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FLESH MADE REAL: the PRODUCTION, RECEPTION, and INTERPRETATION of TRANSGENDER NARRATIVES a Thesis Submitted to the Committee On

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FLESH MADE REAL: the PRODUCTION, RECEPTION, and INTERPRETATION of TRANSGENDER NARRATIVES a Thesis Submitted to the Committee On FLESH MADE REAL: THE PRODUCTION, RECEPTION, AND INTERPRETATION OF TRANSGENDER NARRATIVES A Thesis Submitted to the Committee on Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Faculty of Arts and Science TRENT UNIVERSITY Peterborough, Ontario, Canada (c) Copyright by Evelyn Deshane 2013 English (Public Texts) M.A. Graduate Program September 2013 ii ABSTRACT Flesh Made Real: The Production, Reception, and Interpretation of Transgender Narratives Evelyn Deshane This thesis examines what the term "transgender narrative" represents at this particular time and location. I do this by examining various methods of transgender storytelling through different forms of media production, including autobiography, film, novels, and online platforms such as Tumblr and YouTube. In chapter one, I look at the production of novels and the value system by which they are judged ("gender capital") in transgender publics and counterpublics. In chapter two, I examine the history of the autobiography, along with the medical history closely associated with transgender identity and bodily transformation. The third chapter examines notions of violence and memorial behind the deaths of transgender people and the ways in which certain political revolutions are formed within a counterpublic. I deconstruct varying notions of identity, authorship, and cultural production and critically examine what it means to be transgender and what it means to tell stories about transgender people. I will conclude with how these stories are being shaped through social media to become more innovative and move away from the rigid value system of gender capital previously mentioned. Keywords: transgender, transsexual, cisgender, gender performance, social media, autobiography, Judith Butler, YouTube, intersexuality, cultural capital, author function, women's studies, feminism, sex differences, representation, violence iii Table of Contents Abstract ii Table of Contents iii Introduction: This is Not A Thesis 2 "Transgender Narrative" as a Thesis Topic 5 A Queer Time and Place 10 What's At Stake? 13 A Note on Terminology 21 Overall Outline 27 Transgenre: Identifying Transgender Narratives, Authors, and Gender Capital 29 Transgenre 33 Three Umpires Walk Into a Bar 38 Dividing Lines in Identity Politics 45 Refusing 48 Regretting 56 Ask The Audience 61 Sh*t Trans* Autobiographies Say: Internal Narratives and Constructing The Self 65 The Self-Realization Narrative 67 The Self-Realization of The Body 75 The Self-Reality 82 Sh*t Trans Counterpublics Say 96 Memorial and Revolution: Transgender Hate Crimes and The Simplification of Violence 100 Public Associations and Private Violence 103 Performing Gender 114 (Gay) Panic In The Streets 118 Desire, Repulsion, Fear, and Overkill 130 Producing Hate, Producing Violence 136 Conclusion: The Rhizome 140 Works Cited and Consulted 146 Appendix A: Definitions 162 Appendix B: Images 165 Appendix C: Medical Literature 170 "Even if it is the dream made flesh, the real, once it becomes real, can be no more than real." -Angela Carter, The Infernal Desire Machines of Doctor Hoffman 2 Introduction: This is Not A Thesis The Treachery of Images is one of the most iconic series of paintings by Belgium artist René Magritte. The most famous image from this series has, at the centre of the yellow background, a pipe with the French script ceci n'est pas une pipe (this is not a pipe) underneath. The only attribute which remains consistent in Magritte's other paintings is the repetition of ceci n'est pas (this is not). With this refrain, Magritte is making a larger suggestion about the nature of representation. This painting is not a pipe, though it looks like what we know to be a pipe. It cannot be stuffed with tobacco or lit with flame or smoked by the artist. This painting of a pipe is not real -- and this, to Magritte, is why images are treacherous. They take what we think we know and display it to us, while at the same time broadcasting its artificiality. Magritte interrogates the dichotomy of authenticity vs. artificiality with his entire body of work using surreal images, but it is this iconic series that is often cited by cultural theorists in order to explain the nature of representation and that ubiquity is why I am drawn to it now. The photograph also represents a similar tension between what is real and what is simulated. The nature of the photograph has captivated and intrigued many cultural theorists including Roland Barthes, Susan Sontag, and transgender theorist Jay Prosser, for the artificiality and authenticity apparent in the photographic image. For Jay Prosser "the photograph must be seen to represent the subject" (218; emphasis his). With Prosser, the common perception of photography is outlined: these images are the opposite of Magritte’s and are not treacherous in the least (220). However, at the same time a photograph seems to present the audience with an exact portrait, it also removes the image from its time and context. Photography is a vulnerable 3 and violent art, (a "memento mori" to Susan Sontag) simply because the image creates gaps which the audience must now narrate in order to make real (Sontag 15; Anderson 245). As Jay Prosser notes, The effect of photographs in any autobiography, transsexual autobiographies included, is immediately referential. Autobiography photographs serve to embody the subject of the narrative. This is the real body of the autobiographer, they declare; the text you read refers to the subject you see here. (209) In the last chapter of Second Skins, Prosser analyzes these images as a way to reaffirm the newly acquired physical change, but also to make sense of the author's past in another (visually different) body. The autobiography is imperative to understanding the gap between two photos of a young boy and a grown woman, and it is imperative to help elucidate the story behind each if considered individually. Whether to the audience of a book, to the self in the process of forming an identity, or to the doctor that later performs surgery, the entire process of transgender identity requires storytelling. Therefore, when studying transgender identity, the artificiality and perceived authenticity of the image needs to be understood as either reinforcing or deconstructing certain beliefs about the subject they are meant to represent. American photographer Diane Arbus utilizes her skill as a photographer to deconstruct the binaries of real and artificial, especially in relation to the physical difference seen in the bodies she captured. In her 1959 image, Transvestite in a Dress, she captures a person sitting on a bed wearing a black dress. Unless looking at the title of the image, the person in the image 4 passes as a woman.1 In characteristic Arbus style, she draws attention to the physical and gender differences in the body captured through the title of this image. Though Arbus has been heavily criticized for her photography (regularly known as the photographer of "freaks"), I would suggest that she uses her image, in conjunction with the title, in order to deconstruct the audience's perception, rather than alienate the subject (Sontag 45). The title of Arbus's photograph performs the same action that the French script for Magritte does. While the subject passes as her desired gender, Arbus draws attention to the fact that this photograph is merely an image of femininity and not 'real' femininity itself. When Arbus photographs the cultural standard for feminine attributes on the body that is typically seen as male, she draws attention to the fact that what the audience considers male and female is an image and nothing but. When Diane Arbus is taking pictures of transvestites, she is not trying to exoticize the subject matter, but elucidate the audience's position in relation to the norms of masculinity and femininity. By capturing in an image what the audience has always taken to be real, she isolates the culturally produced standard that usually goes unnoticed or is inferred implicitly. When we find ourselves narrating the gap that the photograph presents, we become more aware of the other stories we tell ourselves about gender and the body. Arbus does not limit her deconstruction to gender. As Sontag remarks, For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating (45). 1 "Passing" is sometimes a strongly debated issue within transgender theory. See Julia Serano's chapter on the topic in Whipping Girl for more details. 5 By drawing attention to the (dis)ability in the bodies she captured, she was able to produce a negative (in the photographic sense) at the same time: by producing what the audience thinks of as different, she was able to illuminate what has also been simultaneously perceived as normal. By capturing all of this with her camera, she was able to turn the perceived dichotomy of (dis)ability into an image and deconstruct her audience's perceptions of which bodies are fit to capture as aesthetic objects. In A Jewish giant at home with his parents in the Bronx, N.Y.C, the man who hits the ceiling in the house with his parents is no more normal than the parents who gaze up at his height. Both ability and disability are images; both are illusions. Both are, most importantly, representations and completely relational. It is my goal for this thesis that like Rene Magritte and Diane Arbus, I will take case studies, novels, films, and other examples that display transgender storytelling and break down the dichotomies apparent in each.
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