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Three Aperçus: On DEADPOOL (2016), David Foster Wallace, and Beauty
by Joseph Suglia
Deadpool (2016) is capitalism with a smirking face.
David Foster Wallace was not even a bad writer.
Beauty is the one sin that the Average American of today cannot forgive.
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An Analysis of My Struggle (Min Kamp): Volume Two (Karl Ove Knausgaard)
by Dr. Joseph Suglia
“The artist is the creator of beautiful things. To reveal art and conceal the artist is art’s only aim.”
–Oscar Wilde, Preface, The Picture of Dorian Gray
“Woo. I don’t know how to sum it up / ’cause words ain’t good enough, ow.”
–One Direction, “Better Than Words”
If I could accomplish one thing in my life, it would be to prevent people from comparing the Scandinavian hack Karl Ove Knausgaard with Marcel Proust. Knausgaard does not have a fingernail of Proust’s genius. Comparing Knausgaard to Proust is like comparing John Green to Proust. Those who have actually read À la recherche du temps perdu know that Proust’s great novel is not the direct presentation of its author, a self-disclosure without literary artifice. Those who compare Knausgaard to Proust have never read Proust and have no knowledge of Proust beyond the keyword “madeleine.”
Knausgaard calls his logorrheic autobiography, My Struggle (Min Kamp), a “novel,” but in what sense is it a novel? It is completely devoid of novelistic properties. There is not a single metaphor in the text, as far as I can tell, and the extended metaphor (perhaps even the pataphor?) is one of Proust’s most salient literary characteristics.
The first volume dealt with Knausgaard’s unimportant childhood; Volume Two concerns the middle of the author’s life, his present. He is now in his forties and has a wife and three children. He spends his time, and wastes our own, recounting trivialities, stupidities, and banalities. All of the pomposities are trivialities. All of the profundities are stupidities. All of the epiphanies are banalities.
For most of this review, I will refer to Karl Ove Knausgaard as “Jesus,” since he resembles a cigarette-smoking Jesus on the cover of the English translation of the second volume.
We learn that Jesus dislikes holidays. We learn that raising children is difficult. Jesus takes his children to a McDonald’s and then to the Liseberg Amusement Park. In the evening, Jesus, his wife, and his daughter attend a party. Jesus thanks the hostess, Stella, for inviting them to her party. His daughter forgets her shoes. Jesus gets the shoes. He sees an old woman staring through the window of a Subway.
Jesus smokes a cigarette on the east-facing balcony of his home and is fascinated by the “orangey red” [65] of the brick houses below: “The orangey red of the bricks!” He drinks a Coke Light: “The cap was off and the Coke was flat, so the taste of the somewhat bitter sweetener, which was generally lost in the effervescence of the carbonic acid, was all too evident” [66]. He reads better books than the one that we are reading (The Brothers Karamazov and Demons by Dostoevsky) and tells us that he never thinks while he reads. For some reason, this does not surprise me.
Jesus attends a Rhythm Time class (I have no idea what this is) and meets a woman for whom he has an erection.
Jesus’s daughter points her finger at a dog. “Yes, look, a dog,” Jesus says [80].
Jesus assembles a diaper-changing table that he bought at IKEA. The noise irritates his Russian neighbor. He cleans his apartment, goes shopping, irons a big white tablecloth, polishes silverware and candlesticks, folds napkins, and places bowls of fruit on the dining-room table.
In the café of an art gallery, Jesus orders lamb meatballs and chicken salad. He informs us that he is unqualified to judge the work of Andy Warhol. I agree with the author’s self-assessment. He cuts up the meatballs and places the portions in front of his daughter. She tries to brush them away with a sweep of her arm.
Almost ninety pages later, Jesus is in a restaurant eating a dark heap of meatballs beside bright green mushy peas and red lingonberry sauce, all of which are drowning in a swamp of thick cream sauce. “The potatoes,” Jesus notifies us, “were served in a separate dish” [478].
(Parenthetical remark: “[A] swamp of thick cream sauce” is my phrasing, not Knausgaard’s. Again, Knausgaard avoids metaphorics.)
Upstairs in the kitchen of his apartment, Jesus makes chicken salad, slices some bread, and sets the dinner table while his daughter bangs small wooden balls with a mallet. And so forth and so on for 592 pages of squalid prose.
Never before has a writer written so much and said so little. The music of ABBA is richer in meaning.
Interspersed throughout the text are muddleheaded reflections on What It Means To Be Human. We learn (quelle surprise!) that Knausgaard is a logophobe, “one who fears language”:
Misology, the distrust of words, as was the case with Pyrrho, pyrrhomania; was that a way to go for a writer? Everything that can be said with words can be contradicted with words, so what’s the point of dissertations, novels, literature? Or put another way: whatever we say is true we can also always say is untrue. It is a zero point and the place from which the zero value begins to spread [here, Knausgaard seems to be channeling Ronald Barthes]. However, it is not a dead point, not for literature either, for literature is not just words, literature is what words evoke in the reader. It is this transcendence that validates literature, not the formal transcendence in itself, as many believe. Paul Celan’s mysterious, cipher-like language has nothing to do with inaccessibility or closedness, quite the contrary, it is about opening up what language normally does not have access to but that we still, somewhere deep inside us, know or recognize, or if we don’t, allows us to discover. Paul Celan’s words cannot be contradicted with words. What they possess cannot be transformed either, the word only exists there, and in each and every single person who absorbs it.
The fact that paintings and, to some extent, photographs were so important for me had something to do with this. They contained no words, no concepts, and when I looked at them what I experienced, what made them so important, was also nonconceptual. There was something stupid in this, an area that was completely devoid of intelligence, which I had difficulty acknowledging or accepting, yet which perhaps was the most important single element of what I wanted to do [129-130].
The only value of literature, then, according to Knausgaard, resides not in words, but in the transcendence from words. Literature is not composed of letters, for Knausgaard; literature is the feelings and the impressions summoned forth within the reader. After all, any idiot can have feelings. Very few people can write well.
It is clear that Knausgaard, then, does not think very much of literature. He is much more interested in LIFE. Everyone alive has life. Yes, palpitant life–throbbing, living life. Life is the most general of generalities, but talent is much rarer, to channel Martin Amis.
This might be the reason that Knausgaard dislikes Rimbaud’s verse, but is interested in Rimbaud’s life.
“Fictional writing has no value” [562] for Knausgaard. After all, fiction is distant from life, isn’t it? This Thought is at least as old as Plato. Knausgaard is unaware that fiction is, paradoxically, more honest than autobiographical writing. Autobiographical writing is fiction that cannot speak its own name, fiction that pretends to be something more “real” than fiction.
(Parenthetically: Despite what Knausgaard tells you, Pyrrho did not practice misology. He affirmed the uncertainty of things. Following Pyrrho: One can never say, “It happened” with certainty; one can only say, with certainty, that “it might have happened.”)
Hater of words, enemy of literature: Such is Knausgaard. He despises language, presumably because he does not know how to write. What is one to say of a writer who hates writing so much? One thing ought to be said about him: He is alarmingly typical.
Knausgaard is at home in a culture of transparency, in a culture in which almost everyone seems to lack embarrassability. Almost no one seems embarrassed anymore. People go out of their way to reveal everything about themselves on social-networking sites. Average people reveal every detail of their lives to strangers. The Fourth Amendment to the United States Constitution is violated, and almost no one seems to care. We live in a culture in which our privacy is infringed upon countless times every day, and where is the outrage? Those who are private–or who believe in the right to privacy–are regarded with malicious suspicion. Seen from this cultural perspective, the success of My Struggle should come as no surprise. An autobiography in which the writer reveals everything about himself will be celebrated by a culture in which nearly everyone reveals everything to everyone.
Art is not autobiography. As Oscar Wilde declared in the preface to his only novel, the purpose of art is to conceal the artist. Literature is not auto-bio-graphy, the presentation of the self that lives, the “writing of the living self.” It is, rather, auto-thanato-graphy, the writing of the self that dies in order for art to be born.
Joseph Suglia
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Corregidora / Corrigenda
by Joseph Suglia
A typical response to genocide is the injunction to remember. All of us have heard the words “Never forget!” in reference to the Shoah. Most are familiar with Kristallnacht, with the Names Project, also known as “the AIDS Quilt.” The March for Humanity memorializes the mass-murder of Armenians by Ottoman Turks. Every year, at this time in April, the Rwandan government urges its citizens to kwibuka—the Rwandan word for “to remember.” To kwibuka, to remember the countless Tutsis who were slaughtered in the massacre of 1994.
But how should one respond when genocide is misremembered? Is the misremembrance of genocide superior to the forgetting of genocide?
Which is worse, distortion or oblivion?
Is it worse to minimize, for example, the number of Armenians who were killed at the beginning of the twentieth century, or to forget that the genocide of Armenians ever occurred?
The most dominant medium of the twentieth century was the cinema, and the cinema still has the power to shape, and to misshape, collective memory.
Over the past seven years, a talentless hack filmmaker named Quentin Tarantino has manufactured films that I would not hesitate to describe as “genocide pornography.” That is to say, these are films that would turn genocide into an object of consumption, an object of enjoyment. These are also films that disfigure historical consciousness.
Thanks to Quentin Tarantino, the succeeding generation might believe that the Jews defeated the Nazis. Thanks to Quentin Tarantino, they might believe that Hitler was assassinated. They might believe that, in general, African slaves rose up and overcame their enslavers. They might believe that every African slave in antebellum America was a free agent. Not an insurrectionist like Nat Turner, but an action figure like Django.
But what if misremembrance were not a disfiguration or a distortion of memory? What if misremembrance plays a constitutive and formative role in memory itself?
Freudian psychoanalysis has something to say about the interpenetration of remembrance and misremembrance.
At the earliest stage of his career, between the years 1895 and 1897, Freud formulated what is called “seduction theory.” Seduction theory is based on the idea that sexual trauma is pathogenic—that is, that sexual abuse produces neuroses.
Freud rejected seduction theory in 1897, but this does not mean that he silenced the voices of abused children. From the beginning of his career until its end, Freud never ceased to emphasize that sexual trauma has pathological effects.
Why did Freud reject seduction theory? Because it was too linear, too simple, because it did not take into consideration the supremacy of the unconscious.
The memory of sexual trauma, Freud recognized, might be repressed, sublimated, externalized, transferred, reintrojected, reimagined, or fictionalized.
This does not mean that when children claim that they have been sexually abused, they are lying. It means, rather, that experiences of abuse pass through the imagination and the imagination passes through the unconscious. Seduction theory did not take the imagination—die Phantasie—into account and therefore had to be abandoned.
The unconscious, as Freud wrote to Wilhelm Fleiss, does not distinguish between fact and fantasy.
It is difficult for a victim of abuse to acknowledge his or her trauma directly, and Freud knew this. Sexual trauma, after it occurs, does not manifest itself directly or immediately, but epiphenomenally—that is to say, symptomatically. It shows itself in disguise. It dramatizes itself. It retraumatizes. It might be phantasmatically reconstituted.
From the Freudian standpoint, remembrance and misremembrance are not mutually exclusive.
There is a third form of misremembrance that I would like to pause over. It is the kind of anamnesis or déjà vu when an individual recollects not her own individual history, but the history of past generations, the history of her ancestors. Cultural memory, seen from this perspective, would be a form of misremembrance.
Such misremembrance could only be figured in art.
The literature of Gayl Jones reminds us that the remembrance of personal trauma always contains a cultural dimension, that all memory is misremembrance.
The past that you have experienced is not the past that you remember.
When I first heard the title of Jones’s first novel — Corregidora (published in 1975) — I thought it was “corrigenda.”
Corrigenda: a list of errors in a published manuscript.
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At the novel’s opening, lounge singer Ursa Corregidora is shoved down a staircase by her husband, Mutt — a catastrophic blow that results in her infertility. After she renounces her husband, Ursa enters into a relationship with Tadpole, the owner of the Happy Café, the bar at which she performs. Like all of her significant relationships with men, this second relationship proves disastrous and is doomed to failure.
Every man in the novel, without exception, sees Ursa as a “hole” — that is, as a beguiling and visually appealing receptacle to be penetrated. The narrative suggests this on the figural level. A talented novelist, Jones weaves images of orifices throughout her text — tunnels that swallow and tighten around trains, lamellae such as nostrils, mouths, wounds, etc. Although one of Ursa’s “holes” is barren, another “hole” is bountifully “prosperous” — her mouth, from which the “blues” issue. A movement of sonic exteriorization corresponds to a counter-movement of physiological interiorization.
It is easy to be trapped by these more immediate, socio-sexual dimensions of the narrative. Corregidora might seem, prima facie, to be nothing more than another novel about a woman imprisoned in abusive and sadistic relationships with appropriative men. But the meanings of Corregidora are far more profound than this. A “transcendental” framework envelops the immediate narrative and casts it in relief, thereby enhancing its significance. We learn that Ursa is the great-granddaughter of Portuguese slave-trader and procurer Corregidora, who sired both Ursa’s mother and grandmother. Throughout the course of the novel, the men in Ursa’s life take on a resemblance to Corregidora — and this resemblance sheds light on both the sexual basis of racism and the tendency of some oppressed cultures to take on the traits of imperialist hegemonies. According to the logic of the novel, the children of slaves resemble either slaves or slave drivers. Even within communities born of slavery, the novel suggests, there persist relationships of enslavement. “How many generations had to bow to his genital fantasies?” Ursa asks at one point, referring to Corregidora the Enslaver. As long as hierarchical relationships form between men and women in the African-American community, Jones’s novel suggests, there will never be an end to this period of acquiescence; Corregidora will continue to achieve posthumous victories.
As long as hierarchical relationships form between men and women in the African-American community, the novel suggests, the enslavers will continue to achieve posthumous victorious.
As long as hierarchical relationships form between men and women in the African-American community, the novel suggests, the segregationists and the white supremacists will continue to achieve posthumous victories.
To return to the opening statement of this essay: A typical response to genocide is the injunction to remember. Although her infertility robs Ursa of the ability to “make generations” — something that, she is taught, is the essence of being-woman — she can still “leave evidence,” can still attest to the historical memory of slavery. All documents that detailed Corregidora’s treatment of his slaves were seemingly destroyed, as if the abolition of slavery abolished memory itself. According to the injunction of the Corregidora women (Ursa’s ancestors), one must testify, one must re-member, one must “leave evidence.” And yet memory is precisely Ursa’s problem. Memory cripples her. Throughout the novel, Ursa struggles to overcome the trauma of her personal past. And this past — in particular, the survival in memory of her relationship with Mutt — belongs to the larger, communal past that is her filial legacy. Her consciousness is rigidified, frozen in the immemorial past of the Corregidora women. This “communal” past is doomed to repeat itself infinitely, thus suspending the presence of the present — and, in particular, Ursa’s individual experience of the present. Her individual experience of the present is indissociably married to her personal past, and her most intimate past is, at the same time, also the past of her community. The words that Ursa uses to describe her mother could also apply to Ursa herself: “It was as if their memory, the memory of all the Corregidora women, was her memory too, as strong within her as her own private memory, or almost as strong.”
At the shocking and unforgettable close of the novel, the past and present coincide almost absolutely. When, after twenty-two years of estrangement, Ursa is reunited with her first husband, the historical memory of slavery is superimposed and mapped onto their relationship. Both Ursa and Mutt become allegorical figures, each representing slave and slaveholder, respectively. The present-past and the past-present reflect each other in an infinite mirror-play until they both become almost indistinguishable from each other.
At the juncture of both temporalities is an inversion of power relations that comes by way of a sex act. Ursa performs fellatio on her first husband. Oral sex replaces oral transmission. Here we have the perpetuation of a traumatic past, and yet it is a repetition with a difference. Fellatio is disempowering for the man upon whom it is performed; dangerously close to emasculation, it is experienced as “a moment of broken skin but not sexlessness, a moment just before sexlessness, a moment that stops just before sexlessness.” For the woman, by contrast, it might be an act vacant of all sensuality, one that is abstracted of all emotional cargo. Fellatio might infuse the performer with a feeling of power’s intensification; its objective might not be the enhancement of erotic pleasure, but of the pleasure that comes with the enhancement of one’s feeling of power.
By playing the role of the guardian of memory, Ursa dramatizes the intersection of her individual past with a communal past. The paralysis of historical consciousness sets in: “My veins are centuries meeting.”
End of quotation, and the end of the essay.
Dr. Joseph Suglia
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