. . . . . . . Supervalent Thought


For example

I noticed, over the last few months, as my mother was dying, that I had taken pictures that seemed very specific. Now I am looking at the archive, as one looks at a hand after a manicure.

My mother died of femininity.  I told her that I would say this about her. She had said, “Will you write a book about me?”  and I asked if she wanted me to. She said “Yes. I want you to say how I left the world a better place because I had you!” I said I thought that was a bad idea: people would think it was an excuse to write about me.  She said, “Can you think of another topic?”  I offered this phrase about femininity, and explained why.  My brother-in-law thought that it would be better to say that my mother died from vanity rather than from femininity. I can see why he would prefer that story; it’s interesting to see how a label shifts the implication.

In her late teens she took up smoking, because it was sold as a weight-reduction aid.  When she died she had aggressive stage 4 lung cancer.  In her teens she started wearing high heels, to enhance the back arch and ass-to-calves posture whose strut transforms the whole body to a sexual tableau, shifting between teetering and stillness. Later, she had an abortion and on the way out tripped down the stairs in those heels, hurting her back permanently.  Decades later, selling dresses at Bloomingdale’s, she was forced to carry, by her estimate, 500 lbs. of clothes each day. Shop girls, you know, are forced to dress like their customers. They have to do this to show that they understand the appropriate universe of taste, even while working like mules in that same universe, carrying to their ladies stacks of hanging things and having to reorganize what their ladies left behind on the dressing room floor. She liked this job, because she liked being known as having good taste.

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Father, Can’t You See I’m Burning?

I’m converting a cafeteria to a café—Valois just got wi-fi and I wanted to be in a capacious space, light with big tables and no soundtrack. It’s empty, almost, mid-afternoon. A few old people are sitting around schmoozing as they will, and we look after each other’s tables when we need bathroom breaks or a refill. After a few hours a father and son come and sit two tables up. The father, young, instructs his son relentlessly: on how to use a laptop, how to play a game, how to sit, how to be quiet, and how to eat without smacking his mouth. I am working with my head down trying to drown out the noise. Then at one point I hear him say to his son, why do you want to give up on your dream, why do you want to give up on your dream of being a football player? Kid: I want to draw cartoons. Father: you also want to be in the NFL, why do you want to give up on your dream? Kid: I want to draw cartoons, I have lots of stories to tell. Father: tell me, why do you want to give up on your dream?

A piece of paper falls off the table. It has boxes drawn on it and word balloons. The figures they’re attached to look better than stick, but there’s a not lot of detail. His father says, Don’t you see, when you’re 35 and you’ve been in the Super Bowl, you’ll have the skills of a 35 year old man, not a 9 year old boy, and when you’re 35 and a cartoonist, you’ll have the skills of a 9 year old boy?

They call it a skill set, the father says.

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Crossover/Combover: A performance piece (Approach 3: from ASA 2010)

(This is a very lightly revised version of the paper I tried to deliver at the American Studies Association conference as a performance piece that also riffed on the talks just given around me:  a complete failure as a performance.  Chronologically it was written after the previous two combover pieces were written, and so represents a development of the idea I’ve been serializing here.)

Amitava [Kumar] originally called this panel “The Message Chain.” Its idea was to ask some scholars who see themselves as writers, how, for them, a particular space becomes a “locale” for writing, an event that requires not just attention and consideration but a decision to write outside of the usual academic idiom or medium. This was to be a panel about crossing over, not into death, but toward a bigger life for writing. A spatial impact becomes-event in this view when it induces a communicative actionwriting, teaching, and performing–you know, the kinds of things that our careers are made from, although few of us would admit to having the career as our ambition. But that is because ambition is one of the obscene affects of capitalist culture. It’s hard not to think about it, though, when someone asks you to talk about “crossover” writing: when you’re crossing over it’s because your ambition isn’t hiding in a repetition but in sincerity, in the desire to do something for an audience whose relation to reading is unprofessional or outside of the norms our professions perform.

It would not be too strong to say that the capitalist subject is distinguished by its education in judging ambition.

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