now that it has been uttered, you are now man and wife. So by entering into marriage, gays perform an avowal of marriage and a disavowal of marriage simultaneously; however they enter into it, they retain certain bits and pieces of societal baggage and create new forms for normalcy through the act of being married. There is a constant state of justification about what marriage means to any given person, it is always an imperfect copy, a state of hyperreality.

It would appear that the latent fear within the anti-gay-marriage-right is that this unreality of marriage is brought into sharp focus by attempting to include gays into it. It allows for redefinitions and modifications even when those modifications are omnipresent and are always already happening. This fragility is what makes the far right anxious but its normalizing strength—the insistence upon certain disavowals—is what makes queer theorists, feminists, and the far left anxious. There’s an understanding that marriage is fragile and that it rests upon a foundation of collective faith but it is only fragile through a disavowal of the institution itself, that participating within the institution breathes new life into it. Like Butler’s Lesbianism, being married is something that one already is and yet endeavors to be at the same time, it is a, “Deep-seated…physically entrenched play” but is also buttressed through legal recognition and state control and therefore, is a more organized regime than lesbianism (18).

All of this, in very abstract and incoherent ways, was flying through my mind during the student discussion group facilitated for Jack Halberstam’s visit since gay marriage would not, and could not, be avoided or left untouched. The meeting before, the discussion during, and the concluding conversations after Jack’s visit, were rife with hotly, angrily debated contestations of the thoughts within queer community’s stances between the pros-and-cons of gay marriage. Our sympathies lay under the same umbrella of queer identity, theory, and experience. But there was an inability from the pro-side to understand why anyone would want to deny or discourage an attainment of rights and there was an inability form the con-side to effectively argue that what constitutes “rights” is often an intensely regulatory regime that forces the oppressed to adopt the ethics and mores of their own oppressors. And I, for one, felt defeated by the ardently wrought arguments on both sides; I was stuck contemplating my quiet, simmering ambivalence about the issue. When I did speak, I ended up justifying caution and disapproval more than I ended up convincingly forming an argument. It was all to say that, I felt that it was both fine and not fine that gays want to marry, but that these discussions were an opportunity to critically beleaguer marriage as an institution; it was a moment ripe for adultery. Upholding marriage’s values to a room full of queers seemed counterintuitive, too safe, and perversely dishonest.

These discussions could have guided and informed a movement that strips marriage of some of its regularizing and normalizing teeth; we had the ability to finally, discursively separate church and state—gospel from the institutional. We could have celebrated the lived reality of those who chose not to accept marriage as satisfactory. We had an opportunity to conversationally dismantle the institutional privilege of those who couple, for life, through thick-and-thin with one another unhappily and dejectedly—to acknowledge that not everyone is cut out for such a commitment and that there was something alarming about marriage as the ultimate end-goal of any meaningful, romantic relationship.

Alas, gay marriage, is an incredibly powerful discursive apparatus, it wedges itself into the queer movement that aggregates through ambiguous banners of identity: gender, sex and sexuality—alternative lifestyles and models of relationality. It sows the seeds of in-fighting and dissent and engorges itself upon the bounty of disagreements that it reaps. The pro argument maintains that since same-sex marriage is withheld from so many people that want it and since its opponents engage in the most visible form of national, juridical bigotry, gay marriage needs to be upheld as the goal. While the con side maintains that marriage itself is one of the most insidiously constructed forms of institutional, juridical bigotry and misogyny that American society has claim to. There’s a powerful feeling that Foucault is right all of the time and that marriage is the new “repression”; I cannot help but believe that marriage is the word used to incite and arouse an aggregate community into thinking that it is being liberated through their own subjugation into the newest discursive forms and productive powers of normalization.

Works Cited

Bersani, Leo. “Is the Rectum a Grave?” The MIT Press (1987): 197-222. Print.

Brown, Wendy. ” Neo-Liberalism and the End of Liberal Democracy.” Project Muse: Theory and Event 7.1 (2003). Web.

Butler, Judith. “Imitation and Gender Insubordination.” Inside/Out: Lesbain Theories, Gay Theories (1991): 13-31. Print.

Foucault, Michel. Society Must be Defended. New York: Picador, 1997. Print.

—. The History of Sexuality Volume 1: An Introduction. Trans. Robert Hurley. New York: Vintage, 1990. Print.

Halperin, David M. One Hundred Years of Homosexuality and Other Essays on Greek Love. New York: Routledge, 1990. Print.

Kipnis, Laura. Intimacy. Chicago: University of Chicago Press, 2000. Print.

Warner, Michael. The Trouble With Normal. Cambridge: Havard University Press, 2000. Print.

“You’ve got a Friend in Me, Bartleby: Thoreau’s Preference for the Nonhuman and Possibly Undead” – ENG 467: Staying Single

11 Jun

Thoreau-By-Wiseman

Thoreau begins his examination of friendship poetically, relying heavily upon metaphor, to make claim to the seeming impossibility of establishing a definition for the concept of “Friendship”. The language used in these first paragraphs speaks of tempestuousness, bounty and lack; “Friendship” is described as “Evanescent” and “Remembered like heat lightning,” “A summer cloud,” vapor during drought and “April showers” (Thoreau 1). This rich metaphorical language establishes a complex foundation that Thoreau relies upon throughout his essay; he uses this complexity to show that there is no simple answer. He acknowledges that “There is no institution which Friendship has established; it is not taught by any religion; no scripture contains its maxims” (4). So while Thoreau is making this essay into a concretized gospel of “Friendship”—a roadmap to intrapersonal relationships—he is also insisting upon a disavowal of any existing institutions. These complexities and complications and the back-and-forth anxiety of creating a new language of “Friendship” within Thoreau’s piece are experienced viscerally by the narrator within Bartleby; he struggles with his stoic companion in ways that illuminate and inform the challenges and impossibilities that Thoreau lays out.

Thoreau uses a framework of metaphor to proselytize “Friendship,” throughout the treatise. Early on, through nautical language of exploration and a new world, the piece insists upon a pioneering spirit. To Thoreau, “The Friend is some fair floating isle of palm eluding the mariner in Pacific seas” (1). He quips, “There goes a rumor that the earth is inhabited, but the shipwrecked mariner has not seen a footprint on the shore” (4). Within this extended metaphor, “Friendship” is an untouched desert island, sought after but never yet found. It exists within a world full of established rules, regulations, and institutions but it is an oasis that is found—within the metaphor—through shipwreck and accident by those who are exploring the unreached corners of the world and experience.

Bartleby is one such unreached corner of experience and intelligibility; he is “unaccountable” and yet, the narrator is so perplexed by him that he must account for him (Melville 26). The narrator believes that, “No materials exist for a full and satisfactory biography of this man” (3). There is no church of Bartleby, no previous, established institution that can give words or meanings to the narrator’s account; Bartleby is, “One of those beings of whom nothing is ascertainable except from original sources” (3). The narrator expresses a sense that he has experienced something that is at the edge of understanding; something that is original and belongs solely to him and Bartleby. Bartleby and the relationship and experiences that he and the narrator share, are an untouched oasis—inescapably curious and difficult to recount.

Similarly, to speak of that which is challenging to speak of, Thoreau speaks of “Friendship” mostly through the use of these metaphors to create a sense of daily, lived poetics, something both within—and beyond—language. These layers encourage interpretation and new forms of literacy. There is a sense of drama within Thoreau’s metaphors, the sensation and expectation that a new, untold story will be narrated; in the same way that the narrator assures that he will tell you, “All [he knows]of [Bartleby]” with what his, “Own astonished eyes saw of [him]” (3). And indeed, both Thoreau’s early metaphors and The Narrator’s account coalesce anew into a drama within their pieces.

Thoreau asserts that, “All men are dreaming of [Friendship] and its drama which is always tragedy, is enacted daily” (5). Further elaborating upon this thought, he concludes that “We are continually acting a part in a more interesting drama than any written” (6). “Friendship” has the trappings of drama and tragedy but the piece argues that it is a drama that should not be experienced in the playhouse or upon the stage. The slipperiness of this drama is expressed through the language of dreaming and the piece suggests that the dream of “Friendship” is lucidly and imperfectly “enacted” every day.  And so, within these layers of metaphor is an allusion to the power that institution plays within society and that maybe “Friendship” should be a drama that is experienced beyond the stage and written word. Latent within these ruminations is the anxiety that anything written makes an experience or idea into an institution, something which the piece explicitly wants to avoid. This sense of caution informs any potential readings of Bartleby as well, the power of the institutional and the importance of silence or alternative languages when faced with it is an important facet of any account of “Friendship”.

Thoreau both lauds the pleasure that society and people derive from the institutions of the written word—the dramatization of human experience—but also asserts that, “We are poets and fabler and dramatists and novelists ourselves” (6). The use of “we” throughout this construction is important because it implicates the reader, forcing them to consider themselves and their “Friendships,” and forces them into the assumed role of playwright. And through this implication, Thoreau asserts a sense that individuals can discover their own narratives and sensations of “Friendship”; the reader is shown that a lived experience, never made institutionally concrete or uttered into written word, is “more interesting” and upheld as his ideal. The piece meanders back to the language of drama, stating that, “It is a drama in which the parties have no part to act” (12). There is no script to follow for “Friendship” but it is still somehow enacted every day; it is an ideal for everyone and yet an oasis is stormy seas.

There is an inescapable complexity within the piece’s construction of an ideal “Friendship”; it is an ideal that is rife with complications, added stipulations, and still pregnant with ambiguities. “Friendship” and “Friend” are capitalized, throughout the piece, which protects and elevates these words as a sort of Truth—with a capital “T”—something divine, a platonic form of sort and not vulgar or common. Yet, there is an insistence upon lived-experience and the power of the individual to narrate and construct “Friendship” as their own. This near-contradiction or seeming-paradox is acknowledged throughout the piece since—as already shown—Thoreau also treats the ideal “Friendship” as a privileged space, found by wayward sojourners and not by everyone. The piece insists upon “Friendship’s” ability to be experienced by anyone but then also limits its accessibility—to those who both seek and do not seek—to those who experience the sublime and uncanny, and to those who experience the lightning flash of heat that defies the ability to be uttered.

These defiant moments stand out throughout Bartleby as well; the narrator is always struggling to comprehend these flashes of comfort, the silent seconds of sympathy and understanding. After one-of-many moments of refusal from Bartleby, the narrator concedes that, “There was something about Bartleby that not only strangely disarmed me, but, in a wonderful manner, touched and disconcerted me” (11). It is never clear how brief or fleeting these moments are but they are brief and fleeting, since immediately following this moment of lucidity, the narrator begins, “To reason with [Bartleby]” (11). The narrator is never quite content with the touching, disconcerting feelings that Bartleby gives—the narrator only rests in them quickly—he is too caught up in his quest to get Bartleby to produce, work, and coerce responses and utterance out of Bartleby beyond a preference not to. The narrator reaches this precipice of understanding—of the unestablished and self-written ideal of “Friendship”—over and over again, only to flee from it immediately, back to the comfort of the already established rules and mores of the institutional, societal, and earthly.

The narrator experiences the pulsation of intense, intimate, and momentary understandings and the pull to retreat from the evanescence back to the concrete illustrating his failure of “Friendship” with Bartleby to ever be understood steadfastly. In another moment, the narrator expresses that he never feels so private as when he knows that Bartleby is in his office with him and concludes that he is “content” (26). He wants, “To furnish [Bartleby] with office room for such period as [he] may see fit to remain,” reflecting that it is the “predestinated purpose of [the narrator’s] life” (26). It is an incredibly pious acceptance of his odd relationship with Bartleby, exemplifying Thoreau’s axiom that, “The Friend asks no return but that his Friend will religiously accept and wear and not disgrace his apotheosis of him” (13-14). For a lightning flash of a moment, the narrator is willing to cohabitate with—and accept—Bartleby for an indefinite amount of time; to make something beyond institution and arrange a status of living and relationality which is not fully able to be understood.

Bartleby accepts his role as someone whom the narrator must bounce his neuroses off of and remains always what he already is; he is a static being, inhumanely temperate and a true Friend. Thoreau believes that “Friendship is not so kind as is imagined, it has not human blood”; the earlier marriage of disgrace and apotheosis are key in his understanding and illustrates that Bartleby is a true Friend since he cannot disgrace the narrator by, “Having anything ordinarily human about him” (Thoreau 22) (Melville 10). Bartleby would, “Prefer not to quit [the narrator]” and, “Would prefer not to make any change at all,” he is in a very tangible stasis within time and space and gains a sense of apotheosis and divinity through it (24, 30). Bartleby’s odd living arrangements, the fact that he was always there, “As harmless and noiseless” as any old chair, bring the narrator the feeling of comfort and eternality that Thoreau seems to exalt (Melville 26).

Still, somewhat frustratingly, Thoreau’s ideal form of “Friendship” is always already being made complicated and enriched throughout with its liberal use of almost-contradiction and near-paradox; “Friendship” is always at the edge of understanding and forces the reader to pause and rethink earlier positions. These complications are exemplified when utterance—as an institutional force—is both made problematic by the earlier metaphorical axioms and then exalted through an additional metaphor of musical harmony and melody. This complicating metaphor is constructed within the reflection that, “Even the utmost good-will and harmony and practical kindness are not sufficient for Friendship, for Friends do not live in harmony merely, as some say, but in melody” (8). Seemingly rife with potential paradoxes, this sentence insists upon a musicality to the ideal form of friendship; and this form is the same ideal which was argued should not be made into written word. While written words and music are not the same and therefore not entirely contradictory, it shows that the role of utterance is not entirely dismissed; utterance is, in fact, an integral aspect of the ideal. “Friendship” is an utterance beyond the written language of drama and beyond an oversimplified idea of harmony; instead, “Friendship” can be something that is expressed lyrically, a form of utterance that is—perhaps—less acute or laden with the baggage of society.

The baggage of society is something that the narrator unfortunately cannot escape; he allows societal, social pressure to influence and pervert the uplifted divinity of his relationship with Bartleby. Immediately after his reflection upon his predestined purpose to allow Bartleby to exist peacefully within his office, he laments that, “This wise and blessed frame of mind would have continued with me had it not been for the unsolicited and uncharitable remarks obtruded upon me by my professional friends” (26). The fragility of the divine within the earthly is a problem that Thoreau obsesses over and spends his entire essay trying to compensate for and Bartleby’s narrator cannot escape this fragility. The transcendent form of “Friendship” that Thoreau espouses—and that the narrator briefly experiences—is beyond language, a crescendo that can only interpreted and never fully understood or made concrete by those who listening-to and experiencing it.

And so, in the end, ostracized and left exposed by the narrator’s inability to accept and embrace his friendship, Bartleby dies. He receives immortality through words and memory, always with the narrator as a specter; but no longer subject to the whim or influence of societal pressures that undermine the divinity that he embodied. It is a complex message and provides a question that Thoreau’s essay left silent: when exactly does “Friendship” happen? The axioms and foundations that Thoreau provides are something that transcend the earthly; there’s an unavoidable, dreadful sense of ephemerality to his reflection that Bartleby unmasks. The beautiful, true sense of friendship may only be eternal as a living death; given that, “It takes two to speak the truth—one to speak, and another to hear” leaves open a consideration that the person who hears may no longer be an embodied, living being (9). And in fact, they may be a dead-lettered man. The intangibility of Thoreau’s true “Friendship” leaves open myriad possibilities and Bartleby convincingly offers its conclusion as an answer. But, as established throughout “Friendship,” answers are simply additional institutions and gospels; and truly, “To the highest communications we can only lend a silent ear” and leave that which is unspeakable unsaid (Thoreau 26). To come full-circle, to return-to and insist-upon the power of metaphor: Bartleby is but one Shipwreck of many in a vast ocean of potential and possibility that is “Friendship” or perhaps only a single footprint on a now trodden-upon isle of palm.

Works Cited

Melville, Herman. Batleby and Benito Cereno. New York: Dover, 1990. Print.

Thoreau, Henry David. Friendship. Boston: The Merrymount Press, 1907. Print.

“Intimate – A Keyword Journal” – ENG 451: Staying Single

5 Jun

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I made a mixed-media zine for my Keyword Project in class. I played around with Adobe CS; I wrote analysis, poetry and reflected upon how each text informs an understanding of the word “Intimate”.

I’ve provided a link (that hopefully works). I’m quite proud of what I achieved with this project!

IntimacyKeyword

Song of my Subject – A Poem from a Freewrite

3 Jun

 

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I speak — sometimes — I don’t,
Sometimes, sometimes, too much,
Often too much. Often,
Sometimes, I’m a damn fool.
I make mistakes, fool
Sometimes a flash of red
Flushed onto my faces flushes
As I slither down into my chair.
Sometimes I feel drunk, overindulgences
Intoxicated into excitement and possibility
Spills spilling onto over the chair, anticipating.

In these moments, I am a vessel, cistern, sieve, a hydrant,
“How is it that I can both ‘be’ one, and yet endeavor to be one at the same time?”
Butler gropes at the supple folds of my velvety grey matter,
Flitting, flirting, orgasm before the courtship. Courtesan, paragon,
Whitman’s eloquence — the — wantonness is virginal,
His halo, his crown of thorns, his beauty, apotheosis.
My mouth is open, eager for peer pure intellectual bukkae,
Spunk, seed of discourse. You say: gross. I say: Satisfying.

Judith/Jack boy/girl boy child man cub – I want to be like you
“A kind of imitation for which there is no original”
Butler drones and her sinewy tendril caresses.

I bound into the sling, my mouth full of gag
In the tawdry dim light of the bathhouse dungeon. He
Hoists disciplines and punishments, Foucault, bald.
An unfamiliar smell, his — the panopticon. The scrivener’s wall.
Smarmy, uncouth, too couth, it’s the gay 90’s, he’s dead.
In prison, entrapped in contraption, the Cartesian
He has devious deviant devout way with my willing,
The safe word is “Biopower”
I — I use it freely — there’s no escape.