The Queer Psychoanalysis Society

Posts Tagged ‘Sedgwick’

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The Mother as The Child’s First Bully

In Uncategorized on February 13, 2013 at 8:20 pm
Marx Ernst, 'La Vierge corrigeant l'Enfant Jésus devant trois témoins: André Breton, Paul Eluard et le peintre,' 1926

Marx Ernst, La Vierge corrigeant l’Enfant Jésus devant trois témoins: André Breton, Paul Eluard et le peintre, 1926

by Diego Costa

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When my sister got pregnant with her first child and was able to see what sex it was going to be assigned (that irreparable death sentence that the ultrasound enacts), she immediately knew what she would name him: Gael. She associated the name with the devil-may-care coolness of harmonica-playing boys who manage to be tough and sweet, masculine and sensitive. Mexican actor Gael Garcia Bernal served as the perfect manifestation for the kind of boy she hoped her son would be. He was intellectual without being arrogant, manly without being brutish. Unfortunately, as she spread the name choice to everyone around her, strangers were taken aback by Gael. Doesn’t it sound like gal? Or even…gay? From Facebook comments to random women getting their manis and pedis at her local salon, folks went on about how strange, and literally queer, Gael sounded. My sister was thus bullied into re-thinking the naming of her son in order to avoid that this child who hadn’t even been born yet would be bullied because of his unconventional name. Pre-natal bullying, you may call it. He was being bullied as he was being gendered. He was being bullied into gender.

My sister decided to give up on Gael and re-name him something more normativity-friendly. For ethical reasons, I won’t say which name, but the point is that little does it matter. While Gael marks difference and rupture, Brian, Michael, or Ben offers continuity and maintenance. They leave things as they are, granting us the same cozy illusion of inevitability that the direct relationship between genitals and gender that we insist on can offer us. As the-child-formerly-known-as-Gael became, say, Ben, I can’t help but think of it as his first major castration episode. The first of a series of regulatory events that will certainly come in due time to keep him in line, to think twice before daring to venture outside the prescribed path of sameness under the “law.” Before language, before catching sight of the (“lack of”) female genitals, before letting out a cry– he has been silenced. Some fundamental protuberance that may have grown out of his singularity has been smoothed over, patched up like an irksome porthole (don’t holes tend to elicit so much anxiety?) out of which something disturbing is sure to emerge. An openness has been sealed, something has been maimed.

The Mother’s first encounter with the normativity-demanding Other could have become the stage for a symbolic intervention on her part. She could have staked a claim, she could have denied the Other’s entrance, she could have preserved the naming of her child as an intimacy between parent and child, without chiseling the baby into one that fits comfortably (for a price) in the world. Instead, she allowed her position of power, the unparalleled power of naming (and a quite violent one as is), to be contaminated by the anti-queer pre-natal police, transforming her motherhood into a function of the hetero-normative State. Here the Mother becomes not only an agent of bullying under the guise of preventing bullying, but a depersonalized baby-making machine in the service of a utopian hygenized society that is queerness-free. A society that is queer-free before queerness can even begin to manifest itself before our eyes. Like Down syndrome fetuses, which thanks to cutting edge technology, can now be spared from their birth so that we can be spared from their sight.

This has nothing to do with mothers individually or my sister’s excellence or lack thereof as a mother. I admire her as a person in the world and do not doubt her maternal love. This has to do with the Mother as function, the position of the Mother and the labor she is asked to do within the gendering economy. Under the spell of the hetero-normativity promises of an unscathed member of society, the Mother with a capital M is ironically the first to injure her baby by giving it up on a properly labeled platter to those who will actually decide if we will keep him or chuck him. Wasn’t it Eve Sedgwick who claimed that in our society the good homosexual was either the masculine homosexual or the dead one?  In order to assuage anxieties about an imagined future violence enacted by others, the Mother ironically wounds the child preemptively, robbing him of the opportunity to begin life from an authentic position. She teaches him how to lay low and pass before he gets a chance to gage his attraction to whatever it is he is passing for.

French essayist Roland Jacquard once said that bringing a child into the world is already abusing him. American culture does an excellent job bringing the violence of bullying to the headlines in a kind of masturbatory panic. It interpelates its celebrities to plead for tolerance, it creates task forces, it broadcasts TV specials, it puts bullying on display to be spoken about, judged and condemned ad nauseam. It’s like it brings us the sadistic high that the act of bullying begets but in a roundabout way that relieves us from the guilt. Yet, America administers this enjoyment mostly through finding bounded human entities to blame for it — which is the same strategy any kind of panic, fueled by claims of tolerance or hatred, tends to follow (the slut, the Jew, the black man, the homosexual, the illegal immigrant, the sex predator, the barebacker, take your pick). Someone is to blame, which leaves the social and symbolic structures (of which we are authors) conveniently unexamined. Read the rest of this entry »

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From the Same Source as Her Power: A Threnody for Adrienne Rich

In Foucault, LGBT, Literature, Poetry, Queer Theory on April 23, 2012 at 10:57 am

by Chase Dimock

(This article originally appeared on As It Ought To Be)

How do we account for and preserve a writer’s power after she dies? At the Bibliothèque Nationale in Paris, any researcher who wants to access the lab books and notes of the legendary scientist Marie Curie must first sign a waiver acknowledging the danger of leafing through her papers. Over a hundred years after Curie’s discovery of radium and polonium, her lab book is still radioactive enough to set off a Geiger counter. Perhaps this is why when I heard of Adrienne Rich’s passing last month, I immediately thought of her 1974 poem “Power” about Marie Curie. Just as Curie’s words literally radiate from her pages with the physical properties of the power that she discovered, so too does Rich’s six decades of poetry continue to empower the reader with her social critique and introspection.

The Poetical is the Political

In the past few weeks, several obituaries and memorials have been written to commemorate the life of Adrienne Rich after she passed away from rheumatoid arthritis at age 82. In every remembrance, Rich’s status as a “feminist poet” comes to the forefront and in the process of assembling a biography, the age-old rift between politics and poetics, art for art’s sake versus art for raising social consciousness, is still being waged over Rich’s death. Most of Rich’s critics and detractors over the course of her career dismissed her work as overly polemical, accusing her of sacrificing poetics for politics, as if these are somehow mutually exclusive entities. As Rich herself once said, “One man said my politics trivialized my poetry…. I don’t think politics is trivial — it’s not trivial for me. And what is this thing called literature? It’s writing. It’s writing by all kinds of people. Including me.” For Rich and other feminists who came of age under the belief that “the personal is the political”, it was impossible for the deep introspection of poetry to not find the political oppression of gender and sexual non-conformists as inextricably determinative of one’s psyche and soul.  Rather, Rich would contend that to believe poetry could be written outside of the political is to naturalize one’s worldview and political privilege. Being “apolitical” is the privilege of those who have power.

The poetical is the political, but according to Rich, the poetical needed protection from the political. In 1997, Rich refused the National Medal for the Arts as a protest against the House of Representatives’ vote to end the National Endowment for the Arts. She argued that ”the very meaning of art, as I understand it, is incompatible with the cynical politics of this administration,” adding that art ”means nothing if it simply decorates the dinner-table of power which holds it hostage.” While Rich believed in poetry’s ability to illuminate the political, she was unwilling to allow politics to use her poetry as a token gesture to feign interest in women’s issues while camouflaging the growing disparity of power in the nation and the fact that, as Rich put it, “democracy in this country has been in decline”.

Rich did write political essays as well, including the seminal “Compulsory Heterosexuality and Lesbian Experience” in 1980, which predicted the anti-normative analysis of queer theory that would be pioneered by Judith Butler and Eve Sedgwick a decade later. Her essay identified the power of heterosexuality in our culture to define and naturalize standards for acceptable social and sexual practices and to marginalize and pathologize those who did not comply. She contended that this power not only harmed lesbians, but all women because it reinforced a sex-segregated delegation of social obligations that denigrated the power of women to pursue their own desires. Rich declared that all women should think of themselves as part of a “lesbian continuum”, which valorizes all same-sex bonds from the platonic to the erotic in order to create new practices and knowledges outside the constraints of patriarchy. It is in this respect that I understand Adrienne Rich’s power to be more than being a poet: she was a theorist on the very nature of power itself, scribing in verse and lyric what Michel Foucault wrote in volumes of philosophy.

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