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A Žižekian Account of Four Iceberg Slim Novellas

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A Žižekian Account of Four Iceberg Slim Novellas The Substrates of Transgression: A Žižekian Account of Four Iceberg Slim Novellas Matthew Cleveland June 2001 This Thesis is submitted in fulfillment of the requirements for the degree of Doctor of Philosophy School of English University of New South Wales ACKNOWLEDGMENTS I am grateful for the assistance and advice provided to me by my two supervisors Dr. Brigitta Olubas and Dr. Sue Kossew. I would also like to acknowledge the invaluable support of Michelle and Matthew Farlow and Marcus Lee. Finally, I would like to thank Sam Harris, Manya Ginori and Katherine Mogg for their consistent encouragement and endless patience. CONTENTS THESIS INTRODUCTION 1 CHAPTER ONE The Vicissitudes of Racial Pathology in Trick Baby • Introduction 22 • Section I Setting the Stage: Racial Funambulism and the Erection of an-Other Order 29 • Section II Indexing the ‘Non-All’ of Racial Identity 46 • Section III From Hysteria to Perversion to Psychosis: Race as Fetish-Object, Race as Phobic- Object 63 CHAPTER TWO The Queer Mulatto as the Impossible Thing in Mama Black Widow • Introduction 81 • Section I M ama M aternal Superego and the Narcissistic Negative Oedipus 87 • Section II Φ 103 • Section III Marked for Death 120 CHAPTER THREE The Ethics of Excess: the Whore, the (Sadian) Pimp, and the Real of Desire in Pimp • Introduction 141 • Section I Gaze/Voice of the Object: Death Drive and the Slimian Whore 147 • Section II Sovereignty and the Sadian Pimp 165 • Section III To Compromise One’s Desire: When a Pimp is not a Pimp 185 CHAPTER FOUR Resisting the Law of the Three Fathers and the Big (Br)Other in Death Wish • Introduction 206 • Section I The Identity of (Organized) Crime: ‘I’m Guilty, Therefore I Am’ 216 • Section II Hegemonic Antagonisms of (Organized) Resistance: ‘Society Doesn’t Exist!’ 233 • Section III The Tragical Ethics of (Organized) Resistance: the Fate of the Vanishing Mediator 247 THESIS CONCLUSION Indivisible Rem(a)inders 263 BIBLIOGRAPHY 289 1 THESIS INTRODUCTION I have said thus much, that in some measure I may answer your question – that I may explain to you why I am here – that I may assign to you something that shall have at least the faint aspect of a cause for my wearing these fetters, and for my tenanting this cell of the condemned. Had I not been thus prolix, you might either have misunderstood me altogether, or, with the rabble, have fancied me mad. As it is, you will easily perceive that I am one of the many uncounted victims of the Imp of the Perverse. Edgar Allan Poe, The Imp of the Perverse, p. 361 substrate /súbstrayt/ n. 1 = SUBSTRATUM. 2 a surface to be painted, printed, etc., on. 3 Biol. a the substance upon which an enzyme acts. b the surface or material on which any particular organism grows. [Anglicized f. SUBSTRATUM] Oxford English Dictionary If ‘transgression’ pertains to the violation or infringement of boundaries set by the Orders of Discourse, there can be little doubt that the writing of ‘underground’ African-American author Iceberg Slim (1918–1992) is ‘transgressive’. At the most obvious level, this transgressiveness can be discerned in the basic content of the ex-pimp’s fiction whereby African-American, underclass and normatively criminal subcultures are championed and/or glamorized, mainstream ‘white’ culture is frequently and overtly attacked and demonized, and the descriptive idiom is unashamedly misogynistic, homophobic and generally profane. Yet despite (or perhaps because of) this ‘obvious’ transgressiveness, Slim continues to be one of the most widely-read black American authors. Indeed, one critical advocate contends that “Iceberg Slim is the best selling African-American writer of all time”1 [Muckley 1995: 18]. Be that as it may, beyond a few short essays and media articles, there has been to date almost no critical engagement with Slim or his fiction. Why is this so? Surely, if Slim is even half as successful as Muckley insists, his writing must possess enough cultural relevance and exert a sufficient degree of social influence to warrant more 1 In “Iceberg Slim: Robert Beck – A True Essay at a BioCriticism of an Ex-Outlaw Artist”, Peter Muckley cites the total sales of Slim’s work in 1992 (the year of his death) at “some 6 million” [1995: 18]. This figure indexes only the sales of the modestly tendered Hollow ay House publications before the popular revival and global dissemination of Slim’s w ork via the slick republications w ith British publishing house Payback Press. 2 critical evaluation. So that there must be some feature of this ex-pimp’s writing that resists or otherwise deters the academic/interpretative project. As will become evident in this Thesis, that resistant or deterrent feature has little to do with the transgressive content of the Slimian narrative universe, rather it is related to the various forms through which that transgressive content is brought to bear; the substrates from which the Slimian ideological register issues and upon which its transgressive encounters are inscribed. One of the primary objectives of this Thesis is thus to evaluate and elucidate the transgressive potential posed by the narrative universe created by Slim. And since what we have termed the substrates of transgression become manifest in the Slimian universe through (re-)inscriptions of marginal (and prevalently marginalized) identities and appendant structures of identification, our aim is to determine theoretically the ways in which those re-inscriptions intersect with, and impinge upon, the discourse of Power. More specifically, in analyzing not only how different modalities of marginal identity are represented in Slim’s fiction, but also the ideological implications thereof, the present enterprise is interested in defining those representations and subsequent intersubjective negotiations in terms of the degree to which they emerge to either challenge or (inadvertently) support/sustain normalized hegemonic structurations of identity. At stake in this enterprise of locating the psychical-structural status or positionality of Slimian counter-discourse face à the hegemonies that it identifies, is the projected development of a greater understanding of the vicissitudes of social hegemonization and the transgressive vectors engendered by those vicissitudes or autonomously emergent. The second chief aim of this Thesis consists in demonstrating the utility of Žižekian dialectical application for the purposes of achieving the above-stated first primary objective. So that in the investigation of the discursive and trans-discursive substrates of 3 transgression as dramatized in four of Slim’s most popular novellas, this Thesis employs as its principle theoretical instrument the genus of Lacanian, post-Marxian and other dialectical formulations developed by Slavoj Žižek. As will be elaborated below, the application in this Thesis of post-Marxian Lacanian psychoanalysis via Žižek, not only constitutes the most expedient means of developing a framework through which the crucial social/ideological/psychical/libidinal issues surrounding Power may be apprehended, but that the interpretative possibilities offered by this approach are substantial to existing discourses of identity politics concerned with re-/(a)dressing the deadlocks generated by the metastases of social interdiction. And because Žižek’s post-Marxian Lacanian approach not only clarifies the arguably refractory dialectics of his predecessors qua his engagement with popular culture, but also emphasizes the importance of rendering transparent the ideological underpinnings of the object and instrument-process of any analysis, it is argued here that this approach also affords the most comprehensive and yet cogent means by which the first stated objective may be achieved. Besides this Introduction and a Conclusion, this Thesis is comprised of four Chapters appendant to issues concerning different marginal identities as they emerge within each of the texts studied. Further, as each Chapter examines a different variant of identity not commensurable with, and/or antagonistic to, normative orders of social discourse, our axiomatic Žižekian theoretical base will be supplemented with the heuristical processes of other theorists relevant to the particular matters or identities discussed in each Chapter. This methodological and thematic structure is manifest in the following summaries: CHAPTER ONE: Via the clarifications contained in a number of Žižek’s publications and Dylan Evans’ perspicacious An Introductory Dictionary of Lacanian Psychoanalysis, Chapter One elucidates some of the fundamental concepts of Lacanian psychoanalysis – including an 4 introduction to nosological designations of psychical disposition – involved in the formation of, or threat against, subjective identity and the contingencies of identification. These are applied in the examination of the ways in which Slim’s transgressive mediation of racial hybridity and performativity in Trick Baby operates to endow an aesthetic/ethical/ ideological register that aggressively contests what is transcriptively staged as the dominant order. CHAPTER TWO: Supplemented by Judith Butler’s Freudo-Foucauldian reading of the Hegelian ‘Unhappy Consciousness’ and her appropriation of Kleinian rubrics concerned with certain forms of social interdiction, Žižek’s work on the Maternal Superego, pathological narcissism and the Freudian das Ding will be engaged to examine and problematize Slim’s representation of ‘mulatto’ homosexuality in Mama Black Widow. The psychoanalytic notions of desire, fantasy (phantasy),
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