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UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Breaking Silence/Breaking Communicability: Figuring Incestuous Abuse in the Early 1970s United States Permalink https://escholarship.org/uc/item/8bn9m5z0 Author Willcutts, Timothy Savage Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ BREAKING SILENCE/BREAKING COMMUNICABILITY: FIGURING INCESTUOUS ABUSE IN THE EARLY 1970s UNITED STATES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in LITERATURE by Tim Willcutts December 2017 The Dissertation of Tim Willcutts is approved: ______________________________________ Professor Wlad Godzich, chair ______________________________________ Professor Bettina Aptheker ______________________________________ Professor Norma Klahn _____________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Tim Willcutts 2017 TABLE OF CONTENTS Introduction, p. 1 Chapter One, p. 35 Kinship in Relief: Incest and White Supremacy in Toni Morrison’s The Bluest Eye Chapter Two, p. 84 Neither Public Nor Private: Refractory Incest in Roman Polanski’s Chinatown Chapter Three, p. 131 Other than Kinship: Incest as Impossible Selfhood in Anne Sexton’s Life and Work Afterword: Twenty Years Later, p. 177 The Paradox of Survival in Dorothy Allison’s Bastard Out of Carolina iii Abstract Breaking Silence/Breaking Communicability: Figuring Incestuous Abuse in the Early 1970s United States Tim Willcutts My dissertation argues that the prohibition of incest is as much a prohibition of speech as it is a prohibition of behavior and that the suffering incest inflicts on survivors involves a crisis of representation that literary arts and literary criticism may help us understand. I consider figurations of incestuous abuse in the early 1970s United States, a historical moment when the Women’s Liberation Movement had broken the silence on various forms of violence against women, enabling a public discussion of incestuous abuse more far-reaching than ever before. Through close- readings of Toni Morrison’s novel The Bluest Eye (1970), Roman Polanski’s film Chinatown (1974), Anne Sexton’s poetry, her play Mercy Street (1969), and records of Sexton’s therapy sessions with psychiatrist Martin Orne, I conclude that the incest survivors in these works are doubly victimized by incest and the prohibition of incest – by a sexual assault and by a system of social relations that renders them blameworthy for undermining normative modes of kinship. I apply insights from anthropology, feminist studies, phenomenology, psychoanalytic theory, post- structuralist literary theory, and clinical research on family violence to argue that kinship – culturally prescribed relations within families and between families – loses its integrity in the face of incestuous violence and that this loss of integrity helps account for incest’s injurious unspeakability. iv Acknowledgements I could not have written this dissertation without the guidance of my advisor and dissertation chair, Professor Wlad Godzich, who taught me that a literature dissertation is built from “the middle out,” with a close-reading that is tested by subsequent close-readings until a pattern emerges that admits a set of theoretical terms with real utility and critical purchase. Such intellectual integrity is especially crucial in addressing a topic as painful and consequential as incestuous abuse, and I thank Wlad for helping me focus on questions, rather than presuppositions, so that this work might stand a chance of helping real incest survivors. From our first conversations on Kant, Nietzsche, Hegel, and Lévinas in 2011 to the very different direction my research took with this dissertation, Wlad’s erudition, adventurous spirit, and generosity have been a rare privilege to encounter. My pursuit of this dissertation project emerged out of Wlad’s seminar on Jacques Lacan in 2012, particularly his lecture on Lévi-Strauss, and the seminar paper I wrote that winter. Wlad’s insights on memory, temporality, and “difference-sensitive theory” inform this dissertation at a deep level, and his mentorship – and our friendship – is one I will cherish the rest of my life. Nor could I have written this dissertation without Professor Bettina Aptheker, whose depth of historical knowledge and first-hand experience with incestuous violence grounded my intellectual meanderings time and time again in the v understanding that real physical and psychic pain lies behind the narratives and poems I close-read herein. Whenever my argument drifted into inchoate abstractions, Bettina directed me to historicize the issue at hand and engage more materialist readings. She did so with a blend of rigor and compassion I find quite rare in academia and which I admire tremendously. Working in such close proximity with someone as disarming as Bettina, it is easy to forget one is working with an iconic pioneer of both the Women’s Liberation Movement and the Berkeley Free Speech Movement. Her long and thoughtful letters in response to each of these dissertation chapters reawakened in me a sense of lived history, a sense that scholarship is indeed a form of activism. I could no more have written this thesis without Professor Norma Klahn, a tireless reader of even the clumsiest rough drafts. Norma’s generosity, patience, and deep understanding of my project kept me moving forward when I was most susceptible to self-doubt. I regret that this dissertation did not ultimately address the rich Latin American literature Norma introduced me to in seminars and independent studies, especially César Vallejo’s Trilce, which altered my understanding of poetics and my approach to teaching poetry quite radically, thanks to Norma’s guidance. Time constraints, and my own slow pace, are to blame for the narrow focus on the United States in this dissertation, but I look forward to engaging Latin American literature in subsequent projects. I thank Norma also for her friendship, all the lively dinner gatherings at her house, and for her sincere dedication to my viability on the vi competitive academic job market. Her practical advice and encouragement have been invaluable. Many friends and colleagues read early drafts of these chapters, and provided generous feedback. I thank Lindsay Weinberg and Lara Galas for the writing group they formed with me in 2016, and Lindsay for the subsequent e-mail exchanges and Google Docs we shared. Aside from my committee, Lindsay has read more of this dissertation than anyone, and her detailed comments have informed the development of my argument. I also thank Lindsay for collecting final signatures in my absence! James Wallen and Shawna Vesco prepared me for the written portion of my qualifying examinations, composing tough questions and reading both my QE topics with deep enthusiasm, understanding, and curiosity. James (“Jimi”) was also my roommate at the time, a wonderful late-night interlocutor, and the one who first directed my attention to The Bluest Eye. Sarah Papazoglakis, Kara Hisatake, Katie Trostel, Sophia Magnone, Joanna Meadvin, and Lara Galas prepared me for the oral portion of my qualifying examinations, organizing a lengthy mock-QE with challenging and imaginative questions. Heidi Morse, Shawna Vesco, and Katie Trostel prepared me for the presentation of an early draft of Chapter One at The Black Women’s Health Conference in 2014. vii The Chinatown chapter received extensive workshopping in the 2016 Dissertation Practicum Seminar, organized by Professor Sharon Kinoshita, and attended by Rebecca Dilts, Katie Lally, Cathy Thomas, Whitney DeVos, and Hannah Edbar, all of whose comments clarified my thinking invaluably on what proved to be the most difficult chapter to write. I thank Professor Tyrus Miller for sitting on my qualifying exam committee and guiding me through the earliest stages of this project in an independent study. I thank all my students in the Multicultural Adolescent Literature course I taught at California State University at Monterey Bay in spring 2017. Their discussions and essays on The Bluest Eye and Bastard Out of Carolina helped clarify my thinking on those texts, and their commitment to understanding figurations of family violence in literature renewed in me a sense of the importance and relevance of the questions this dissertation asks. Who I am as a thinker and scholar stems also from older friendships with undergraduate colleagues, artists, poets, clinicians, and non-academic thinkers in the world, including Franz Wright, Anthony Buccitelli, Sabrina Rahman, Timothy Kreiner, Rahsaan Cruz, Nicholas Potkalitsky, Denise Gelinas, David C. Manfield, Phyllis H. Klauss, and Robin Olip-Booth. I dedicate this dissertation to my sister Nora, and all her kin. viii INTRODUCTION This dissertation examines the work of three artists who gave voice to incestuous abuse in the early 1970s United States1. It is not an exhaustive study of incest literature, but an intensive one, close-reading Toni Morrison’s novel The Bluest Eye (1970), Roman Polanski’s film Chinatown (1974), and Anne Sexton’s corpus for their figurations of a suffering that was entering public consciousness in radically new ways at that historical moment. At the simplest level, I wanted to understand how incest hurts and why it hurts that way. In the early 1970s, one could begin to ask this question openly, with a wider public reach
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