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McGarry’s traces the history of 19th-century Spiritualism in the U.S. and ways by which Spiritualists affected change in the political, social, and cultural realm.  I will be closely examining McGarry’s research on child (and particularly female children) mediums, and their susceptibility for taking on the role of communicating with ghosts and spirits.  In particular, I will be analyzing Denver (from Morrison’s Beloved) as a medium through the lens of McGarry’s description of child mediums.  I am especially interested in the dichotomy that Spiritualists present in their identification of piety, passivity, and innocence as well as the sexualization of mediums.       

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Beloved will serve as the main primary text that I will examine for this project.  Specifically, I will be investigating ways in which Denver gains and exhibits agency through her role as a child medium.  Although Denver is an 18-year-old woman, she is described as “round and brown with the face of an alert doll,” (13) and cries like a young child, shedding tears that wet “her far too womanly breasts” (17).  Denver displays characteristics that are reminiscent of those that McGarry and Weisberg describe as common in young Spiritualist mediums—innocence, passivity, susceptibility.  She is unable to control much of her environment for most of her life and demonstrates the greatest level of subjectivity when bringing insight to others’ understanding of Beloved as the spirit and as the reincarnated physical being.  I will also be exploring ways in which Beloved exerts agency through sexuality, especially as a means of enacting vengeance. 

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Kincaid refers to Foucault’s idea that the Victorian efforts to prevent children from having any sexuality actually introduced to children the concept that their bodies and sexuality were something to be concerned about and therefore reinforced sexualization in children (174).  Kincaid then suggests that in these attempts to keep children pure, they occupy a state of hollowness that leaves them vulnerable to being filled with something, namely desire (175).  In relation to Beloved and mediumship, I would extend Kincaid’s argument to say that Sethe’s attempts to shelter Denver ultimately allow Denver to be an empty vessel that attracts desire, Beloved’s existence, and sexuality.  Likewise, Sethe’s efforts to reconcile with her murdered baby and desire to impose an eternal innocence on Beloved lead to her reincarnated daughter’s sexualization.

\n

     

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Through \"Factualizing the Tattoo: Actualizing Personal History Through Memory in Christopher Nolan’s Memento\" Williams argues how Nolan's flaw lies in \"his choice to make \"fact\" somehow mean the same thing as representation through the inscription of \"facts\" on the flesh.\" (29) He states: \"While a tattoo may seem permanent and stable due to the difficulty one has in removing it, and, while the tattoo seems to be given a greater essentialism since it exists as a part of the body, it is merely a sign.\" (35)

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Cathy Caruth proposes that in the \"widespread and bewildering experience of trauma in our century-both in its occurence and in our attempt to understand it-we can recognize the possibility of a history no longer based on simple models of straightforward experience and reference.\" Through the notion of trauma, she contends, \"we come to a new understanding that permits history to arise where immediate understanding is impossible.\"

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In this book, Caruth says that she \"explores the ways in which texts of a certain period - the texts of psychoanalysis, of literature, and of literary theory - both speak about and speak through the profound story of traumatic experience. I explore the complex ways both knowing and not knowing are entangled in the language of trauma and in the stories associated with it.\"

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Clarke aims to question what is “normal” in Nolan’s ‘Memento’ by defining the importance of memory and its role in the film. She considers the question of universal truth and verifiability. She states that “What Memento shows, along with everything that the discussion of actual and virtual and the shifting reality of the past and the present implies, is precisely that reality and truth are the very complex results of shifting, multiply variant possible connections between the present and the sheets of past.” (180) Moreover, depending on which past layer is subtending the present or actualized in the present, the present truth will vary. She states \"'Memento' shows that the past, while it may 'be' and have a virtual reality, is not a firm reliable source of determinate information with or without memory.\"

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Little in \"Surviving Memento\" examines the film's approximation to human memory in states of trauma. He sates how \"Lenny's use of objects to construct a map of his former life.\"  For this he draws on Susan Stewart's theories \"on the nature of souvenirs as compensation for an existence disengaged from the sense of a real world.\"

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Lear in \"Happiness, Death, and the Remainder of Life\" writes about a group of people who have strong impulses to escape into fantasy, and to seek something beyond our lived experience that provide meaning and satisfaction, instead of facing limits and finitude. He goes on to state \"This theory of the psyche frames the denial of vulnerability as both wide and deep: wide in the sense that all people have difficulty facing vulnerability, and deep in that much denial is unconscious, so that developing the right intellectual outlook is only only one step.\"

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Gargett, in his paper \"Nolan's Memento, Memory, and Recognition,\" analyses Christopher Nolan's film Memento. Gargett employs Deleuzian film theory in a general consideration of the relationship between thought and film. Gargett proposes that \"'Memento' acts as a type of intellectual stimulant that has the viewer deciphering a puzzle in process: what is identified in Memento is the way in which memory and the work of memory are presented in the film's narrative construct.\" In his analysis Gargett argues that \"memory is not added on; rather, it is already present, and that the Deleuzian abstract quality does not lie in the negative relation to representation, externality, and figure. And it is there in the way memory is present: abstraction is not present simply because memory lacks a given determination, and thus all that is apparent in the film is memory in the abstract.\"

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Bennet's unique approach to Velvet Goldmine explores how the embarrassment often associated with fandom produces a queer, shame-saturated, performative identity.  Bennet reads Velvet Goldmine as an example of and meditation on the ways fandom functions as self-fashioning.  In this equation, shame, exemplified in the film by Arthur -- who experiences shame as a youth and as an adult in relation to the promises of fandom as well as its failures -- queers the link between self and celebrity as celebration becomes taboo. Yet, that pain also works to fuel a kind of self-emblazoning expressed in the mimicry of an idol.  Fandom is less a subjection of ones self to another, than a queer reading practice written on the body.     

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Bennet's emphasis on reading practices seems a useful corollary to the queer biopic, as it embraces forms of historiographic embodiment and transformation that don't easily fit into a sequentialized, future-driven life-narrative.  

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Bingham's book length study of the biopic draws from a huge selection of historical and contemporary films to establish the aesthetics and conventions of the Hollywood biopic as a major genre.  Taking on an admittedly maligned genre, Bingham tries to direct the biopic toward particular examples that use individual history to generate collective history, often merging the political and the person in a narrative that speaks to collective experience through a particular figure.  This approach redirects the question of the biopic from \"is it accurate?\" to \"is it effective?\"  Bingham argues discrepancies between narrated lives and their historical referents provide temporal gaps for collective fantasy.  Whose Lives are They Anyway is one of very few texts I've uncovered that reads Haynes' two explicit biopics Superstar (1987) and I'm Not There (2007) in genre, taking their wildly non-traditional approach to historical personhood and embodiment as mutations of a popular cinematic form, as opposed to commentaries on history and its representation at large.  

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Like Rhodes' reading of AIDS in Safe, Davis asserts that presence in Velvet Goldmine is always elsewhere, staged in proximity to other bodies and other desires.  The film's understanding of historical presence as circular emerges as a result of Haynes' willful merging of memory and fantasy, as well as past and possibility.  However, for Davis, Velvet Goldmine's associative, temporal loops enact a revitalization of the absences of queer politics and queer lives that \"affirm that the people really are here, and were here all along, merely awaiting the forms and conditions under which they may at long last be known and constituted\" (98).  Davis demonstrates that reparative strategies need not be outwardly affirming of contemporaneous, sovereign presence, that, in fact, working through historical absence can supply a form of identification or alliance productively unbound to a politics of presence.    

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Todd Haynes' Safe (1995) is a 1987 period-film framing the narrative of a young housewife (Julianne Moore) who develops multiple health problems of indeterminate origin:  the film implies that they may be psychic, social, biological, environmental, all of these, or something more phantasmatic outside of the frame.  Rhodes' essay attempts to conjure that \"outside\" by reading the film as an allegory for the AIDS epidemic, a not-so-historical ghost circulating throughout the images and environments of Safe, without actively pronouncing its name.  Providing a brief history of the AIDS epidemic as well as elaborating a theory of allusion as allegory, Rhodes understands the absence of AIDS in Safe as precisely its allegorical mode since \"not speaking the disease is perhaps one of the greatest tropes of the historical experience of the disease in the 1980's.\"  Rhodes argues that Safe enacts a cinematic strategy for picturing the impossibility of picturing a just representation of human suffering. 

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Although I'm focusing on Velvet Goldmine, Rhodes' analysis of Safe is important in developing what is commonly understood as a dialectic of absence and presence in Haynes' film, particularly in his representation of trauma as temporally fluid, moving through historical period and individual lives performatively, never fully in the past and never fully present.

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Fick’s article focuses on readings of authentic ghost stories by 19th century American writers, starting with the moment in Uncle Tom’s Cabin that Harriet Beecher Stowe calls “An Authentic Ghost Story.”  He cites and builds upon Ann Braude’s claims that women achieved a place in the public place through the use of ghost stories and that the characteristics of the ghosts in these stories allowed women to “claim a space for action” (83). He argues that the authentic ghost stories during this time period enabled clashes between “public and private, bodily force and disembodied domesticity, self-assertion and victimization” (84).  In a number of examples, the ghosts Fick calls upon are acting within the body of another woman or are pretending to be ghosts. This paper considers how aspects of the ghost or haunting relate to a kind of agency and desire and the way the body gives authenticity to the presence of the ghost.

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Gayatri Spivak’s famous essay touches upon the political side of my project. Like Benedict Anderson, Spivak writes from a postcolonial point of view, but I think that her primary question, can the subaltern speak, can be applied to national monuments and the ghosts that they entrap. Spivak’s discussion of the historiography of the subaltern also helps me think through the necessary questions to liberating the ghost from their petrifaction. When Spivak examines the Indian project to rewrite “the development of the consciousness of the Indian nation,” she goes onto say that, “It is the slippage from rendering visible the mechanism to rendering the individual, both avoiding ‘any kind of analysis of [the subject] whether psychological, psychoanalytical or linguistic,’ that is consistently troublesome” (27-28). Is this avoidance intentional? Does revision insist on being called correction? This stepping back from the individuality of the colonial subject, either as a result of a desire for an authentic narrative that merits the same or equal validity as the imperial narrative or as a result of imitation of the imperial narrative, also represents an analogue to the project of a national archive because of separation of the subject from its memorial. And yet, this appears to be the only way that the subject can be remembered.

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Although I am interested in the shadowy presences of the lesbian and the pedophile in Barrie’s Peter Pan, both nonnormative figures rely on Barrie’s portrayal of children. I will draw on Kathryn Bond Stockton’s theory of the ghostly child to examine how growing up is figured in Peter Pan and what kind of relationships occur when these ghostly children grow sideways. Stockton argues that the identity of the child is a deferral, something Peter would certainly understand. Peter refuses to grow up and thus cannot look back and construct himself as a child. Instead, he embodies the ghostliness of childhood for others. Like a ghost, his presence is always accompanied by a strange temporal confusion. Like a ghost, he operates between worlds, flies around, and serves as a repository of memories, though he is also sometimes annoyingly, sometimes charmingly forgetful. Although he and Hook are both afraid of aging, only Hook is truly afraid of death: Peter was perhaps even more optomistic about death than the Spiritualists, and frames death as \"an awfully big adventure.\" Peter's innocence queers him further. In her book, Stockton critiques the notion of childhood innocence, not by dismissing it but by arguing that such innocence queers the child. Peter’s inability to distinguish between a kiss and a thimble exemplifies this argument. However, I don’t want to apply Stockton to Peter Pan, though I do think they fit together in surprising ways, from the violence of the Lost Boys to Nana as Wendy’s “interval of an animal.” Instead, I want to look at Peter as suffering from a similar kind of temporal queerness as the proto-gay adult -- an arrested development. Except Peter doesn’t suffer: he celebrates his deferral. As I look more closely at Peter Pan, Stockton’s theories will be invaluable for theorizing the child as queer and the ways in which Peter haunts as a child-lesbian figure, as a violent child, as a threat to heteronormative narratives, and provides models for sideways relations.

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Allison Kavey’s essay is in dialogue with Stacy Wolf’s “‘Never Gonna Be a Man/Catch Me If You Can/ I Won’t Grow Up’: A Lesbian Account of Mary Martin as Peter Pan.” Both scholars attend to the lesbian ghost that haunts Peter Pan’s production history. Where Wolf focuses specifically on the Mary Martin’s performance in the Broadway production, Kavey attends to the play in both England and America, specifically charting the prominent female actresses who played and shaped the role of Peter Pan through the 20th century. J. M. Barrie collaborated with his female leads and each woman shaped Peter in her likeness. Although Kavey’s thorough explanation of the historical context in which the plays were continuously altered is useful to me, what interests me most about her essay is her description of the two most famous Peter Pan actresses in the United States productions, Maude Adams and Eva La Gallienne, and how these two women exemplify Peter Pan’s wide range of normativity. Peter Pan premiered in the U.S. in 1905 and Adams played the lead. Peter Pan was a huge success in the U.S. in part because of Adams’ star power and her “safe and sexless” (127) portrayal of Peter, a choice that was representative of the play itself. In the U.S. productions, Neverland became the New World, “Peter and his allies... fought against the tyranny of a fallen despot, rejecting the corruption of an older European world order. Instead of raising the Union Jack after defeating Hook, the American cast raised the Stars and Stripes” (118-9). Thus, Peter Pan was successfully folded into the American national narrative. This revamped, hypernormative American version of the play and Adams’ role in it protected her from accusations of same-sex affairs that surfaced in the press.

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As Kavey points out, even in the most benign version of the production could not get out from under the shadow of the lesbian. Eva La Gallienne played Peter from 1928-32 in the theater she owned and managed. She was much more public about her lesbianism than Adams was and even casted her partner of six years as Wendy. La Gallienne’s Peter was far more daring, political, and defiant than her predecessors. While Wolf’s exploration of Mary Martin’s performance as lesbian has much more to do with a queer performativity and not with Mary Martin’s sexual orientation, here, Kavey’s project is to recover the female-bodied, queer and/or lesbian figures that shaped Peter Pan and to make it nearly impossible to divorce the history and experience of the play from what Kavey calls the “shadow of a girl.”

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In her 1997 essay, Stacy Wolf “seeks to reconcile desire and/in representation by reading the body and voice of one of Broadway’s biggest musical stars who played the boy who wouldn’t grow up, as a ‘lesbian’” (493). Wolf struggles through her essay to balance reading the queerness of the production and resisting the temptation to capture the lesbian through stereotyping and other forms of essentialization. Her methodology helps her tow this line: she argues for a “spectatorial/auditorial ‘lesbian’ position” that emphasizes identity as performative (494). She focuses on Mary Martin’s performance, specifically Martin's appearance, physical behavior, voice tonality, and her various relationships with other characters that, Wolf argues, further queer her portrayal of the boy who never grows up. Because Wolf’s project tries to locate the lesbian not as an identity but as an elusive “modality of pleasure” read on and between bodies, it is unsurprising that Wolf frequently quotes Terry Castle’s Apparitional Lesbian as she tries to read Peter as a ghostly lesbian. Through close readings, Wolf’s project charts what is not quite there yet has a sensuous body that signifies in in-between spaces.

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Wolf argues that Martin has what Elizabeth Wood calls a “Sapphonic voice,” one which allows the singer to “sonically cross-dress” by “traverse[ing] a range of sonic possibilities and overthrow[ing] sonic boundaries” (qtd in Wolf 502). Martin sings across her break, or the notes, Wolf explains, “where a singer must switch between her chest and her head voice” (501), demonstrating a vocal gender ambiguity. In addition to reading Martin’s Sapphonic voice and her tomboyish physical appearance and behavior, Wolf reads two scenes from the play. The first involves Martin playing a boy who is playing “a lovely lady” in order to taunt Captain Hook, who is performed as a campy, stereotypically gay male. Then Wolf reads this scene against Wendy’s romantic affections for Peter that become clear when they play \"house.\" Martin plays a maternal boy when she brings the Lost Boys to her taller body that must curve over them, the boy cross-dressing as a woman to flirt with a flamboyant Captain Hook, and a femme-tomboy father and son to Wendy. Although Wolf must rely on stereotypes to read the ways Martin’s performance signifies as lesbian, her focus on the performative helps her navigate these stereotypes as experiences of the spectator in Martin’s historical context rather than as reinforced by Martin’s version of Peter.  

", "tags": [], "relations": {}, "dateAdded": "2012-04-22T23:07:13Z", "dateModified": "2012-04-23T04:02:09Z" } } ]