September 13, 2013 § Leave a Comment
This is my review of Masha Tupitsyn’s Love Dog for Pop Matters.
There’s a passage that brought on a feeling of instant recognition:
In the opening scene of Days of Being Wild:
He comes in for the third time, after he’s told her that she will see him in her dreams, and asks her why her ears are red? I think: why is this whole movie red? And green. Green tinted (made green) and truly green (the jungle, the trees). Green like Robert Bresson’s Lancelot du lac and Hitchcock’s Vertigo. Red like Marnie. But parts of Days of Being Wild are shot like The Third Man, only all the shadows on the narrow streets are green. Outside, the angles belong to that noir. It’s overwhelming to see these two colors together like this in one movie after everything they have meant to me the past few months. Maybe always.
She’s embarrassed. Embarrassed because she is excited, so she can’t look at him. I like people, no love people, who take looking and being looked at this seriously.
Because 1) I love Days of Being Wild and 2) I too love people who take looking and being looked at this seriously.
This leads me to think about that troubling passage in Marguerite Duras’s The Lover (translated by Barbara Bray):
Never a hello, a good evening, a happy New Year. Never a thank you. Never any talk. Never any need to talk. Everything always silent, distant. It’s a family of stone, petrified so deeply it’s impenetrable. Every day we try to kill one another, to kill. Not only do we not talk to one another, we don’t even look at one another. When you’re being looked at you can’t look. To look is to feel curious, to be interested, to lower yourself. No one you look at is worth it. Looking is always demeaning.
I always stumble over those last four sentences because it seems to contain contradictory ideas about looking. I’ve been trying to write a post about looking for a long time now but I have no ideas about looking, only collected thoughts and impressions from various sources.
Something about how people are meant to look now, at themselves and each other, seems impoverished and demeaning, in a way. Now people are meant to glance at each other with speed and efficiency, and sum up, very quickly, whether they want to pursue the gaze or not. You are not even worth looking at in the mirror, sometimes. Or you must earn your own gaze, of yourself, by working hard to present a seamless, attractive self.
Nicholas Mirzoeff has written about looking and slavery, and Jonathan Beller on the labour of looking and how it is embedded in the history of racism and colonialism. So you can’t think about looking without thinking about power.
Sometimes you wish for the mutual look to be an equaliser but it never is.
I don’t know. Circling around the idea of looking, of how we’re trained to look, about what Mirzoeff says about it, that “the right to look is not about merely seeing”; where he thinks about “a time in which my claim to the right to look is met by your willingness to be seen”.
Like Nelson in Bluets, “I have been trying, for some time now, to find dignity in my loneliness. I have been finding this hard to do.”
Today, while out on the streets, I told myself not to fall into my habitual pose, which is to stare at the ground or at my feet or off into the distance, but to look at faces, to offer this silent gesture of something in what I think now was just an attempt to feel less alone while among so many people. But it’s hard(er) now to return the glance or to initiate one. The faces are opaque; or rather, faces have become obscure screens we can’t afford to waste eyeballs on.
Sometimes I wonder if I learned how to unlook in Winnipeg as a way to avoid the endless stares of a certain kind coupled with the amazing number of white dudes, bros, men, whatever who could never make eye contact but only dart glances your way when they think you’re not looking. (Which — when I sat down to analyse this with fellow not-white women in Canada, all from other countries, 100% of whom experienced the same — basically boiled down to endlessly complicated discussions about racism and fetishism of “the exotic”, discussions that were never resolved, of course not, how could they ever be.)
Also, the ever present threat of misogyny that makes looking such a fraught affair for a woman who just wants to claim her right to look.
September 5, 2013 § Leave a Comment
I watched Magic Mike early this year and was troubled by it, and in a fit of earnestness composed some grumpy tweets about what I thought, and posted none of it up except, I think, the link to the Joshua Clover article. Recently someone was talking to me about movies and this person had seen Magic Mike, and “as a feminist” was thrilled about how it centered “female desire”, which is something that a lot of people have said about the movie, I think? Or at least that’s how a lot of discussion on it was framed. And I’d have to agree with Clover that this film is not at all interested in women, or “female desire”, whatever that means — I’ve used that phrase before, too, but now it makes no sense to me, and so it made me newly irritated with the film.
- Yes: “In the sex work movie, men get happy endings.” Joshua Clover on Magic Mike (& Step Up Revolution) http://www.movingimagesource.us/articles/dance-dance-revolution-20130204
- Wonder if Magic Mike is entertaining because it doesn’t take sex work seriously when done by men. Think it wants to take precarity seriously
- but this is undermined by inability to show how precarity structures lives when focus is on hot white male leads who seem to be having “fun”.
- It’s a weird movie & completely unsexy since it is about sex work. So the comments about how this is the sexiest movie ever? Perplexing.
- How to unpack the layers of wrong in commentaries that celebrate this film for catering to “female desire” without acknowledging the work that produces it
- Talking about male sex work in a not-Soderbergh situation, in a dehumanising capitalist system, female desire comes at what expense?
- Not to mention what happens when it’s First World women and Third World men. But here the main leads are conveniently white.
- Is this what liberal feminism means when it talks about “equality”
- “despite its stylized hetero-swinger proclivities, the film is interested in men”–yes, which is why this is strange: http://lareviewofbooks.org/article.php?id=956
- Her comments on Heti are astute but MM doesn’t “play with female fantasies of submission” so much as affirm men’s fantasies of dominance…
- Which I suppose is contrasted with how their material lives are out of their control/in capitalism’s hands — thus, not about female fantasies.
- Because yeah Alex Pettyfer is unemployed but at the end of his first performance he gets a blowjob and an actual job out of it.
- Meaning, it you’re an attractive heterosexual man and you’re lucky enough to be a sex worker in a film
- with an attractive heterosexual female audience — jackpot!
- Heterosexual relations between thin, attractive white people. Rinse and repeat.
- How do they know which woman to pluck out of the crowd, who would enjoy being on stage with a strange man’s groin in her face? Important q
- I mean, just because you show up to see men gyrate does not mean you want to be gyrated on. Or do you? What is “consent” in this case?
June 28, 2013 § 2 Comments
Jane Winston, “Marguerite Duras: Marxism, Feminism, Writing” in Theatre Journal (Vol. 47, No. 3, Oct 1995)
I was reading Marguerite Duras’ The Lover again a few weeks ago. It’s so weird, how political this book is, in its exploration of white femininity and colonialism and poverty. Weird because appreciation of The Lover, or criticism of it, tends to depoliticise the book—it’s often reduced to generalised descriptions of “female desire” or “love” when the crucial thing about The Lover is how her desire and her gaze is refracted through poverty; her poverty shapes it and give it its energy. How the gaze is that of a poor woman, but also that of a white French woman in colonial Indochina. Poor colonial women among the natives. How that makes of also a monster of sorts, and not through her own making. Sour maternal love and the regime of brotherhood and property-less girls and relations shaped and defined by a cold colonialist-capitalist logic, the relation with her lover that both mirrored that logic and exceeded it.
Winston writes, “there was nothing really revolutionary about the claim that the desire and sexuality at issue in Duras are ‘feminine’.”
There really isn’t. That’s why it’s that claim that has gotten the most traction.
June 15, 2013 § 4 Comments
Why capital doesn’t like single women:
A woman of marriageable age who is neither wife nor mother, or who for some reason does not become fully a part of the housework labor-force, is under-employed. In other words, she carries out housework in a more limited way than her potential work capacity would allow. Hence single mothers — who do not reproduce a husband/male worker — are under-employed; so is a married woman with no children, who reproduces only a husband; and so also is the divorced, separated or widowed woman who has not remarried. The woman who is of marriageable age but remains single is, however, “non-employed”: she reproduces neither husband nor children. (“Unemployed” cannot really be used here, because every woman living under capitalism who does not live on unearned income, must always reproduce at least her own labor-power.)
From Leopoldina Fortunati’s The Arcane of Reproduction: Housework, Prostitution, Labor and Capital.
Let’s get #reproducingneitherhusbandnorchildren trending on Twitter!
I’m too dumb for Fortunati but I press on. I was bingeing on Trixie Belden books and Josephine Tey mysteries for the last week because I needed comfort reading, where I wanted to read and couldn’t read and so I read things where everything followed a convention, a formula. And so, dear reader, I discovered that you must not go from Trixie Belden to Italian autonomist marxist feminism just like that — you gotta ease into it.
Despite that, Fortunati is, as the kids say, blowing my mind. (Do the kids still say that?)
March 5, 2013 § 6 Comments
Thus the age of anxiety and of electric media is also the age of the unconscious and of apathy. But it is strikingly the age of consciousness of the unconscious, in addition. With our central nervous system strategically numbed, the tasks of conscious awareness and order are transferred to the physical life of man, so that for the first time he has become aware of technology as an extension of his physical body.[i]
The younger of the two, who is happy to tell people “I’m the IT guy”, taught me how to download YouTube videos on my overpriced, overvalued smartphone, and now the gadget puts me to sleep, too. Over the last week I’ve been downloading Jem and the Holograms episodes and watching them before bed. I haven’t watched the cartoon in years, probably decades, but I was obsessed with it when I was younger, and while I used to want to be Jerica/Jem mainly because of her access to Synergy (by way of really funky star earrings), now I watch Jerica/Jem being perfect and I want to vomit. I see The Misfits driving tractors through mansions and I feel a true fellow-feeling of solidarity. The Misfits “are allergic to work” say one of the members of the Holograms, and they all smirk, because the Misfts are mean and they’re lazy, but I can relate. All I want to do these days is have big hair, sing shit songs with my shit-sounding nasally voice, drive tractors through mansions, refuse work, and scream.
Jem and her friends are so earnest. I want to ask them why they abide by the rules that were made by someone else. Do they think they will be granted a space in hologram heaven? And if so, what does it mean to them to be good girls in the here and now? Do they get the boyfriends? The record contracts? The cool earrings? The mansion? The legacy from dead daddy?
(All of the above.)
Just when I want to write a Marxist reclamation of the Misfits, I remember that the “leader” of the group, Pizzazz, is basically a rich twat. This complicates matters, because her group-mates all come from a poor(er) backgrounds. The Misfits are made to appear “tacky”—loud, brash, uncivilised and unladylike in comparison to the docile, polite, and pastel-attired Jem and friends, who speak proper English, not slang, in modulated voices. Jem and the Holograms are a band of Kate Middletons. Even if they are not well-off, or orphans, they come from good stock. They have a claim to a legacy of good breeding. But the Misfits are always destroying things, even property.
Property is the problem. Even for Tom Branson, the sexy Irish chauffeur-revolutionary turned sexy Downton Abbey husband. Downton domesticates; it wants to tame Branson’s wild side. Alas, Branson was found to be present during a protest at a Dublin castle, a protest that involved burning the said castle. The Earl of Grantham, hitherto utterly nice and utterly useless, has now found his raison d’être, or rather the raison d’être of his entire class: to be really really really angry about the destruction of property. He’s really angry, the Earl. I mean, he was almost resigned to losing his property but now it is saved, and so he knows about real tragedy, the Earl, and it is with this full force of the pain of an almost-lost Downton Abbey that he takes it out on Branson. He is really angry. ALSO, HE IS AGAINST VIOLENCE AND WANTS TO KNOW IF BRANSON IS AGAINST IT, TOO? Branson capitulates; half-revolutionary, half-son in law. Yes, Branson was at the meetings where the planned this attack, but no, Branson does not condone the burning of property and violence against harmless aristocrats. Really, Branson? THEN WHY WERE YOU AT THE MEETINGS?
The writers of Downton Abbey can’t come up with anything so nuanced or sensitive as such an answer might require, so they leave us with silence and the face of Allen Leech, hoping that his sad, beautiful eyes will distract us.
It does, but only for a bit.
Branson is also uncomfortable being in Downton Abbey—first as tragedy servant, then as farce family. He wants to hightail it out of there.
Then why marry the Earl’s daughter? Don’t you know that the Earl’s daughter comes with the Earl’s family and however many centuries of dead ancestors? How did you think you were going to outrun that, foxy Branson? One look at this family, Branson, should have reminded you of Marx’s words: “The tradition of all dead generations weighs like a nightmare on the brains of the living.”
Luckily, Branson’s wife dies, leaving behind a young daughter. Branson gets to live out the life that his wife would have wanted for him. He knows this is the life she would have wanted for him because everyone else tells him this. The housekeeper, Mrs. Hughes—not a fan of the rich, as such, but like all the servants in Downton, committed to and invested in class difference—tells Branson not to be embarrassed that he’s a rich fuck now, and part of a rich fuck family. She uses different words, but the message is the same. Mrs.Hughes tells him that he has “come so far”, and it’s a good thing.
This is a relief, as the formerly Marxist Branson is now co-manager of the vast estate Downton estate. He can forget about the people, think about profits, raise his baby, enjoy stately bedrooms, be waited on hand and foot.
He has come quite far.
I’ve been thinking about witches and spinsters and property. Once I started reading Lolly Willowes by Sylvia Townsend Warner I realised it spoke to my unmarried spinster witch self in a way that so many books by women don’t, anymore, because: 1) now it’s important to show how women are a hot mess in a sexy way (i.e. you must be a mess but sexually available to men, and not that those stories are wrong and shouldn’t be told, but the underlying premise is that you must be sexually available to men and you must perform your femininity in this socially idealised ways and above all, please be pretty, try to be pretty); and 2) “modern” stories also remove the extended family from the equation. The assumption is that all single women the world over live lives like those of American or European women in big cities—where they’re single in a way like Charlize Theron’s character is single in Young Adult. It’s interesting to me that the character of Lolly Willowes is given a brother as patriarchal gatekeeper after her father’s death. I quoted this bit out of Juliet Flower MacCannell’s The Regime of the Brother on Tumblr while I was reading it and I’m quoting it again because it’s relevant:
What then does this son enjoy in replacing his father? Well, he gets to act as if, without having to take any action. A father-figure, he mimes, selectively, the father’s features. But he also gets to imitate and mock up relations to all other family members, too: not only is he the “father” (but only metaphorically) he is the mother’s lover (the object of her love, but only in her dreams) and he is his brother’s lover (but only rhetorically—the brotherhood of man). But most of all he is his sister’s boss, and really so. It seems that what he “enjoys” is the power to distort and center all familial relations on himself alone, warping the world into a fiction of fraternity, the dream of a universal, which becomes the nightmare lie of the family of man. Agent and sole heir of patriarchy’s most negative features, he creates as many false leads and artificial ties as he needs to cover his destruction of his real familial roots and relations. And he thus absolves himself of any obligation toward them. He does not have to fill the father’s role any more responsibly and positively than the tyrant had: he is only acting, after all. It is he who is a pro forma father, without a communal or global species-saving goal, a despot, a mute sovereign, the (only) one who really enjoys.
If there’s one thing you learn about being an unmarried woman in a Tamil family is that Tamil culture really needs the sister to be bossed around; if not her father who is sadly now dead, if not her potential husband who is sadly nowhere in sight, then a brother or an uncle will do in a pinch.
What relatives don’t want to talk about when they’re exhorting you to get married and “start a family” is that you’re out of place, overstaying your welcome in your original family, because inevitably it’s about property. You must belong to a father or a husband but not exist in a liminal state of belonging to no one, especially if you’re doing it on family property. (How about belonging to yourself, you might ask, and others will laugh—we all belong to someone, if not a husband for life, then maybe a corporation.) So Lolly Willowes, in the world of 1920s Britain, is shunted about from one brother’s home to another brother’s home because as a genteel woman she is not meant to work for a living.
The thing about being a witch woman like Lolly is that there is a still a male presence in the form of the Devil. Clearly the Devil is interchangeable with capitalist patriarchy. There’s no escaping the male power. When I see the Misfits driving a tractor through the property of a rich man I feel satisfaction even while I recognise that their brand of liberal feminism is thoroughly self-serving: they are not even there for each other. Their manager is the one rubbing his hands together in glee, thinking of publicity and future sales. Behind every so-called misfit is a male manager/disciplinarian waiting to make a profit. Sometimes it’s money; sometimes it’s an investment in souls.
More from The Regime of the Brother:
The way it works in traditional Oedipus is that the woman is the living embodiment of a deficient male identity: wanting physically and emotionally. The girl-child is supposed to assume an identification with the father and then be left with/as nothing—unless or until she becomes a mother, her only acknowledged relation to sexual difference. But the mother is precisely what Oedipus rejects and is designed to reject, so the cycle begins anew.
The girl under patriarchy is faced with an inhuman choice: to do without an identity, or to identify with what she is not (it amounts to the same thing).
she can demand no special love—except according to a male agenda, set by a father, a husband, or a son.
This mother desires only a phallus (a baby, a son, power) and forgoes other options for her desire.
Under the modernized Regime of the Brother, however, the father/son relation ceases to have centrality. Woman potentially comes into her own.
the “patriarchy” in modernity is less a symbolic than an imaginary identification of the son with the father he has completely eliminated even from memory. He has thrown off the one—God, the king, the father—to replace it with the grammatical and legal and emotionally empty fiction of an I who stands alone and on its own: “his majesty the ego.” Self-created, however, he is only a figment of his own and not the father’s desire. This is the dilemma he simply refuses to acknowledge: he makes the law.
The brother denies his sister her identity, affirming his own. This is not just in the abstract, no mere question of repressed instinctual desire. Because the brother cannot recognize his absolute reliance on her for his identity, her place and her desire are “not there.” While the mother of Oedipus might want her son and the phallus, the post-Oedipal sister is permitted to want nothing. To regulate woman’s desire—and thereby her identity—was always the way of the patriarchy; to outlaw it and do away with her identity is a cardinal feature of the Regime of the Brother.
In volume one of Samuel Richardson’s Clarissa, the brother permits his sister to want nothing. It becomes quite clear how patriarchy nurtures (produces?) the regime of the brother with its careful disciplining of women’s bodies. Clarissa is kept to her room for not performing her duties as daughter and sister and marrying the man the family has decided upon. The brother is an engineer of both her punishments—the potential marriage to a man she finds repulsive, and the current punishment where she is kept mainly to her room and ostracised by her family who won’t see her directly or talk to her. Clarissa seems content to see her problems as her own, which is perhaps not her fault—surrounded by her odious family members on all side and increasing lack of agency/independence, she can hardly be faulted for not seeing some commonalities between the personal and the political. Her friend, Anna, to whom she writes, is clearly the only feminist killjoy of the story we can hope for, thus far. Anna zeroes in on the mother’s role in Clarissa’s predicament:
Your mother tells you, ‘That you will have great trials: that you are under your father’s discipline.’-The word is enough for me to despite them who give occasion for its use.-‘That it is out of her power to help you!’ And again: ‘That if you have any favour to hope for, it must be by the mediation of your uncles.’ I suppose you will write to the oddities, since you are forbid to see them. But can it be, that such a lady, such a sister, such a wife, such a mother, has no influence in her own family? Who, indeed, as you say, if this be so, will marry, that can live single? My choler is again beginning to rise.
Why all the fuss about marriage if a mother can only subject her female child to the whims of the father, the brother, and the uncles? Who indeed , if this be so, will marry, that can live single?
How brothers (sons?) are inducted into the regime.
I’m not a mother, just as aunt, but I can see how boys grow into young men, and how the ideal of masculinity means that boys often have to suppress the part(s) of them that are sensitive, tender, loving, affectionate, in order to “become a man”. And when you notice how it becomes a requirement for boys to hurt others in order to achieve this ideal—then you truly realise how men are made. Hurting others is part of the deal; it is how men are defined as men. To put others in their place and to claim their space as yours. And it hurts to watch young boys who have been taught not to hurt others struggle with the full force of societal expectations that makes it (implicitly or explicitly) known that they will have to hurt others in order to become men.
The eternal problem: We need to talk about sons/we’re always talking about sons.
There has been “unrest” in Sabah for the last few weeks. Property is the problem. Who “owns” Sulu?
The Malaysian twitterati, its bourgeois heart ever in its proper place, is grieving over the death of Malaysia’s policemen involved in the “clashes” with “armed militants”. Malaysian policemen have died while trying to take out these intruders/militants/insurgents (i.e. they were protecting the nation). What’s interesting about the nation that is protected is that we still don’t want to think about how some of us are more protected than others. Sabah, on the East Coast, is one of the poorest states in Malaysia; there is no protection, it seems, from economic impoverishment. But there are tweets from the West Malaysian public thanking the “security forces” for their service to this country. There are tweets praying for their souls in heaven or wherever they might be. Everywhere on Twitter people seem to be simultaneously praying and wishing violence upon the enemy. This ritual is meant to keep the good ones, we the citizens, safe.
The police. The soldiers. Law and order. There are self-proclaimed Progressive Activists ™ who bring the MILF into the picture and cry out “the militants are everywhere in Sabah!” with every tweet. The macho politicians and lovers of Malaysia who cheer on a “military offensive” with encouraging, optimistic tweets like, “Kill or be killed” or “Just gas and smoke ‘em”.
Malaysian Defence Minister, Zahid Hamidi, tweets about the military assault as a “clean-up operation”. (Tweet is in Malay.)
People might be of a land, but there are false borders now demarcating different nations and these borders may not be trespassed.
Meanwhile: “Kiram’s people are demanding Malaysia recognize the sultanate owns Sabah and share profits from economic development in the state.”
Profits. Economic development. Who “owns” Sulu and who profits? Malaysians don’t really care, but “we” are here now, and “they” are not; property is for those who claim it by any means possible. And perhaps the Sulu sultanate is also flexing its muscles. As for the people who are put to work on these lands?
“Filipinos living in the tension-gripped Sabah territory in Northern Borneo said they have been segregated according to tribe and that their movements have been limited and closely monitored by Malaysian authorities.”
“A farmer who tried to enter the tight security cordon surrounding the heavily armed men was turned back by the police early on Monday.
Police feared the food supplies he was carrying could fall into the hands of the gunmen.
The farmer, who wanted to be known only as Ghafur, said he was trying to get to his oil palm farm for his twice-a-month harvest.”
According to them, the violent encounters in Sabah villages have been displacing some of the 600,000 Filipinos quietly living and working there, forcing them to flee to ARMM or causing them to be deported. But the region may not have enough resources to feed and house them.
At the same time, the conflict has been affecting the people in ARMM by driving up the prices of commodities, usually sourced from nearby Sabah, they said.
The Malaysian twitterati is not impressed with how our government for its soft-handed approach. They have ideas, these Malaysians, and it involves Malaysia flexing its military might. We must let the intruders know that “they” are on “our” soil, and the military will convey this message. Men on Twitter berate our ineffectual Prime Minister, exhort him to “be a man” and protect this country, take action. I have no interest in defending our Prime Minister, and as much as I might want to write a separate 3,000 word essay on gender performance and construction, this is not the point (although it’s part of the point). But this demand of a Prime Minister to be a man, a father figure, to exercise force and violence if he must, to defend his property is so chilling precisely because these demands are not self-aware. Malaysians on Twitter—a good number of them of the upwardly mobile, “educated” and comfortable, their lives mediated by gadgets and social media, are okay with owning property and being property—tweet about the stupidity of feudalism and think capitalist democracies are the best thing, the ultimate manifestation of human progress. Yet, they want to be protected by a violent patriarch. They want a “man” in charge, not in form necessarily, but in spirit.
They have no time for history, or maybe it’s just an inconvenience in a time when we have to be militarily efficient. Improve border control. Prioritise domestic security. Stamp out terrorist activity. Enemies are everywhere. We must smoke ‘em out.
Be a man. This land is your land.
[i] Marshall McLuhan, “The Gadget Lover: Narcissus as Narcosis” in Understanding Media
January 15, 2013 § 8 Comments
One of my friends texted us in a group chat about the Golden Globes awards show and its unbearable celebration of whiteness. As this Tumblr post puts it: “The Brave White Artists of the USA”. The white culture industry congratulating its white industrially cultural self. Most of us love to watch it and talk about it because we’re saturated in it and even though I hate it so much I enjoy watching people watch it: a meta-spectacle. I mean, Debord wrote about this. Debord said it all. Everything shit will come to pass, said Debord.
I just had the best time looking at this twitter feed throughout the thing:
I watched Les Miserables because a friend wanted to see it. I’m no fan of musicals. Or opera. At all. I had some familiarity with Les Miserables the musical because we put on bits of it for a concert when I was in the English Literary and Debating Society in secondary school. Yes, that’s really what it was called. The English Literary and Debating Society. I have stage fright, so I was never on stage but always in the background running around doing important things for the people on stage, but this has nothing to do with anything, really. Or does it?
Where Les Miserables the musical is concerned, I never understood why poverty had to be romanticised, aestheticised, into a feel-good musical. You might ask the same question of the novel itself, which I haven’t read, but then I’m biased—I majored in literary studies. Maybe I think the novel can do important things. So kill me now. I don’t know, this novel thing is a big question. I read Pierre Macherey’s A Theory of Literary Production and still understand nothing. That is, whole chunks of Macherey’s text were incomprehensible to me.
(The all-pervasive fear, a daily check in: How stupid am I? Is my stupidity increasing?)
Can the musical do important things? Perhaps it can—if so, I’ve yet to see a musical that felt like there was something there, but this makes no sense because as a general rule I avoid musicals, so I wouldn’t know a good musical if it came and warbled in my ear.
It’s hard to take anything seriously when people are singing about it to you, although certain scenes had its power. The “End of the Day” sequence with the faces of the workers, the poor, the underclass. The opening scene with the song “Look Down”, again primarily because the camera honed in on individual faces of prisoners. Because Hugh Jackman didn’t look like Hugh Jackman the celebrity. But then he “reforms” and becomes an honest man by becoming a capitalist—a factory owner, to be precise. He also became a philanthropist. A good-hearted capitalist with morals and God. So an honest man is a man who stops stealing and starts openly exploiting workers—the women in his factory. As soon as he becomes an honest man, i.e. a capitalist, i.e. a man with money, Jean Valjean looks like Hugh Jackman and he even has Hugh Jackman’s teeth.
I haven’t read Victor Hugo’s novel, but I wonder if this ideal of white womanhood is a problem in the book, too. This ideal of the virtuous, pure, good-hearted, moralistic, and dreary woman played by the likes of Anne Hathaway and Amanda Seyfried. Particularly in the case of Seyfried’s Cosette, the heir to her mother’s beauty and goodness: Good skin, good hair, good teeth, sparkling eyes, good health, good disposition, perfect for breeding. The way in which Marius, played by Eddie Redmayne (the reason I finally gave in and watched the damn movie) falls in love with Cosette is so tiresome. So tiresome I don’t even have the energy to be angry anymore—most heterosexual love stories just put me to sleep these days.
Then there is Eponine—finally, an intriguing female character!—who pines for Marius, becomes a boy for a day, then dies. Imagine if instead of continuing to pursue Cosette, Marius starts to look anew at Eponine! Imagine a story where Marius nurtures his revolutionary, radical spirit and finds his soul mate in the woman who fought beside him! Imagine a story where Marius doesn’t put his own beliefs aside, temporarily, to follow the dictates of his penis, running after a normative, ideal vision of womanly perfection to “settle down” to a life of “happiness”. Jean Valjean, now an honest capitalist and honest patriarch, has a role to play here in ensuring his ward’s happiness. She must have the man! And how fitting that Marius, too, comes from money. The rich man will have the beautiful woman! And how fitting that Cosette’s mother was so virtuous that she is now a dead angel. 100% pure extract of Good Woman, is Cosette, and a good man will have her.
This Les Miserables is such a reactionary film. After the fighting and the death, things go back to normal. The barricades are now manned by the dead figures of revolutionary past. The future is with these two youths who are now married to each other. Their individual blonde European beauty is reflected in the other. Beyond that—who cares.
I have no idea why Anne Hathaway was nominated for a Golden Globe for this role, by which I mean I guess I know why Anne Hathaway was nominated for a Golden Globe for this role: This role is award bait. The culture industry loves a good woman in trouble, especially if she’s beautiful and has the good sense to weep for her child, sing sad songs, and die prettily. (They should have given her a nomination for the Batman film, instead, where between her and two seconds of Cillian Murphy they made the excruciating thing watchable.)
So Hathaway shaved off her hair for Les Miserables, but did you know that Cillian Murphy shaved off an eyebrow for Peacock? Where is Cillian Murphy’s award? Where is Cillian Murphy?
In Red Lights, as it turns out, which is not award bait. Red Lights is about the ever-rational, all-seeing, white bourgeois gaze and how it tries to impose itself upon the world. It fails, to some extent, and the result is that blood splatters all over Cillian Murphy and he looks really good—Cillian as Carrie/Jesus hybrid, basically—but I digress. I think maybe the movie is itself conflicted about this gaze. I say “think” because this movie is a bit of a mess, or a lot of a mess. Not the kind of mess that I like, because I generally am quite fond of a really good mistake, but because it’s a smug, self-approving kind of mess.
I watched Red Lights in the cinema, alone, because I do like to watch movies alone for the most part but also because I have A Thing for Cillian Murphy, and I’d heard that Red Lights SUCKED SO BAD, so it was a matter of embarrassment and self-preservation. I can’t watch Cillian on-screen without feeling as though my face was melting into itself and my face can’t melt while people I know are with me. More so if the film is supposed to be bad.
So alone I went.
The thing about the gaze is interesting here, because Robert De Niro’s character is supposed to be blind, but because he apparently has psychic powers, he can still see. Isn’t that how colonial/imperial white supremacy tries to convince itself and others? That even though it can’t see and it can’t be everywhere, it can still see and know more than you would ever know. He is blind but fortunately he is a rich white man who can claim visuality, what Nicholas Mirzoeff in “The Right to Look” calls “the authority to tell us to move on and that exclusive claim to be able to look.” When he first meets Cillian Murphy’s character and runs his fingers over his face it feels authoritative and assertive, almost like a violation.
But Red Lights didn’t need De Niro. Maybe it would have been less of a smug mess without him. He plays the character of Simon Silver, a charismatic superstar psychic, with absolutely zero charisma. One imagines that De Niro might have possessed some charisma at some point—so many people seem to love him—but that charisma is gone and you’re left with De Niro and his superstar-psychic soliloquies. With De Niro now you get a superstar playing an actor playing a superstar psychic. Something was lost along the way, and I think the something is Feelings. What happens to male actors who are great (or considered great?) They ossify and become spectres of themselves. This is what awards shows like the Golden Globes “honour” year after year. Ghosts. While real people like black women and women of colour try to find roles that don’t demean them too much.
De Niro is not there, he’s never there; to compensate he tries to be there too much. His performance is embarrassing yet his face is right in the middle of the Red Lights poster, signalling some kind of great cosmic, Hollywood-star significance. Right away you know this film stars a great white man playing a great white man, and who cares if either one of these great white men is ultimately revealed to be a hack? He still commands crowds, makes money, gets to make his way in the world and be attended to by a coterie of power-hungry next-in-line soulsuckers. Which is the culture industry in a nutshell.
Sigourney Weaver is the key authoritative figure of the film, and this is nice until she dies because then there you realise that the first authoritative figure to die is a woman. What a coincidence! Sigourney’s character is one who knows things, the one who is wise and yet not afraid to admit that she’s afraid of doubt; the one who’s conventionally successful and yet not a walking shell of herself as so many successful women are often required to be, emptied out of all feeling.
She and Cillian have intriguing chemistry. When I think about the movie now I think about the scenes where they’re together, particularly the one conversation where she tells him that she’s afraid of Simon Silver because he was the first person to make her doubt. Cillian just listens and looks at her, and that look was something—a combination of love and respect. The right to look devoid of the need to claim authority over the object of one’s gaze. And I just thought about how that’s rare in most contemporary movies, especially if it’s between straight male and female characters who are not invested and/or interested in each other sexually, especially if it’s between an older woman and a younger man.
There was real energy between them, energy that I think would have pushed the film into new/different/interesting places than where it finally ended up. De Niro now seems like such an uncharitable actor in this film. He never plays off the energy of the other actors and in the denouement, he’s like a parasite sucking all intelligence and heart out of the movie with his belligerent ranting. And there’s poor Cillian, beaten to a pulp, bloody, without his Sigourney, having to be both Carrie and Jesus at once to De Niro’s entitled superstar. (In some of behind the scenes footage I found on Tumblr, De Niro is shown calling Cillian “Sillian” which to me is astonishing—the authority to mispronounce your relatively less-famous co-star’s name just because you’re De Niro and you can. You’re working with this person and you could care less that you don’t have his name right.)
But the thing about Sigourney’s character is that she makes an unkind remark about housewives that Cillian’s character picks up on. “I like housewives”, is what his character says, if I remember correctly, because he was just caught watching a reality show about housewives. Cillian says this line as if he’s unsure if it’s meant to be delivered straight or in jest. Which I suppose is the feminist conundrum of our times. Are successful women supposed to hate housewives? Are men supposed to be feminist or post-feminist or just sexist as usual in their opinion of housewives? Discuss. Write a series of articles about for The Atlantic. Write a book. And so on.
As for Cillian? Someday JR is going to write “The Meaning of Cillian Murphy” but until then I will stumble about trying to figure out why his performances, even when he’s cast in some truly atrocious movie, consistently unsettle me. This was the case in Red Lights, too, until the ending—an ending that really did make me laugh because it was filled will all kinds of shit lines, shit lines that were recited in Cillian’s wondrous, melodious voice, sure, but still—SHIT LINES. “We are who we are” or “We have to know ourselves” or whatever, I mean, please. I think Cillian did a superb job of shading his character in various tones of ambiguity but then perhaps I’m biased, or maybe that’s why I’m a “fan”—he’s always got a quality of excess, or disquiet, about him, like he’s about to jump out of his skin or melt into his bones or float off the face of the earth. I don’t feel safe watching him. I get the sense that acting is, for him, a means of working out or through anxiety about something (many things) (everything). I’m never bored when I watch him and this is important to me. So many actors are the walking dead. I mean, here’s Cillian Murphy next to Robert De Niro and without making any sort of qualitative judgment—which boils down to taste, which is a long story—there’s just a clear difference between the living and the dead.
Red Lights almost becomes yet another crisis of masculinity film and no doubt Leonardo DiCaprio could have sleepwalked through it like he did in Inception but Cillian never does (or can’t do?) conventional masculinity by the book and this redeems this movie. Somewhat.
But the film itself undermines Cillian’s character, because there are so many things it could have explored but stayed away from in the interest of giving us “a thriller”. Because ultimately it’s a film that questions or has its doubts about absolute rationality but opts out of the complexity by trotting out soothing, pop-selfhelp speak: “Know yourself” and all will be well. The film spends a good amount of time trying to prove all libidinal energy as anti-logic that finally it has to contradict itself, and Cillian’s character comes to embody the kind of emotional excess he has tried to disavow/reject/ mock. I’m wondering if hysteria is always feminised, that I’ve internalised this sexism that even when I see a male actor perform it I’m thinking about how his role is feminised, made precisely unstable because of its lack of conventional masculinity (which must always be rational). I’m not sure. Red Lights could have gone another way, but it needed to soothe is audience with optimism, progress, and realism. In the end, Cillian’s character must make meaning out of his madness. Thus, the movie ends with a truly atrocious voiceover where Cillian is made to mansplain his hysteria to himself and the audience.
There are a few non-white characters who pop up for a few seconds, as seen through the rationalising white gaze, hovering at the edges of the film as figures of dread or alarm. There is the requisite Tall Black Man who gives wee Cillian a scare. He looms up as a figure of terror until Cillian and the audience realises that he’s just part of Simon Silver’s mini security apparatus. There is one black lady dressed in tattered clothes who gives Cillian the evil eye and spits in his face after he almost (accidentally) runs her down. In that one scene she’s shown to be Really Scary and Possibly “Crazy”. The film doesn’t do well with these people living on the fringes of respectable bourgeois life—they’re shown here to be desperate and unsound of mind, often both—and the one instance with a black family who was convinced their son was manifesting special powers through his drawing was just awkward and strange, with Cillian and Sigourney as the two sensible white interlocutors observing and later, passing judgment on them while giggling in the car on the drive back.
Perhaps Red Lights would have been award bait if it was better made, smoother, slicker. Maybe it needed an American director or the backing of major studios. There have been a zillion reviews panning the movie. The critics went to town. I wonder if these are the same critics who later included Zero Dark Thirty and Argo in their year-end best-of lists. Almost as if it’s a requirement to be an Empire apologist if you’re going to be a film critic. But what’s more stunning, or vomit-inducing, is the general critical consensus. How they know which films to collectively mock, and which ones to collectively swoon over? Does it involve actual thought? I mean, Peter Bradshaw was practically having an orgasm over Django Unchained in The Guardian. And right on cue these films go on to be nominated for awards.
December 18, 2012 § 5 Comments
It would seem like after I wrote that last blog post I exhausted myself and my capacity to spew words and collapsed in a crumpled heap near the bottom of my closet while looking for something decent to wear but no, that is not what happened. At least I don’t think so? I have been reading a lot of books lately and wondering why I have a stupid blog, i.e. business as usual. Or maybe more so than usual, especially since you can find any number of comments online about how people want other people to bring back the copy editors because so many articles these days read like crummy, messy, awkward, shit-as-hell, hell-as-shit blog posts.
A blog is a much-maligned thing.
Hug your blog today.
Pet it, stroke it, maybe even write in it.
Can we talk about the fetishisation of edited writing? What are the magical powers of editing that will make a piece of writing automatically better (suited to consumption)?
I neglect to put up my Pop Matters reviews as they go up, so this is delayed self-promotion in one post. (And that’s a funny thing about self-promotion. It’s never eschewed, only postponed.)
1) Jamal J. Elias, Aisha’s Cushion: Religious Art, Perception, and Practice in Islam
This was dense, long, and really fascinating. Probably because it’s such a vast topic –there is so much history to sift through and situate—the book is very disciplined, never straying far from the outline of each chapter. I kept wondering about the women, who were mentioned so rarely. How did they see religion?
How did Maymuna know God? Women were illiterate, we see from this example, but they weren’t silent. How do we know which words were their own, which were put into their mouth? And if their words weren’t recorded or archived then how would we know how they saw God? This book takes its title after Aisha, the wife of Prophet Muhammad, who makes a cushion (here Elias tells us that in another account, it was curtains) that troubles the Prophet because of its images. Aisha’s artistry in keeping house and making household objects for her husband is a domestic problem, a spiritual problem, a metaphysical problem. In both examples of Aisha and Maymuna, women pose a problem or they neutralise a problem. Men reign, men look, men decide, men theorise, men historicise, men write and this is not so much Elias’ fault as it is a huge gaping hole, a glaring silence, a substantial lack. Aisha’s Cushion is all men, all the time.
2) Balaraba Ramat Yakubu’s Sin is a Puppy That Follows You Home
I’m pretty sure I said enough about this book in my review. I couldn’t shut up and keep it brief, but I will add that I enjoyed reading about Hausa popular literature just as much as I enjoyed reading the novel. Although “enjoyed” is a term not without its problems—there was too much to relate to, on the level of the operations of patriarchy through familial and social institutions—that it was a bitter pill to swallow, or more like cough syrup: deceptively sweet but ultimately unpleasant. I’m still wondering what Saudatu thinks of her marriage. I also want to know how the women see, how they look at their men. Yakubu is pretty clever in how she manages to depict instances of masculinity that come off as, in the words of Aaron Bady in this tweet, beyond satire. (And this is also due, no doubt, to Aliyu Kamal’s translation.) The world of Sin is a Puppy is a world that’s too-familiar because most straight men actually want others to believe that their intentions, thoughts, and actions are produced and defined by their hard-ons. They spy a beautiful face, a comely figure, and they are ready to disavow previous wives, existing kids, current jobs and social and political positions. AND THEN THEY’RE LIKE, SHIT! WHY ARE THINGS FUCKED UP AND BULLSHIT? This is basically the position of Rabi’s husband, who really doesn’t need a name because he’s All The (Straight) Men We’ve Known Before. I was pretty happy to read Aisha’s review because she was similarly troubled by the book’s complexities: I am not alone in my discomfort! I admit I am pretty chuffed, because Aisha is smart and wonderful, and it’s good to be of like mind.
3) Kate Zambreno, Heroines
This is another long-ass review where I couldn’t shut up. Heroines is troubled and troubling; I’m frankly quite puzzled by reviews that seem to consider it a superficial or simplistic look at constructions of femininity. It’s also a ridiculously quotable book, and if I were allowed to write like 10,000 words I’m sure I would have quoted multiple passages. Zambreno seems to be circling around mothers in her work—on her blog she has talked quite frankly about her relationship with her own (now deceased) mother: her relationship to her mother, her relationship to her death. There’s a great line in Heroines about “panopticon mothers”, one that echoes a line from her first book, O Fallen Angel: “Maggie was born in a repressive regime (her mother has policed her since birth).” We don’t talk enough about the mother’s all-seeing gaze. (Do we? Is it all-seeing?) What happens to the daughters of panopticon mothers? I also feel like the proper review of Heroines would have entered into the spirit of the book like Helen McClory’s review, because it feels like she really engaged with the form and spirit of the book, although the style of it is still distinctly Helen’s own. But I’m sure this book will continue to ooze out of me in the months to come, in blog posts and other kinds of writing. I would like it to ooze; I’m sick of the capitalist mode of literary production, after all, quite sick, so it’s only expected that books will ooze and fester.
November 12, 2012 § 54 Comments
I’ve been reading sad books. Books about sad people. While I was reading Suzanne Scanlon’s Promising Young Women (which I reviewed here), I was rereading Two Girls, Fat and Thin by Mary Gaitskill, and at this point in my life I must have reread it five or six times. It’s always a bad idea for me to read this book—I’m always in a funk for a week after, sometimes longer, or perhaps but now it’s just lodged itself somewhere inside me and each time I reread it it’s like lighting a match. Two Girls is about two girls, but it’s also about gender war(s), heterosexuality as violence. Chris Kraus writes about wanting to solve heterosexuality before turning 40 in I Love Dick but I feel like every conversation with single straight women friends over beer is an attempt to solve heterosexuality, and after a few drinks the solution is simple: Drink some more or dance; failing that, overthrow the patriarchy and end heterosexuality (somehow).
But what do I know?
It’s just that when I walk around this city I wonder if it makes sense to talk of the Neoliberal Heterosexual Couple. Gym-toned bodies, “tasteful” dressing (“Keep it classy!”—I fucking hate this fucking ubiquitous phrase), identical cannot-be-arsed-about-anything-except-ourselves faces. The couple that won’t let go of each other’s hands even in a crowded walkway; not so much because they’re so In Love and cannot bear to let each other go, but because they have so much contempt for everyone around them who is not-them; contempt written on their faces. Handholding as a weapon, maybe, handholding as a contemptuous gesture. I mean, not being able to step aside, even for a second, for an elderly lady with her shopping bags. The Couple as a Fuck-You-to-the-World might have been a romantic idea at a certain point in time, or even a form of resistance against the status quo, maybe? But now just a part of the obnoxious status quo.
But what do I know? I am single and bitter. (Maggie Nelson, in Bluets: “I have been trying, for some time now, to find dignity in my loneliness. I have been finding this hard to do.”)
And no doubt dying to get married, as various members of the “older generation” have implied to me over the last year. Not even a question, “Do you want to get married?” No. They just know that you need to get married because if you do not you will rot and die. I bumped into an old acquaintance of my father’s a few days ago, while I was with my sister, and among the things he said to me after not having seen me for close to twenty years (I didn’t even recognise him!) was the ever-reliable, “You should get married and take care of your family.” It was the last bit that puzzled me, this idea that I could not be otherwise taking care of my family if I was not married. But it’s not a puzzle really; Tamil people everywhere are on autopilot when it comes to giving Life Advice to wayward young (and not-so-young) women doing horrible things with their lives like being unmarried, cutting their hair short, and wearing red lipstick. GET MARRIED> MAKE THE BABIES> TAKE CARE OF YOUR FAMILY BY MAKING MORE BABIES> YOUR MOTHER IS WORRIED
Overthrow the patriarchy. End matrimony. (I shouted, in my head, while smiling vaguely into the distance while this man gave me free life advice. Oh, the smile, how it makes you fucking complicit.)
Thinking about singleness and marriage, stewing over it, often means that I start thinking about beauty. Because it’s beauty that I’m struggling with at this point in time. That is, I lack it, but this is not news to me; when I say “this point in time”, I mean that at this point in life as I know it, it seems that everything is the exterior, that the image is you, and you are nothing but the image. (This day in Capitalism it was discovered there is no there, there.) Romance is a marketplace, and you are one of the many images on sale, and if you’re not the right image you are, essentially, shit. “Never before has society demanded as much proof of submission to an aesthetic ideal, or as much body modification, to achieve physical femininity,” says Virginie Despentes in King Kong Theory and I’m suspicious of the phrases here—“never before”—“society demanded”—yet this sentence rings with truth, for me, and perhaps for other (cis, straight) women who are single and wanting (yearning? dying for?) a connection with someone else that isn’t predicated on aesthetic ideals, all of us who identify as “normal-looking” or “not beautiful” or whatever-
“What if the self-commodification of individuals is all-encompassing, as the analysis of the job market suggests? What if there is no longer a gap between an internal realm of desires, wants and fantasies and the external presentation of oneself as a sexual being? If the image is the reality?”
“Objectification implies that there is something left over in the subject that resists such a capture, that we might protest if we thought someone was trying to deny such interiority, but it’s not clear that contemporary work allows anyone to have an inner life in the way that we might once have understood it.”
-Nina Power, One Dimensional Woman
What if the outside is all we have left?
When I talk about beauty I don’t know what I’m talking about, particularly if I’m also talking about desire, and I want to talk about beauty without talking about Plato or Kant (I just can’t with Kant), and I know for a fact that desire is a colonised space.
“We speak, act, think, behave, and micro-manage ourselves and others according to the “score” that is the general intellect—in short, the protocols or grammar of capital,” Jonathan Beller reminds us. Love in the Time of Capital. Yes, okay, I tell myself I know how to grasp this intellectually, but the bigger fear is that this is the only way I know how to love: according to the protocols of capital.
I watched Love of Siam a few weeks ago and cried all the way through it, and after it was over, cried some more, and felt like I couldn’t understand myself—why all these tears? And the movie is a “tear-jerker”, in a sense, in the vein of Asian family dramas that are a blend of realism and melodrama, and so it wasn’t unexpected that a person watching it would cry. But it’s also a film that’s unabashedly pro-love. And as soon as I write that I know it sounds silly—what does it even mean? But I guess it means what it is: it’s a film about love, and not just the “provocative” aspect of young gay love between two Thai adolescent boys that’s highlighted in all the promotional reviews of the film, but also about all the banal and taken-for-granted forms of love between friends and family, the kind that is familiar to me because the families and the communities in Love of Siam remind me a little of what I knew growing up in Malaysia, of how I came to understand the intersection of multiple identities. The differences between these (often conflicting) identities–of discovering one’s queerness, of being a son of an alcoholic, of being a brother, a friend, a grandson, a pop star, a boyfriend—aren’t reified; one identity doesn’t trump the other, and it makes no sense to speak of Love of Siam as a movie only about romantic love or gay love. I contain multitudes, said some American poet and everyone went ooooh, but come on, Asian people have known this forever.
But a big part of this movie is about love between these two boys, Mew and Tong, and it’s the genius of the movie (the result perhaps of the direction and the casting decision to go with two young, relatively inexperienced actors), that the love between these two boys feels so organic and unforced, an entirely surprising yet predictable outcome of shared moments and the pull of desire. Looks are not the currency, eroticism isn’t purchased or a choice[i]; love happens because two people like each other so much, and the question of attraction—sexual or otherwise—is not absent or glossed over so much as it is depicted whole. Mew and Tong are attracted to each other because they’re drawn to each other as people containing multitudes, not because they possess an alluring physicality; not once does anyone tell the other “You’re hot” or “You’re sexy” and I don’t know if I’m regressing or blossoming into full-blown prudedom, but it was so fucking refreshing I don’t even know how to talk about it. I recognise that a lot of the movie’s dialogue and scenes are necessarily circumscribed by the cultural norms in which it was made—in this case, Thai society and Thai censors—but it’s astonishing how much is and was conveyed through looks and faces, and tenderness and understanding. So much of how we understand romance these days is mediated through this narrative of consumerism: “I’m worth it”, “You’re worth it”, “I deserve the best”, “You’re hot”, “I like a nice smile and nice tits”, “I need a man who’s all man, you know what I mean?” All these standards that we think arrive fully-formed in our heads without any external influence, all these principles of picking and choosing The Right One, of having control and autonomy—this movie sort of chips away at those assumptions very quietly and tenderly. The camera loves its subjects; the film loves its characters. The act of loving reveals the love.
But talking about how it’s not a choice doesn’t simply mean that love is something that chooses you. It’s a convenient poetic fiction, and poets and writers and artists talk about it this way all the time, and I fall for the force of that fiction: It wasn’t my choice, I can’t help who I fall in love with. In order for that to happen there has to be an “I” who stands outside of economic, political, social, and cultural influences. So maybe part of my love of Love of Siam is a desire to want to believe in that fiction again. I don’t know though: everything I just wrote down, I believe and don’t believe. Love is attachment, so maybe love is a kind of choice or decision to allow oneself to like/become attracted to a person who is close to you (literally, in the sense that the other person is physically present, as opposed to, say, an image on a dating site; also, figuratively in the sense of a mental and emotional connection based on shared moments, experiences, conversations, and silences that constitute shared time[ii]). Mew and Tong turned inward, toward each other, and it was love. But the movie didn’t require them to turn away from other people, or from life itself. (Although there were necessarily moments where they retreated from life, from people, pulled away and stood aside in order to stand beside each other. But it wasn’t a mode of being, this retreat from life. Their love isn’t about making an investment in coupledom as the only form of solace in a difficult world.)
Similar to the points Elaine Castillo makes about Senna, another movie that moved me in an almost forceful way, Love of Siam is in love with faces—long close-ups of faces dominate throughout. The camera lingers tenderly, lovingly, on faces. I watched it online where the sound and subtitles were off-time; characters would say things before the audio and subtitles kicked in, and although it’s one of the most agonising ways to watch a movie, I kept watching because once I watched the first ten minutes I was hooked. I had to closely watch and observe the faces to understand what was going on before the subtitles arrived to provide the language with which to make sense of these faces. The camera follows their faces slowly and closely, and because the two actors in the lead roles were so young, and almost naïve, watching their faces is a kind of heartbreak. The close-ups of Mew and Tong’s faces are also meant to reveal how much they want to look at each other. The frequency with which they simply look at each other is astonishing; astonishing in the sense that it’s unashamed and assertive. (Here I think about Nicholas Mirzoeff’s The Right to Look, and what it means that two queer Asian boys claim this right so forcefully and tenderly.) I also think about Kelly Oliver’s “The Look of Love”:
“A loving look becomes the inauguration of “subjectivity” without subjects or objects. In Etre Deux, Irigaray suggests that the loving look involves all of the senses and refuses the separation between visible and invisible. A body in love cannot be fixed as an object. The look of love sees the invisible in the visible; both spiritual and carnal, the look of love is of “neither subject nor object”.
Irigaray’s suggestions about the possibility of loving looks turn Sartre’s or Lacan’s anti-social gaze into a look as the circulation of affective psychic energy. The gaze does not have to be a harsh or accusing stare. Rather, affective psychic energy circulates through loving looks. Loving looks nourish and sustain the psyche, the soul, as well as the body. Irigaray’s formulation of the loving look as an alternative to the objectifying look, and her reformulation of recognition beyond domination through love, suggest that the ethical and political power of love can be used to overcome oppression.
There is no happy ending in Love of Siam, though. Nothing is “resolved”. Life goes on and love adjusts its proportions to let life pass through. Love is the vessel and life rushes in to fill it. “If we can love someone so much, how will we be able to handle it one day when we are separated? And if being separated is a part of life, and you know about separation well, is it possible that we can love someone and never be afraid of losing them? Or is it possible that we can live our entire life without loving at all?” Mew asks Tong, and it’s a question that isn’t answered. “Now that we’re grown up, loneliness seems so much worse,” says Mew, and it’s true, and the movie doesn’t rush to fill the loneliness with love. Rather, it suggests that love doesn’t replace that fundamental sense of aloneness, much less transcend it. In the end, Mew and Tong don’t end up together as A Couple, and Tong tells Mew, “I can’t be with you as your boyfriend. But that does not mean I don’t love you.”
Maggie Nelson, in Bluets:
238. I want you to know, if you ever read this, there was a time when I would rather have had you by my side than any one of these words; I would rather have had you by my side than all the blue in the world.
239. But now you are talking as if love were a consolation. Simone Weil warned otherwise. “Love is not consolation,” she wrote. “It is light.”
Like when Courtney Love sings in “Malibu”, “I can’t be near you, the light just radiates”.
No happy endings in sight.
When I think about Senna, too, I think it’s a film about love. It feels like it was made with so much love, and it’s also a movie that’s in love with its subject, a subject who’s not afraid to love his life’s work, the people who matter to him, God. I love that Masha Tupitsyn focuses on what is, for me, the most moving scene in Senna: that brief moment between Senna and his father, which she describes here:
In the scene where Senna wins the Brazilian Grand Prix in 1991 (after he won the race, Senna actually passed out, so great was the anguish of his ecstasy. Victory.), he suffers unbearable shoulder pain from the tremendous stress of the race. He is literally pulled out of the race car and driven off the track. He can barely move. But when Senna sees his father, he calls over to him, “Dad, come here. Come here.” His father hesitates, but Senna insists. “Come here. Come here! Touch me gently,” he orders. His father, much taller, stands beside his son, as Senna rests his head against his father’s chest for a moment. When he starts to walk back, Senna tells everyone else (even before anyone actually touches him; even if no one is trying to touch him at all), “Don’t touch me! Don’t touch me!” He commands everyone but his father to get away from him. This scene, which is the difference between touch me gently and don’t touch me at all, between everyone else and you, between a son and his father, beloved and not-beloved, can also be read as a love story.
If ever a moment could be charged with love, a love so rarely seen on screen in its rawness and vulnerability—the love between father and son—it was this. I think I scrunched my eyes a little when I watched that scene, I wanted to keep looking and then I looked away, mostly because I wanted to cry (tears! again!) because watching felt like I was looking right into a bright light.
Being a witness to love can often feel like an affirmation of something (of what? something you had but lost?), but more often it feels like a wound. Late-capitalist society doesn’t tend wounds; it just looks for ways to avoid it and move on.
[i] There is one scene that involves a kiss. The camera doesn’t intrude; it pulls back, and then goes a little closer, but maintains a respectful distance—this kiss isn’t for the benefit of an audience.
[ii] Which makes me think of this: http://likeafieldmouse.tumblr.com/post/33874562265/felix-gonzalez-torres-perfect-lovers-1987-91 What if lovers are not in-time? “We conquered fate by meeting at a certain TIME in a certain space. We are a product of the time, therefore we give back credit where it is due: time.” And yet—as if it can ever be that simple—“[A]s military time has become militarized time over the past few years, time itself, what is defined as ‘my’ time, has ceased to exist in any meaningful way. We are in the time of service.” How does militarised time shape how we love? What is the neoliberal couple in service of?
October 17, 2012 § 8 Comments
I was in Sydney for two weeks, which was nice, but nice doesn’t quite capture it. And what was nice about it? Being away from KL was nice. “I need a new city”, someone I follow once said on Twitter, and that seems to be the thing: I need a new city. I don’t think Sydney will be my city, although I loved it, and I loved spending time with my nephews while they were on their school break, I liked the idea of a wholesome PG-13 holiday and I liked being asked by the barista if I was enjoying the school break, being away from school must be fun and all, he said. And then I said no, I’m no longer in school, and then he was like, Oops and Are these your children, then? referring to my nephews, and I somehow went from high school kid to mum in like two seconds but look, if someone wants to think I’m still in high school I am going to silently, gratefully thank the universe. But why should I thank anyone or anything, fuck this ageist capitalist society, fuck it, yes, but I still live in it, so how to fuck it is the question. The barista was cute, and my sister watched me from afar, and then calmly informed my nephews that the barista was trying to flirt with Aunty Suba and then my nephews giggled and I stammered and blushed as much as I could blush with brown skin. And the one thing they don’t tell you about older sisters is that you might get older but you’ll always feel (be) 12 around them.
We went to Darling Harbour while I was there, and that’s the one part of the city I loathed because it was a nightmare concoction of what corporate city planners think is “wholesome family fun”, there are restaurants and malls and museums and an IMAX theater and carefully-planted trees and Disneylandesque stone paths and manufactured conviviality and it reminded me so much of Singapore’s Marina Bay, another place that makes you want to run away as you enter into its vicinity.
While taking the train from the suburbs, where my brother’s family lives, to the city, I stared out of the windows and saw things — shops and places and people and the “Say no to burqas” graffiti next to the one proclaiming “Free speech”.
Things that stick in your mind.
The one place I can’t get out of my mind is Cockatoo Island, which was formerly a penal colony (in the mid to late 19th century), now a UNESCO World Heritage Site and tourist spot (when we went it was a long weekend and families were coming in on the ferry to camp there for the weekend). While I really wanted to visit the place — absorb it, in a way — because of its history (that awful, almost unavoidable touristy need to cannibalise history and its affects), I also couldn’t shake off the wrongness of my presence, my out-of-placeness, or the out-of-placeness of all “visitors” in a place that was formerly a site of discipline, surveillance, and hard labour. “Foucault tourism” as Nicholas Mirzoeff writes, in a piece which you should read:
My British forebears did know how and where to build prisons, you have to give them that. The island is isolated in the middle of Sydney harbor, with the prison itself located on top of a steep cliff. Recent excavations have uncovered minute solitary confinement cells, which have a distinctly contemporary look in this Abu Ghraib era. The officials built themselves sandstone residences with a Georgian feel but placed at the highest point to give them a panoptic viewpoint. Grain silos dug into the rock still have chain rings, to which the excavating prisoners were linked while working. The prison was created right at the end of the transportation era in 1849–convicts were not sent to New South Wales after 1850, although they went to Western Australia as late as 1868.
I stood inside the the military barracks/guard house, the place from which military supervisors of the penal colony monitored the prisoners, and took pictures of the panipticon while watching other tourists take pictures of the panopticon, all the while waiting for an answer from Foucault. Are you there, Foucault? It’s me, the tourist. What am I doing here?
In 2000, a group of Aboriginal people occupied the island and claimed it as sovereign territory. You can still see their murals, using the Aboriginal flag as a motif. Using the colonial doctrine of terra nullius, Isabell Coe and others asserted that Britain had never formally claimed the island, a claim rejected by the courts as “inconceivable.” Really? A deserted island on the edge of the harbor? Regardless, Coe created a tent embassy on the island and asserted sovereignty. The occupation of occupied indigenous land and the counterclaim to sovereignty was a powerful performative act.
The art exhibition was over when I was there and so the island was populated by adults and surly teenagers and perplexed babies, looking at the air raid shelter and the powerhouse chimney and the sewerage treatment plant and perhaps recognising the ghosts among us. It’s a quiet, isolated place; perfect, in fact, for isolated disciplinary methods and punitive labour. Strong winds, the bright sun. “This place is fascinating,” said a mother to her two teenage sons, coming down the road just ahead of us. “It was the most boring experience of my life,” said the elder son, shoving his younger brother.
While I was in Sydney my review of Roshi Fernando’s Homesick went up on Pop Matters. I didn’t expect to like it for various reasons I talk about in the review, but it surprised me. You can read the review in full here but here’s an excerpt:
One of my favourite stories, “Sophocles’s Chorus”, gives us a youthful Preethi slowly blossoming into her sexual and intellectual powers: she kisses the most lusted-after boy in school, she reads Howard’s End and Antigone, she is the star in a school play, and her dreams and words and images slowly bleed into one another until fantasies and imagination hold the possibility of becoming real. But these moments of youthful potential and hope, moments that appear to be touched by a sort of otherworldly grace, sour pretty quickly, and the kiss becomes a shame that Preethi must endure under the watchful, cruel eyes of her peers.
What starts out as tragedy on the page, experienced from a distance as a reader of Sophocles, becomes the unwished-for reality: all that held the promise of something sweet becomes rank with wrong choices and misdeeds, and Preethi slashes her wrists in the bathtub. She survives this suicide attempt, of course, but the Preethi we meet later will always be raw and vulnerable, always approaching the edge of something, only to be pulled back by someone: a husband, a cousin. Families will consistently fuck you up, Fernando seems to say, but sometimes they also don’t let you die.
I was supposed to stay away from the cinema but I didn’t. I watched Looper and I am flummoxed by all the swoony reviews. The reviews don’t really tell you what it’s about. It’s about Mothers! MOOOOOOTHERS! MOTHERS ABANDONED US BY US I MEAN LITTLE LOST BOYS WE ARE BAD MEN NOW FROM BOYZ TO BAD MENZ BECAUSE MOTHERS CRISIS OF MASCULINITY GUNS MONEY BRUCE WILLIS GOES APESHIT SILENT CHINESE WIFE IN SLOWMO EMILY BLUNT CRIES AND TOUCHES HERSELF BUT AT LEAST SHE GETS TO TALK
Also if I had to choose between watching a slice of dry toast sit on a plate and a Joseph Gordon-Levitt performance, I’d go with the former.
People tell me that JGL is Great and Hot but I think Toast is Better, Seriously. I know he was supposed to be really good in Brick, which I think I watched, although I can’t remember maybe I just ate some toast who knows, so maybe I should watch Brick and revisit my opinion of JGL.
September 19, 2012 § 2 Comments
My review of Sheila Heti’s How Should a Person Be? went up on Pop Matters awhile back and I’ve been tardy in doing one of these exciting blog updates where I tell you that The. Review. Is. Up #breakingnews
The short of it is I reallyreallyreally did not like it. I wanted to talk more about why I did not like it but it occurred to me that I have written a review about exactly that. So I will put up a Fiona Apple song instead as a fine, tongue-in-cheek, clever example of feminine discontent that Sheila Heti is unfortunately not:
Michelle Dean, whose Slate essay is otherwise spot-on about how sexism works in book reviews and definitions of what counts as Serious Lit, draws a comparison between Heti and Apple which I quite obviously disagree with. Heti’s whole book is determined to absolve Sheila, the (fictionalised) character. I mean, as Jessa Crispin points out, she compares herself to Moses—this was either meant to be flippant and subversive (as in, why can’t women characters lay a grandiose claim to greatness like men often do in their books?) or serious and earnest (as in, look, Sheila is like Moses). Either way I can’t help but feel so strongly against the style of the book, which I suppose means that I dislike the writing, which probably means that I dislike the thinking. As Jessa writes:
But the Heti is sneakier. Part of it is the self-help aspect. The way she compares herself without blinking to Moses. The way the book gets historical fact flat-out wrong. The selfishness and the lack of awareness of the real world, and the certainty of it all. The girlishness. The, god help me, tweeness of it all. And then, behind all of that, a tone of cynical “just kidding!” to protect itself from criticism. None of this is necessarily frustrating in and of itself, at least not in an intense way. It should have just been a “not for me” book that I set aside after two pages.
I disagree with Jessa about the girly aspects of the book; or rather, that girlishness is somehow always-already twee and fluffy and shallow. I just don’t think Heti’s exploration of female subjectivity is at all compelling or interesting or new or challenging or bold or anything. And this is where I do agree with Jessa’s comments: the “tone of cynical ‘just kidding!’ to protect itself from criticism”—yes. That’s why I mentioned Kate Zambreno’s Green Girl in my review, because Green Girl is about female subjectivity, girlishness, hysteria, sensitivity, emotions, but it’s bold and strongly-written; it doesn’t shy away from its subject, whether it’s shallow or unintelligent or whatever, it plunges right in, and as a result it is a ferocious, tentative, vulnerable, intelligent book. Heti’s tone, in contrast, is coy in a way that I really can’t stand; I don’t know if this just boils down to taste, and if so, what that says about me.
(Anyway, I’m generally in agreement with most of Jessa’s thoughts about How Should a Person Be? and also way too thrilled that she linked to my review. #notahumblebrag #anoutrightbrag)
Meanwhile, Fiona Apple is fucking up and making a mistake and telling us that she “sure had fun”. And that’s why she’s different from Heti, who compares herself to Moses. (Also, Apple is just a few years older than me and I’ve been a fan since her first album, so I feel like I “grew up” with her and I cannot bear to see her compared favourably with Heti, just nonononopleaseno.)