April 15, 2016 § Leave a comment
I managed to get an ARC of Curtis Sittenfeld’s Eligible: A Modern Retelling of Pride and Prejudice and thought I’d review it for a local paper. It seems like fun, I thought. It would be nice to review a “light” book for a change, I thought. I don’t know much about Sittenfeld; I do remember reading Prep in a haze while living at Winnipeg, because going from Malaysia to Canada there was not a day that went by when I didn’t marvel at the existence of this grand thing called a library and so I tried to read every book available, and Prep was one of them. It was ok, I guess? Entertaining? I can’t remember much. But I decided to give this a go because how bad can a retelling of Pride and Prejudice be? Additionally, I was curious. Why update what was already very good? “The Austen Project” intrigued me. Who are the writers who willingly offered themselves up to be compared to Austen? Why? Fascinating.
The problem so far is that I’m only about 1/4 of a way through Eligible and I’m bored out of my mind. But I must slog on, because I promised to write a review and this one actually pays (quite well, in fact). It’s not that Sittenfeld is a terrible writer, but that’s a whole other story. She can … write. I’m sure of it. I think. It’s just that this whole world I’m supposed to willingly enter into for pages and pages on end is so devoid of enchantment — everything and everyone is so petty, crude, tedious, and dull-witted, even Mr. Bennet and Liz, whose verbal sparring or conversations are meant to energising. In this update, it’s as limp as an afternoon in KL during the heat wave.
The story of Pride and Prejudice has been updated, so to speak, and so now Liz Bennet is a liberal feminist who writes for a magazine called Mascara and tries to lean in but is hampered by both a not-quite-going-anywhere writing career and love life. So far, so tedious. Jane is now a yoga instructor in New York, which … I mean, I could never really warm to Jane (could any of us warm to such a paragon of virtue, to begin with?) in the original, but in this book she’s just a walking, talking, jogging robot. And when Sittenfeld describes the WASPy Bennets’ decaying Tudor mansion thus, from Liz’s POV — “her parents’ home was like an extremely obese person who could no longer see, touch or maintain jurisdiction over all of his body; there was simply too much of it, and he — they — had grown weary and inflexible” — I flinched. Was Austen ever this small-minded and mean-spirited?
Charlotte Lucas too, has been updated to become nice but fat. Mary, with whom I’ve always had a problem, or rather, I’ve always had a problem with Austen’s gaze when it comes to Mary — so judgmental and, dare I say it, bitchy — fares no better, unsurprisingly. When I read P&P, I try not to think about Mary too much so I could revel in Austen’s sparkling prose, etc., but Sittenfeld’s update has led me to consider if it was a conscious attempt to highlight Austen’s latent uncharitable and mean-spirited perspective, which was at its most obvious when directed at a poor young lady who possessed neither socially-approved looks nor charm. In Sittenfeld’s update, Liz thoughts about Mary are painful: “Mary was proof, Liz had concluded, of how easy it was to be unattractive and unpleasant”. Was Austen ever this small-minded and mean-spirited? Maybe … yes? She could be?
When I read Austen, especially of late, I’m under no illusions about Austen’s disdain for and simultaneous acquiescence to the bourgeois values of her time. She both mocks it and strives to reach it; or rather, her characters do. Poor Mary; she was noted for being both unattractive and lacking in charm both in looks and in personality, and then dispensed with. Who cares what happens to Mary? I’ve always wondered. In the 21st-century, Mary suffers even more so in a society where social interactions are mediated by images. As does Charlotte Lucas, who for all intents and purposes in this update is not hampered by an inability to support herself independently — in this update she seems like a perfectly decent and functional person, but is fat, and therefore alone. (Until she “settles”, presumably, like the original Charlotte.)
I’ve never resolved the problem of Charlotte and Mary and I do wonder if Eligible’s obtuse characters and inane conversations and utterly horrifying, shallow perspectives on love and marriage and a person’s worth are so bleak not only because it reveals the crass emptiness at the core of the bourgeoisie and upper classes in the times we live in, but also because it reveals something fundamentally — nasty? — about Austen’s conception of femininity and female worth. As a “fan” of Austen, this leaves me more than a little disturbed.
But anyway. There’s still MANY MORE PAGES TO GO before I sleep. I might have a different view by the end of it, and back to loving Austen without having to think too much about it.
February 13, 2016 § Leave a comment
Luckiest Girl Alive is one of the more horrifying novels I’ve read in recent memory about gender and class relations, not least because it takes a sudden turn midway through and becomes more of a tale of psychological healing and redemption and this somehow makes it worse. Comparisons to Gone Girl are instructive in the sense of coming to terms with what publicists and marketers will do to sell a book–simply refer to a bestselling one that came before because there are vague similarities, like white women authors writing about white women characters. Perhaps I’m being unfair; I enjoyed Gone Girl and also Dark Places; having read two of Flynn’s novels I get the sense that beneath the thrill-a-minute veneer of the carefully-structured plot is an emphasis on what wealth, and how one’s class position shapes one’s social relations and conduct. While I really appreciated Mary Gaitskill’s review of Gone Girl, now archived and sadly no longer available to read for free in Bookforum, I feel that Flynn is interested in showing us just how depraved the wealthy characters are as a means of understanding modern American society. In Gone Girl and particularly Dark Places, we just how ruthless women can be–and not in the “internalised misogyny” way that she is commonly accused of. Flynn shows us how destructive middle and upper class white femininity is, to the women themselves, and worst of all, on the people on whom they’re able to exercise their (considerable) power.
Luckiest Girl Alive starts out like a a cracker of a book, but it pretty much depends on your tolerance for nasty people being nasty. Dark, bitter satires or psychological portraits of nasty women being nasty is a bit like catnip for me. No doubt it’s from having spent the better part of my formative years in all-girls’ schools. It’s not that women are inherently nasty (and I feel so stupid typing that out because obviously it’s not, but people seem to need to have it spelled out); it’s how heterosexual women are trained to be and put to use in that way, in order to win one of life’s many prizes: A Man and A Job (these go together in our lean-in, liberal feminist empowerment times). LGA starts out like very bitter satire; the main character, TifAni who becomes Ani (long story by which I mean it’s literally the whole book) is what you would imagine the misogynist, capitalist spectacle to be if it came alive in one human being. For that reason it was hard to imagine where the writer, Jessica Knoll, could go with such a premise. When I started to get an idea of where it was going, it was troubling to realise that certain “major issues” in the book, specifically high school gang-rape of a fourteen-year-old girl and a school bombing and shooting, were strategically maneuvered as thriller plot points designed to evoke suspense. By the end, then, Ani–who is really quite brutal in how she has found her way from middle-class mediocrity to upper-class feminine security in New York (contingent on her marrying her fiance and “earning” his family’s connections, obviously)–is rescued from her own strategically-designed future by an arc of redemption that involves exploiting the traumatic events of her youth for a documentary. First as tragedy, then as neverending spectacle. In this weird way too, what starts out in the book as an indictment of American middle-class bourgeois clerk values of aspirational wealth becomes, by the middle of it, a purely psychological Ani phenomena. She is so fucked up because of what happened to her that miraculously, towards the end, the functions of her class position–where she has been raised to become arm-trophy to a rich man–is made to be just a problem of her outlandish, tasteless, money-grubbing mother and distant, asshole father, and the combined effects that this upbringing and the awful people in her private school had on her.
I was so appalled by Ani’s hyper-surveillance of other women and her intrinsic, knee-jerk hatred of them, that I looked up the author’s Instagram and Twitter and found her voice sometimes almost disturbingly Ani-like. Of course, it’s a particular effective form of affective writing common in beauty magazines that use the chatty yet judgmental mode of friendly vigilance–from one girl to another!–to sell the many, many products advertised in practically every page, except in Ani the pretense is removed and it is pure self-hating and misogynist surveillance. Knoll used to write for women’s magazines; Ani, too, works for a women’s magazine. Her beauty industry-fortified gaze, when it lands on other women, is ruthless and cruel. Teenage Ani already showed mastery of this gaze in order to best her more languid upper-class contemporaries, secure as they were in their class position made up of inherited wealth, but at least teenage Ani seemed to recognise that a shiny exterior was not the whole. Older Ani had come to fully immerse herself in the spectacle and call it being shrewd, street-smart, and resourceful. The image stands for the whole. It reminded me of “The Girlfriend Gaze”, specifically the bit about how the girlfriend gaze functions as governance:
This obfuscation of the male gaze helps to mystify the technologies of patriarchy that profit from women’s body hatred, particularly through the beauty and lifestyle industries. It reconfigures obsession with body image and consumption as an exclusively female preserve. The women in Heat are in danger of losing their celebrity status as they are seduced into the domesticated spaces of heterosexual love. Because the skinny body is a woman’s cultural capital, the magazine’s subtext implies that to let go of the rigours of self-discipline is a form of naivety. And it also perpetuates the pervasive discourse that defines women’s empowerment through the control they exert over their bodies. Being skinny, or a discerning and avid shopper, is sold as signifier of autonomy: it is because she is worth it that she botoxes, not because she is a victim of the heterosexual male gaze.
Because women exercise ownership over their bodies and can profit from this through the processes of branding, the surveillance of body control is sold as enablement. In an overwhelmingly visual culture, the spectacle of the female body is necessary for self-promotion and therefore success. As the practices of beautifying and “girling” become more complex, it is women who are able to recognise and appreciate the work spent and expertise accumulated. Because the body is represented as integral to success in the labour market, this surveillance of women by women through friendship is represented as entitlement. It is marketed as solidarity or sisterhood through the rhetoric of girlfriendship; it is “girl time”.
It is a white-supremacist, capitalist gaze built on exploited labour and ownership of private property, of course, but these elements are slowly neutralised throughout the book, so that by the end, Ani, who has spent a lot of money and time on crafting the ideal upper-class New Yorker feminine body, still gets to “own” her gifts and be saved from her awful fiance, too. It’s classic lean-in feminism; she crafted an very specific image of herself in order to obtain a man and power via wealth and social capital, but now that she’s ditched the man and found some liberation from oppressive heterosexual norms, she can be kinder in her power, power that she has obtained through looking hot as shit and putting other women in their place. Though it’s made clear a few times that it’s Ani’s ability to take control of herself and her body–after everything was taken out of her control through the events that altered her life in high school–that makes her the hyper-image obsessed person that she is, this is lost in the manipulative aspects of the plot designed to keep the pages turning. And I can’t get past the sense that so much of what is plain old American middle-class striving is displaced onto the mother figure, whom seen through Ani’s eyes is often clueless in her desire for wanting the best for her daughter, but is also often pilloried for being tacky, overdone, and unable to play the game right.
Ani’s only female friend is a rich, obligatorily skinny white woman of epic beauty, so much so that conversation stops when she enters the restaurant, bla bla bla. This friend is crucially, of course, rich, so her beauty can appear effortless, which is what Ani craves most of all. So much of what Ani wants to be–disappear into the spectacle as an emblem of power and wealth–is premised upon the brutalities she endured as a young girl, but the book locates her freedom in an act of personal empowerment. Presumably, she will have earned this bit of freedom, and go back to her life as a cog in the capitalist machine that sells self-hatred as liberation. This minor fact, of course, is never the problem at all. Knoll is pretty deft in sketching out this type of mean girl white New Yorker at the start of the book, but loses steam halfway. It’s almost as if she realises that this type needs to be made likeable to a vast number of female readers who will have to “identify” with a female character who will definitely consider women who don’t live in New York–much less in the Western world–and who lack beauty, wealth, and the means and willingness to cultivate a designer body and designer style, i.e. the vast majority of us, utterly beneath her.
shoulda put a ring on it, shoulda signed a contract, shoulda just kept your head down and worked, etc.
May 23, 2015 § 8 Comments
I had an idea of turning this blog around, as it were, come 2015 — it would be the diary of the angry Tamil spinster, or something. Her eternal disquiet. 2015 came and I spent a lot of time of twitter, faving tweets, retweeting tweets, wondering why bother to write anything. Thus far, I’m still wondering: why bother to write? And have not yet found an answer that is sufficient to make it worthwhile (not for myself, but for others.) Related: why should others read me, or how does my writing contribute to anything, if at all? More important than “why bother to write”.
I’ve started to identify so much as “spinster” in my head, first as a joke, but now as reality, because I think back to how we were made to be afraid of being the unmarried 30-something woman taking care of her elderly mother when were in our teens, and thus encouraged to study hard and look pretty to avert this fate, and how I have arrived at this fate not through conscious choice but a series of decisions based on facts of my life that were beyond my immediate control. Is this what they call agency? Surely the spinster, being in the position she is, should be the most anti-capitalist of them all.
I read Kate Bolick’s Spinster expecting to feel some kinship with it, moments where the writer stares into the abyss of utter aloneness and I stare along with her. Instead, it’s about a pretty woman who is plenty sought-after by men and attends lots of literary parties and can never walk down the street without seeming like she winds up on a date. (This woman is Bolick, to be clear.) There are bits in-between about women from her past who have acted as her awakeners; all of them white, most of them pretty and sought-after by men in the same way, and in a creepy way, all very pale-skinned and eroticised because of this white skin (her descriptions of how Edna St. Vincent Millay was desired by men, for example, works in this creepy way … creepy because desire-for-white-women is always taken for granted.)
This book, as Jessa Crispin writes, also vexed me. At one point, when tracing the life of one of her awakeners, Maeve Brennan, and noting that she did actually end up living the spinster nightmare — that of a “bag lady” — Bolick wonders, “What did it mean that this was the woman I’d aspired to be?” Maybe some spinsters end up as “bag ladies” because of their position in society, alienated, precarious, and unwanted — how are they to thrive under the brutal conditions of capitalism? But in case the cover of Spinster wasn’t already a clue, Bolick’s book is for the shiny and striving. In identifying with Brennan but cringing at the bag lady, Bolick can’t see what she won’t see. All you need to do is awaken the neoliberal soul and be productively employed. Bonus: if you’re pretty and can get a lot of dates, you can only worry about your strange desire to be alone without actually living the alienation that aloneness prescribes in a capitalist society.
The face of the new spinster movement or whatever, as determined by the Publishing World (i.e. New York), is pretty and white, so the rest of us will have to gather under a different banner, I guess. Hag? Bag lady? Take your pick. Like wage labour, the ability to make a choice between being undesirable and unproductive, or being desirable and productive, is a sign of agency. The choice is yours ladies! Will you work to improve your look, lean in, and make an effort? If you do, you deserve to exist.
May 23, 2014 § 2 Comments
In further installments of “Book Reviews I Wrote Months Ago”, this is my piece on Jenni Fagan’s The Panopticon for Full Stop:
The panopticon has been over-theorised. Maybe Foucault can take some of the blame for that. Jeremy Bentham, 18th-century philosopher and social theorist, came up with the design of the Panopticon to enable institutional surveillance, primarily in prisons. The design involved a curved or circular building, where inmates would live, with an inspection house or tower right in the centre. Guards or managers or nurses or wardens could watch over the entire building this way. Inmates would know they were being watched, but they wouldn’t be able to know who was doing it, or when. In the 20th-century, Michel Foucault’s seminal work Discipline and Punish was largely responsible for introducing the idea of the panopticon as metaphor for modern Western societies. Disciplinary societies, according to Foucault, normalized the mechanisms of the panopticon precisely because it is a mechanism that “automatizes and disindividualizes power”:
He who is subjected to a field of visibility, and who knows it, assumes responsibility for the constraints of power; he makes them play spontaneously upon himself; he inscribes in himself the power relation in which he simultaneously plays both roles; he becomes the principle of his own subjection.
When talking about the twenty-first century surveillance state, it’s practically impossible not to talk about the panopticon as metaphor. Revelations about NSA surveillance have led to comparisons between the surveillance state and the panopticon, with one crucial factor overlooked or erased: for the panopticon to work as the panopticon, people have to know it’s there. The NSA surveillance is different from, say, how social media works. The metaphor of the panopticon might work for how users are both subject to and agents of surveillance in sites like Facebook and Twitter; but revelations about NSA surveillance came as a shock precisely because no one knew that they were being monitored in precisely this way. Vague generalizations about how we’re all complicit in mass surveillance serve to mystify actual mechanisms of power that operate through capitalist state structures; they rob it of form and content,making the general public “complicit” in state-sanctioned NSA surveillance, except of course — they are not
In Jenni Fagan’s The Panopticon, the panopticon is not a metaphor but an actual building an institution for troubled foster kids. It is a building as Bentham envisioned it; a place where power is present but unseen. When fifteen-year-old Anais Hendricks arrives at this building, her new home, she has blood on her school uniform and has been remanded for possibly having attacked a female police officer who is now in a coma. She has also been in the Scottish foster care system her entire life and has a history of starting riots in previous institutions, of setting fire to police equipment and vehicles, of drug dealing and bloody, knock-down fights. Anais is a veteran of various care institutions, and she quickly observes the various features of the building — how the windows are only open about six inches, for instance, in the third-floor bedrooms, or how the windows on the top floor are barred and boarded up. We see the building when Anais sees it: “The Panopticon looms in a big crescent at the end of a long driveway. It’s four floors high, two turrets on either side and a peak in the middle — that’ll be where the watchtower is.”
“We’re just in training for the proper jail,” Anais tells us, acknowledging the role of foster care institutions in executing the state’s disciplinary power against the poorest, most deprived members of society — abandoned, abused, and unwanted children. “Nobody talks about it, but it’s a statistical fact. That or on the game. Most of us are anyway — but not everybody. Some go to the nuthouse. Some just disappear.” By the end of the book, the reader learns about how “some just disappear” and how some just die.
Anais is the central character in Fagan’s novel and its sole voice, and it’s a truly arresting one. Having lived in the care system all her life, Anais is especially keen to know something, anything, about her biological mother. She wonders if she even has one, or if she’s just part of the “experiment” — a fantasy/nightmare that keeps recurring throughout the novel because of her undetermined parentage. The closest Anais ever got to having her own family was a woman named Teresa who adopted her, a sex worker who was found murdered in her bathtub when Anais was eleven.
While reading The Panopticon, we’re certain that there’s one single thing that’s rotten to the core, and that’s the foster care system. Like schools or prisons or asylums, it’s a disciplinary tool meant to produce docile — but ideally broken — bodies and psyches. Anais is scathing about social work in general, where she’s diagnosed with borderline personality. “It’s better than no personality,” Anais retorts, to which she quickly learns: “Wrong. Apparently — no personality is the correct answer.” There is her case worker, Helen, who is more interested in saving her spiritual soul by making trips to India and being conveniently absent during some of the more crucial aspects of Anais’ life, such as police hearings and questioning. Anais deems herself a “lifer” because she realizes that what is deemed her history of “violence” and antisocial behavior, and how that’s filtered through machinations of the system, is likely to keep her institutionalized forever, first in care homes and then in prison. So she knows better than to trust social workers:
As specimens go, they always get excited about me. I’m a good one. A show-stopper. I’m the kind of kid they’ll still enquire about ten years later. Fifty-one placements, drug problems, violence, dead adopted mum, no biological links, constant offending. Tick, tick, tick. I lure them in to begin with. Cultivate my specimen face. They like that. Do-gooders are vomit-worthy. Damaged goods are dangerous. The ones that are in it cos they thought it would be a step up from the office job are tedious. The ones who’ve been in it too long lose it. The ones who think they’ve got the Jesus touch are fucking insane. The I can save you brigade are particularly radioactive. They think if you just inhale some of their middle-classism, then you’ll be saved.
Anais is particularly acerbic of Helen’s expectations of her as a damaged foster kid. Helen is frustrated by Anais’ inability to code her class position through particular forms of dress and style that would render her an ideal, to-be-pitied, poor thing: “What [Helen] really didnae like, though, was that I wouldnae stick tae the uniform. No hair extensions , no tracksuits, no gold jewellery. That really pissed her off. The first time she saw me in a pillbox hat and sailor shorts, you’d have thought I’d just slapped her granny.”
In fact, The Panopticon shows how the care system produces the damaged subject it’s supposed to “help”. The capitalist state reproduces this underclass through specific institutions meant to accommodate them to “a regular life” of wage labour and despair, up to the point where they’re productive but not actually happy or content. And if that’s impossible, then there are countless ways to control them: prison and psychiatric institutionalization. And if some of them die along the way, well, it couldn’t be helped. When lectured by the police on her vandalism, Anais says that they tell her “how much money vandalism costs the average taxpayer a year. They talk to me a lot about the taxpayers. The taxpayers hate me.”
Parts of The Panopticon can be read as interesting commentaries on the production of identity and how it is performed both in the private and public sphere, and in places where these differences start to blur — such as the internet. Anais knows that for people like her, visibility is a trap. She looks at CCTV footage of herself caught stealing and thinks, “It’s me. I’m a movie star, Mama, are you proud?” Darkness, for her, is safer than daylight, “her safe place”. Throughout The Panopticon, there’s no reference to self-performance, to selfies, Tumblrs, and livejournals or blogs. Anais and the other kids spend their time with each other, alone, or getting high on an addictive substance of their choice in a bit to escape. For a hypervisible and heavily-monitored person like Anais, the internet holds no particular appeal. And if she were to use it, her access to it would be limited—and as in all aspects of her life—heavily-monitored. As Anais explains, it’s impossible for her to be labelled a borderline personality with “identity problems” when she barely has an identity, having moved some fifty-odd times throughout her fifteen years of life. Anais’ fantasies and dreamscapes involve flying cats and a quiet artist-life in Paris. Hers is a life of the mind and a multitude of actual, living nightmares. For Anais, who is watched all the time, her mind is the one place where she can be herself, whatever that may be, and it seems dangerous to want to surrender that part of her to the world when it’s the one place the world hasn’t trespassed and invaded — yet:
The surveillance window in the watchtower glitters in the dim. Dinnae look up that glass. There could be anyone behind that glass. Five men in suits with no faces. All watching. They can watch.
I dinnae get people, like they all want to be watched, to be seen, like all the time. They put up their pictures online and let people they dinnae like look at them! And people they’ve never met as well, and they all pretend tae be shinier than they are are — and some are even posting on like four sites; their bosses are watching them at work, the cameras watch them on the bus, and on the train, and in Boots, and even outside the chip shop. Then even at home — they’re going online to look and see who they can watch, and to check who’s watching them!
Is that no weird?
But while Foucault, in Discipline and Punish, wrote that in the Panopticon, “inmates should be caught up in a power situation of which they are themselves the bearers”, Anais’ community of inmates show that it’s not so simple. Power, here, is not disindividualized — in fact, these kids are well-aware that power is exercised through the very people who are meant to care for them. Their resistance to the care workers is often clever and subtle, but not diffuse. When it’s time to demand for a change, they band together through communal acts of resistance, like the riot that takes place towards the end of the book, even if they know that the bond cannot possibly last for more than a moment, perhaps. Even the care worker whom Anais feels the most affinity with, Angus, is not really on their side. At the end of the day, he stills answers to a system of power that is beyond the efforts of his own individual acts of kindness, and when Anais is close to being sent away to a secure unit for the crime she is certain she did not commit, he has no choice but to comply with the requirements that make it so.
In a chapbook published by Guillotine titled Violence, Vanessa Veselka and Lidia Yuknavitch talk about how “territories of violence — psychic territories, physical territories, psychosexual territories” are under-represented in most women’s fiction. Of course, the question may be less to do with women not writing about violence than about what type of books get published, and the attendant ideological functions that work towards making those decisions — whether in book publishing, or films and television. Fagan is uninterested in pretending violence isn’t a fact of Anais’ life and in the novel, Anais is resigned to it. It’s a book that doesn’t flinch from portraying the territories of violence in Anais’ life. It shapes her very existence, but she hates it and can’t bear to see violence inflicted upon the powerless — the idea of someone harming or abusing a child or an animal, for example, makes her so angry she can hardly think. And yet knock-down fistfights between Anais and other girls are a basic fact of her day-to-day life. She hates fighting, but she has to do it; not only is it a means of staying alive, but it’s a means of crafting an identity, a reputation, and crucially — a means of preventing further violence in the future. When placed in a new institution with a new group of people, if you can get that first fight out of the way and do it reasonably well, you can then hope to be left alone afterward. Crucially, The Panopticon also depicts violence inflicted on girls like Anais by the cops, especially in carefully-manipulated ways designed to let the cops off the hook: they’re not meant to rough-up these kids too much because it could lead to bad publicity if word got out, but they can rough them up if they see fit, which is almost always. But as Anais would be the first to tell you, institutional violence against foster kids and runaways is rarely the subject of a news report or an online petition.
One of the more harrowing incidents in the book is about sexual violence and how it plays out on women’s and girls’ bodies as means of communication between men. The Panopticon shows how even the most impoverished and desperate men work around the issues they have with each other and with the system that violates them through the use and abuse of women’s bodies. And so too Anais’ boyfriend in prison, who is deep in debt and tricks Anais into a situation where her body is offered up as repayment. Earlier on, Anais is surprised when she meets a girl in care who’s still a virgin in her teens because she knows that if young girls haven’t already had transactional sex to survive, they would have been raped by any number of men, rich and poor, powerful and powerless, who view their bodies as goods for the taking. The teen girl in care who’s still a virgin is an anomaly. The poorest, youngest, least-defended bodies are handed around, back and forth, and one is reminded of that passage in Virginie Despentes’ King Kong Theory:
I find it strange today, when so many people walk around with tiny computers in their pockets — cameras, phones, personal organisers, iPods — there exists no object at all to slip into your pussy when you go out for a stroll that will rip up the cock of any fucker who sticks it in there. Perhaps it isn’t desirable to make female genitalia inaccessible by force. A woman must remain open, and fearful. Otherwise, how would masculinity define itself?
Because Anais is such a force, it seems as though her voice is enough for The Panopticon, and it is, but it’s also a particular kind of loss that so many of her thoughts remain in her head. When we meet Anais at the beginning of the book, she’s alone in a world that wants nothing to do with her, and when we leave her at the end, she’s still alone in a world that wants nothing to do with her. Although Fagan’s novel is one of the finest I’ve read in a very long time, there is no respite for Anais from an atomized neoliberal existence, no possibility of a different kind of life that doesn’t require a partitioning of the self for mere survival. Anais finds moments of solidarity, even love and friendship, with other kids in her position. But it’s gone in a flash. She then has to move. An isolated existence bereft of attachments is the only mode of survival for a person like her in a world like ours.
October 23, 2013 § 3 Comments
Recently I watched the last two episodes of series one of The Fall and read the last 50 pages of Natsuo Kirino’s Out on the same night, before I went to bed, and predictably stayed wide awake. If in Out the male sadist, torturer and killer of women is identifiable by his pathology, not in some overt way but just in the way he is, so much so that both men and women feel afraid or out of sorts when in his presence, then in The Fall the exact opposite is true—the serial killer of women is practically nondescript, ordinary and regular, a loving father and husband. Along with the many “nice guys who rape” articles that proliferate the internet, or maybe not so much articles as incessant chatter on Twitter and Tumblr, I wonder what it is about this cultural moment that needs to depict the violent man who rapes and kills women as an Ordinary Guy, a Nice Guy even, and what this means. What does it mean when the trend is to focus on the pathological misogyny of ordinary guys? When you look at The Fall, and maybe in some way it’s an answer that’s too big for this question, is that this male character is ordinary in the sense that he’s white and almost inoffensively middle-class, and played by an actor who previously made a living off the images of his beautiful face and beautiful body. In The Fall, however, Jamie Dornan’s attractiveness is made non-descript, almost—yes, inoffensive—nothing of his face and body here is reminiscent of the well-oiled god that Eva Mendes wore as a second skin in the Calvin Klein ads. I mean, it’s the kind of beauty that isn’t terrifying, until it is. In scenes in The Fall we see Dornan’s body, or rather the body of his character, Paul Spector, shaped and transformed into a kind of weapon, how he works out and runs and builds his upper body strength, and what is posited as the current ideal—the long, lean, well-muscled male—is next seen tying women up to their beds and strangling them to death.
How unsettling it is, when you google Jamie Dornan, because you haven’t seen him in anything before, only to realise that you have seen him in those ads with Eva Mendes. And to scrutinise those ads differently, now, to see how both bodies are oiled and glimmering, shining in media-approved perfection, how he holds her wrists down and what’s meant to be erotic play, meant to titillate, takes on a whole new meaning once you realise it’s the same face and body that you’re meant to believe is a serial killer on a TV show, and it all comes full circle, these images of sex and violence and bodies on display; something that’s always lurking beneath these highly stylised images of heterosexual sex or potential sex is the spectre of male violence—
And then keep in mind also that what makes Paul Spector a loving father and husband is exactly what he does without his family’s knowledge—kill women. Being able to kill women without his family’s knowledge—obviously—is what makes him a good father and husband; if he wasn’t killing women would he be like one of the other characters in the show, a working class husband from the wrong side of Belfast who beats and rapes his wife but who doesn’t kill women? So is The Fall trying to tell us that misogyny must have an outlet, and this is how it works?
I’m not sure. It’s a TV show. Maybe The Fall just wants to entertain us.
What’s also important to consider is that even though he is a working father, Paul Spector has the space and time to become a serial killer. Try to imagine a working mother and wife having the time and space to become a serial killer, and you cannot, imagination fails you, WHEN WILL SHE HAVE THE TIME, you think—and you realise the work of the serial killer, in The Fall, is literally made possible by the reproductive labour of the women in his life: his wife (who is also a nurse, a professional caregiver), and the teenage babysitter (who also has a crush on him). So when Paul has spent a whole night killing and is exhausted, forgets to feed the kids breakfast, the wife, returning from a night shift, also exhausted, will feed the kids. Being a parasite, sucking the life out of women, doesn’t exactly rejuvenate Paul, and this comes as a surprise, he has all the time in the world to stalk his prey on the internet, write and draw gruesome things in his journal, quote Nietzsche—but poor guy, being a killer is also exhausting.
I started watching The Fall because GILLIAN ANDERSON AND ARCHIE PANJABI IN A SHOW, TOGETHER. Then I was troubled by this Nice-White-Inoffensive-Middle-Class-Guy-as-Women-Killer trope, because I’m not sure what this trope is doing, what work is it doing, that it wants to present a dangerous violent psychopath as ordinary. Does it want to warn women that all nice guys are potentially harmful? That the harmful guys might also appear nice? That misogyny is banal and it kills? Or is it about how nice-looking white men who may or may not have come from bourgeois propriety but who definitely aspire to it are also kind of bad? Really bad, even? Imagine that. What does this say to women, except to always be afraid and be on guard? So when Gillian Anderson’s character, Stella Gibson, asks Archie Panjabi’s character, Tanya Smith, what she will tell her daughters in order to keep them safe, Smith answers, “Not to talk to strange men,” and Gibson goes, “Strange men?” (as in, presumably, what does that even mean?) and Smith amends her answer: “Not to talk to men.”
Tthere it is: if even someone who walks, talks, and looks like Paul Spector is a killer, then be wary of all men.
So the relief of Natsuo Kirino’s Out is that the killer, Satake, who orgasms while raping a woman he’s simultaneously stabbing, a man who confesses to feeling closest to a woman when he can share her pain, and get inside her, literally, when he sticks his fingers into her wounds—all told in Kirino’s spare, unvarnished prose—a man who achieves pleasure that he cannot even put into words at the precise moment a women is about to die, is presented as not a nice guy, or an ordinary guy, but a marked man, his violence inscribed onto his body and words and mannerisms, so that some women are drawn to his sad eyes and charisma while others are repelled and want only to stay away … there’s some relief there, to know that a violent killer bears some signs of being not-ordinary.
I’m not saying that my sense of relief about this is right, or good; in fact I know it’s dangerous, because killers and rapists don’t come with a warning.
But what about the women who are drawn to Satake? Who don’t heed some form of instinctual warning about his sad eyes that seem to mask something else? There’s no pat answer to these questions in Out and this is what drives me crazy, because when it comes to crimes like these I want someone to hold my hand and fix things and tell me that everything will be all right, somehow, in the end.
Satake meets his match in a woman, Masako, who has never killed anyone before but who has butchered dead human bodies (I would tell you more but this is the plot of the whole novel). The ending in Out is not redemptive, whatever that means, but it does allow possibility for a continued existence for the female character. She’s not snuffed out, or silenced, or reintegrated back into the dominant narrative. At least, not when we leave her at the end of the book.
In the finale of series one of The Fall, when Stella and Paul confront each other, not face-to-face but through the phone, Stella tells Paul some things are rarely uttered in films or movies, like “What you’re doing is plain old misogyny”. Time stops, for a little bit, when she says that, because when was the last time you heard that word on TV, from a woman to a man. And there is something there to the way Stella robs the serial killer’s actions of its mystique and pseudo-philosophical bullshit (does it come as a surprise that the serial killer is a former literature major who still quotes Nietzsche, or more disturbing, are viewers not meant to be surprised that Spector didn’t have an “ordinary” upbringing but grew up instead in various care homes?). Stella robs Paul of his own self-created misogynist spectacle when she cuts short Paul’s prattle about “being really free” (i.e. women-killing as the last frontier!) and tells him that he’s just another guy and reminds him of the banality of his misogyny. She lets the killer know that there’s nothing special about his killing, nothing to inspire a thousand documentaries and pop-sociology crime books, because it is a familiar hate—women already know all about it, so shut the fuck up, Paul.
The Fall is a BBC show so maybe we can’t expect too much. It still individualises Spector’s pathology while throwing words like misogyny around. I mean, we do see it in action but in a particular context: bad German criminals beating up an escort during a night of sex, working class Belfast men beating their wives about. I don’t know very much about Belfast but Spector’s white male ordinariness is a blessing, here, a privilege, yes—he gets to stalk the streets of Belfast at night dressed in a black hoodie and is unnoticed. Nice-looking whiteness does not inspire alarm, as it turns out. As for nice middle-class white men, Paul Spector is the aberration—the worst kind, as it turns out, which is what is troubling about the show. Does it, in the end, make a spectacle of (white) (middle-class) male violence even while trying to portray it as banal, ordinary? In Out, in contrast, misogyny is everywhere—from sons to husbands and police officers and factory supervisors. The only “nice guy” in this story, perhaps, is a migrant worker—who isn’t also entirely free from how misogyny structures the behaviour of men who do not actually hate women; so deprived is he of sexual contact with a woman he thinks it’s okay to stand in the dark and pull a woman close to him, even if he’s not going to hurt her.
Of course, The Fall is a cop show. Justice is meted out via a very compelling feminist female police woman with great hair and silky blouses who eats cheeseburgers while drinking red wine and has sex with whoever, whenever, and is also kick ass. The character is a liberal feminist dream in one sense, with echoes of governance feminism—the only kind we get in law and order shows. In contrast, in Out, the female characters, whether they exact vengeance or not, are not a part of the brutal police machinery and legal system; they are always the victims of it, and Out never lets you forget this.
But what does it also mean for our cultural moment, fascinated as it is with the nice guy as rapist and killer, that the same face that plays a killer also sells you (or used to sell you) brand names and fashion, a face meant to incite both pleasure and consumption? One face indistinguishable for another; the same face but different, the same body, positioned and conveyed in another manner.
Who or what is the nice or the ordinary guy?
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?