Elfriede Jelinek and Alice Walker Chapter Author(S): Tobe Levin
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Purdue University Press Chapter Title: Feminist (and “Womanist”) as Public Intellectuals? Elfriede Jelinek and Alice Walker Chapter Author(s): Tobe Levin Book Title: The New York Public Intellectuals and Beyond Book Subtitle: Exploring Liberal Humanism, Jewish Identity, and the American Protest Tradition Book Editor(s): Ethan Goffman, Daniel Morris Published by: Purdue University Press. (2009) Stable URL: http://www.jstor.org/stable/j.ctt6wq43s.20 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Purdue University Press is collaborating with JSTOR to digitize, preserve and extend access to The New York Public Intellectuals and Beyond This content downloaded from 76.77.171.74 on Mon, 27 Mar 2017 16:29:40 UTC All use subject to http://about.jstor.org/terms Feminist (and “Womanist”) as Public Intellectuals? Elfriede Jelinek and Alice Walker Tobe Levin Le silence est la forme civilisée du génocide. —Régis Debray Creative writers have functioned as public intellectuals at least since the Bible or, less controversially, since Euripedes’ Lysistrata featured women’s fi rst sex strike for peace. Fiction is among the most eff ective whistle-blowers, drawing society’s attention to its evils in the hope of eff ecting tikkun olam, or “healing the world.” Indeed, Toni Morrison, discussing the aptitude of the imagination to elucidate slavery, contends that “some things only artists can do—and it’s their job.” 1 Like an earlier generation of New York Intellectuals, Morrison links aesthetics, poli- tics, and ethics with profound eff ect in her most popular novel, Beloved. Th e interview cited above reveals how, initially inspired by the historical Margaret Garner, Morrison sought to fi ll a gap in understanding of “the peculiar institu- tion.” Certainly, she agreed, there is a lot of history but nothing in the heavy tomes to “get close to.” She speculated that instead of a broad, sweeping approach she would try something personal, “narrow and deep.” Rewarded by a Nobel Prize, Morrison apparently succeeded. Th e feminist project is similar, of course, defi ned as intricate engagement to generate change, and its clarion call in the seventies—the personal is politi- cal—resulted in the elevation of emotion and anecdote to complement analysis. Just as the New York Intellectuals wedded belles lettres to a more traditional essay 243 This content downloaded from 76.77.171.74 on Mon, 27 Mar 2017 16:29:40 UTC All use subject to http://about.jstor.org/terms MMorris_FINAL.indborris_FINAL.indb 224343 99/25/2008/25/2008 88:13:52:13:52 AAMM 244 TOBE LEVIN form, so too have many feminists placed autobiography, or “the authority of expe- rience,” at the heart of their public presence. European and, in particular, German feminism provided one alternative defi nition of the public intellectual, reserving a spectacular place for the narra- tive artist. Whereas in the United States nonfi ction such as Betty Friedan’s Th e Feminine Mystique (1963) prompted a movement, it was storytelling that inspired women’s organizing in Germany and Austria. By word of mouth alone, Verena Stefan’s slim underground volume—Häutungen2—reached best-seller status while Elfriede Jelinek’s early novels laid solid groundwork for the Nobel Prize winner’s reputation as an outspoken critic of complicity between the economic and ideological systems. Inspired by the Frankfurt School, Jelinek’s fi rst three works of fi ction demonstrate how rhetoric disempowers the working classes by placing them in a double-bind. Her heroines live in the superfi cially unscathed world delineated by imported sitcoms. In thought, Jelinek’s protagonists cannot escape from the template provided for viewers’ understanding of themselves. In the best of all possible media worlds, with affl uence attainable and resolution steady, class confl ict becomes literally unthinkable and change impossible un- less, deploying irony and other sophisticated exegetic skills required to enjoy her prose, a reader dives beneath the surface. In this sense, fi ction, because it can provoke analytic and emotional think- ing that leads to action, appears as a genre of choice for German-language femi- nist authors. Literary strategies signifi cant for Jelinek, for instance, include the Brechtian alienation eff ect; Althusser’s interpellations that call into being forces for progress; or Hans Magnus Enzensberger’s consciousness industry illuminat- ing how advertising saturates the public mind, dangling promises before those who, however, are systematically excluded from enjoying the fruits of their labor. Needless to say, the sources reveal a solid footing on the left , although women’s concerns are not considered a “secondary contradiction.” If Marxism off ers a universalist theory of human rights, Jelinek implicitly critiques its hijacking by male spokespersons dismissive of the more personal perspective. For women clearly face a specifi c gendered burden, one in which the body becomes a vehicle for marking oppression. Public intellectuals, therefore, extend their classic role of speaking truth to power, and speaking for the oppressed, by intervening on the terrain of the body. Critics of pornography, such as the late Andrea Dworkin, probe the fraught relationship between representations of women as prostitutes—the etymology of pornography—and its eff ects on actual females. Or in Elfriede Jelinek’s analysis, “Pornography is the exercise of violence against woman aimed at humiliating . her. If, for example, in a hardcore novel or fi lm, a man is whipped, he remains an individual freely choosing to degrade himself. But when a woman is dishonored . she is not violated as herself, as an individual. Rather, all women are debased along with her. A member of the op- pressed caste is a stand-in, so to speak, for all the rest. Th at’s the decisive thing.”3 This content downloaded from 76.77.171.74 on Mon, 27 Mar 2017 16:29:40 UTC All use subject to http://about.jstor.org/terms MMorris_FINAL.indborris_FINAL.indb 224444 99/25/2008/25/2008 88:13:52:13:52 AAMM Feminist (and “Womanist”) as Public Intellectuals? 245 In other words, sexual violence, disseminated by a billion-dollar porno industry, remains pervasive in our times. Postcolonial and antiracist writers, among them Alice Walker, confront a similar violence, oft en disguised, that denies individuality to various subordi- nated groups. In both Walker and Jelinek the female body is aggressed against, the agent either outside or within as part of an internal struggle with the norms of dominant society. Although in marked contrast to Jelinek in style and tone, Walker, in fi ction and essays, remains concerned with women’s equality and dig- nity, combining empathy for women with reclaiming majesty for African Ameri- cans and Africans—men included—subjected to a “Western” gaze. Just as women have found it challenging to secure an audience among men who refuse to take their intellectual contributions seriously, so, too, have disempowered groups such as the descendants of slaves been excluded. In other words, as Orlando Pa- terson describes it, not only women but also men in discriminated populations suff er “social death.”4 Because the philosophical and aesthetic choices of the American and Aus- trian diverge so signifi cantly, their juxtaposition may at fi rst seem strained. Al- though both aim to ensure justice for women, Jelinek appears less hopeful than Walker that this can, indeed, be done. To Jelinek, uncovering the mechanisms that mute women’s voices is a fi rst step, the second being to disarm those struc- tures. But can they be defeated? Will the public accept the Other? Defi ned by its maleness, which excludes femininity, civil society requires a private realm to which women are confi ned, and Jelinek doubts whether the resulting entrapment by language—the master’s tools—can ever be breached. Walker, unlike Jelinek, displays exuberant defi ance of such seeming truth. For the roots of this distinction emerge from geography and history. Jelinek, an equality feminist, aspires to full participation in the polity as it de- veloped out of the Enlightenment with a new, euphoric emphasis on individual rights. Th e fact that these rights were not extended to women then, and have only been begrudgingly granted since, suggests that the system itself is fl awed and the challenge to repair it great, if not impossible. For Walker, nothing is impossible. Hers is a utopian vision. We therefore enjoy a study in contrasts: Jelinek’s pessimism versus Walker’s optimism; Jelinek’s nihilism versus Walker’s constructivism; Jelinek’s atheism ver- sus Walker’s pan-spirituality and god-driven language; Jelinek’s objective, imper- sonal irony versus Walker’s subjective, personal, even down-home discourse. Th e result is also a contrast in audience, Jelinek readers tending to be well-schooled rebels from the Bildungsbürgertum, or educated middle class, Walker’s from a broader, possibly less comprehensively schooled social segment. Yet instructive analogies exist. Both belong to minorities with traumatic histories, slavery for Walker, the Holocaust for Jelinek. Both experienced per- sonal trauma, Walker in the form of a gunshot wound that blinded one eye, This content downloaded from 76.77.171.74 on Mon, 27 Mar 2017 16:29:40 UTC All use subject to http://about.jstor.org/terms MMorris_FINAL.indborris_FINAL.indb 224545 99/25/2008/25/2008 88:13:52:13:52 AAMM 246 TOBE LEVIN Jelinek in her upbringing, which she has called “psychological torture.”5 Both have been acclaimed, Walker awarded a Pulitzer, Jelinek the Nobel Prize.