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Constructing Transgression: Criminality in Experimental Literature

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Constructing Transgression: Criminality in Experimental Literature University of Rhode Island DigitalCommons@URI Open Access Dissertations 2019 CONSTRUCTING TRANSGRESSION: CRIMINALITY IN EXPERIMENTAL LITERATURE Charles Kell University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Kell, Charles, "CONSTRUCTING TRANSGRESSION: CRIMINALITY IN EXPERIMENTAL LITERATURE" (2019). Open Access Dissertations. Paper 888. https://digitalcommons.uri.edu/oa_diss/888 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. CONSTRUCTING TRANSGRESSION: CRIMINALITY IN EXPERIMENTAL LITERATURE BY CHARLES KELL A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2019 DOCTOR OF PHILOSOPHY DISSERTATION OF CHARLES KELL APPROVED: Dissertation Committee: Major Professor Peter Covino Ryan Trimm Eske Møllgaard Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2019 ABSTRACT This dissertation examines integral, challenging contemporary poetry and fiction, and its relationship to notions of the criminal in multiple guises. The present focus on “criminal” excavates not only its literal meaning—the nature of crime, and its specific relation to penal law—but also brings to light how the “criminal” affects the construction of fiction and poetry, and the lives of various individuals (speakers) within the chosen texts. Intricately tied with the criminal are practices that transgress, and this study will also locate specific creations where poets and novelists construct transgressions that challenge contemporary ideas of narrative and poetic modes. This study argues that expanding the term “criminal” opens up not only the current field of “criminal studies,” but also examines contemporary poetry and prose. This dissertation argues that a new formulation of the criminal proliferates practices of subjectivities that are forced upon individuals and taken for granted, and that the “criminal” is intricately tied to works that transgress and experiment. The criminal, at its most basic, involves the nature of crime; it relates to the penal law; guilty; characteristic of a criminal. Most studies of “criminality” fall under the term “prison literature,” which focuses on individuals who have been incarcerated, and subsequently chronicled their lives in writing. Other studies and novels focus specifically on the struggle of individuals in prison. This dissertation looks to make a distinct break between “prison” writing and “criminal” writing, moving the focus from incarceration to other social boundaries; however, “prison” and “criminal” are two terms that often intersect and overlap. “Criminal” writing does not take incarceration as its jumping off point, though incarceration may play a role; instead, the “criminal” is a spatial way of being in the world that either marks one off from contemporary society, or borders on notions which denote one as outsider. This project looks to expand the field from literatures focusing primarily on incarceration to studies depicting acts of transgression and deviance that may not necessarily land an individual behind bars, but mark one as separate from societal norms, as an outsider. This study envisions the “criminal” as branching out from its basic definition to include a variety of ways individuals “transgress” from their present predicament. This includes but is not limited to illegal acts one partakes in but is not caught, and acts that jeopardize one’s place in society. As such, the “criminal” is opaque, nebulous, harder to pin down; it works from the periphery, the margins, interstitial spaces; whereas “prison” writing already denotes the given fact that one is or has been incarcerated, calling to mind a fixed location and trajectory. Both poetry and fiction illustrate this branching out in similar and disparate ways, and the focus on both showcases the plurality and broad reach of these genres. The central objects of study will be a range of contemporary American poetry and fiction: James Baldwin’s Giovanni’s Room (1956); Rosmarie Waldrop’s Driven to Abstraction (2010); Joanna Scott’s Arrogance (1990); and C.D. Wright’s One Big Self: An Investigation (2007). These texts give voice to the myriad, opaque notions of the “criminal,” while at the same time blurring the lines of how poetry and prose function; each text, as well, marks off distinct breaks in the artists’ bodies of work. These texts transgress on multiple levels, in turn, mirroring and mimicking the slippery, proliferating term—“criminal.” ACKNOWLEDGEMENTS I would like to thank Peter Covino for his care and attention with this project. His guidance means the world to me. I deeply thank Ryan Trimm for the hours spent sifting and sorting my notes, and for all of the critical insights and invaluable suggestions, especially during the revision process. I thank Eske Møllgaard for pushing me to think and rethink what transgression is and what it does, and for shaping this study. My thanks and gratitude to David Faflik, for his generous time and countless hours spent talking with me about and talking me through this project. I thank Leslie Kealhofer-Kemp for chairing my defense, for helping me think different spaces, and talking with me about French literature and film, two of my favorite things. I thank Michelle Caraccia for all of her time and for being available when I have needed her most. I thank my friend, Marcus Tirabasso, for the countless nights we have talked through the criminal. I thank my wife, Carrie Kell, for her support, and for always being there. iv Table of Contents Abstract……………………………………………………………………………………ii Acknowledgements………………………………………………………………………iv Table of Contents………………………………………………………………………….v Introduction………………………………………..………………………………………1 Chapter 1 – Fugitive Testimony: James Baldwin’s Giovanni’s Room……………………………………………………………………………..36 Chapter 2 – “There is chaos and void”: War and the Transgressive Glimpse in Rosmarie Waldrop’s Driven to Abstraction…………………………………….………..…85 Chapter 3 – Egon Schiele’s Hideous Phantom: Joanna Scott’s Arrogance and Transgressive Artists……………………………………………………….144 Chapter 4 – The Prisoner as Poet: Transgressive Spaces in C.D. Wright’s One Big Self: An Investigation………………………………………………….202 Epilogue – Toward a Criminal Aesthetic…..…………………………………………...258 Bibliography……………………………………………………………………………266 v Introduction Constructing the Criminal To be marked or recognized as criminal is to be on the margins of society, in a different space; to be a criminal is to be considered an outsider. Criminality defines both an individual and acts that “transgress”1 the mores, codes, and laws of a given time. One definition of criminal is a person who has committed a crime; relating to crime, or something (or someone) disgraceful or shocking. Criminal relates both to the individual and the acts the individual practices, manifesting in multiple ways that are far-reaching and can have lasting, permanent effects on the person and those around him or her. For example, once an individual is arrested, placed before court, convicted of a crime, he or she is forever part of the system, which from this point on has a mark of control over the individual. More covert ideas of the criminal involve transgressive behaviors2 that set one in a different space from what is acceptable. Traditional literary constructions of the criminal follow a trajectory that falls under the term “prison literature,” which focuses on those who have been incarcerated, and subsequently chronicled their lives in writing. These texts take incarceration as the primary focus. My study looks to make a distinct break between “prison” writing and “criminal” writing, moving the focus from incarceration to other social boundaries that are “transgressed,” but not always punished through prison. Specific examples from this study include David’s homosexuality in 1950s United States and Paris in James Baldwin’s Giovanni’s Room (1956), and Egon 1 To go beyond the limits of what is morally, socially, or legally acceptable. I will also add creatively to this definition as well. 2 These behaviors may include different sexual practices, not fitting into societal norms, communities, and various other actions that mark an individual as “other.” 1 Schiele’s portraits of nude women in fin-de-siècle Austria in Joanna Scott’s Arrogance (1990). Prison and criminal, regarding literature, are two terms that often overlap and intersect, however. Criminal writing, I contend, does not take as its jumping off point concentrations on incarceration, though incarceration may play a role; instead, the “criminal” is a spatial and temporal way of being in the world that either marks one off from contemporary society, or borders on notions which denote one as outside, or aside. Moreover, this study envisions the criminal as branching out from its basic definition to include a variety of ways individuals “transgress” from their present predicament. This includes but is not limited to illegal acts one partakes in but is not caught, and acts jeopardizing one’s place in society. Traditionally, these figures might fall under the term “outsider”; however, this moniker does not take the various levels of transgression and their subsequent repercussions far enough. As such, the “criminal” is
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