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Wednesday, June 22 1. Paula Rabinowitz: “Domestic Labor: Film

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Wednesday, June 22 1. Paula Rabinowitz: “Domestic Labor: Film Wednesday, June 22 1. Paula Rabinowitz: “Domestic Labor: Film Noir, Proletarian Literature, and Black Women's Fiction” 2. Giovanna di Chiro: “Living Envornmentalisms” Recommended: 3. Barbara Laslett and Johanna Brenner: “Gender and Social Reproduction: Historical Perspectives” M FS Modern Fiction Studies Copyright © 2001 for the Purdue Research Foundation. All rights she also allows Lucia access to an underworld and its erotics. In this film, as in the classic melodrama reserved. Imitation of Life (1934, 1959) in which a black maid's domesticity facilitates a white woman's business, the M FS Modern Fiction Studies 47.1 (2001) 229-254 maid participates in the maintenance of family economic order, helping to support it when there is no man around, and acts as confessor for the white woman she serves. 3 The black maid, like the detective or the Domestic Labor: Film Noir, Proletarian Literature, and Black Women's Fiction femme fatale, by occupation slides between two worlds: as a black woman in racially segregated America, she lives on the margins of white America; as a servant to the bourgeoisie, she inhabits the bedrooms of the Paula Rabinowitz white middle class. As entertainer, cook, and servant, the black woman is rarely the center of the action in film noir, 4 but her presence appears necessary to the complex postwar sexual and racial dynamics that On the trail of the missing Kathie Moffett, private investigator Jeff Bailey begins uptown, in a Harlem films noirs track by linking domestic melodrama to hard-boiled proletarian culture. nightclub, by interviewing Kathy's black maid, Eunice. In this minor scene in Jacques Tourneur's Out of the Past (1947), Bailey enters the smoke-hazed, jazz-filled club and is escorted by the maître-d' to a table with What kind of work does the maid perform in film noir? Her service to the femme noire, as an overt femme two couples; he asks which woman worked for Kathie. Bailey seems at ease in the club; like many private noire, is more complex than simply that of the loyal employee of Hollywood melodrama. Her ability to eyes, he's used to interacting with African Americans, and after one couple leaves for the dance floor he understand and function within alien worlds makes her more of an equal to the female protagonist, yet she inquires about Kathie. Elegant and sly, Eunice says she has no idea where Kathie went--she got some does little more than protect the protagonist, lying and covering up for the white woman. Because the dark vaccinations and took off, to Miami perhaps. Bailey buys the table a round of drinks and leaves, lady of film noir was a white woman--glowingly white in her initial key-lit scenes--the black domestic commenting, in his detective voice-over narrative, that you don't get vaccinated to go to Florida: Kathie worker of film noir crystallized racial and class issues raised (and not always addressed) by the Left during took off to Mexico. James Naremore describes this scene and others like it, depicting interactions between the 1930s when domestic labor debates resurfaced after disappearing with Charlotte Perkins Gilman's beautiful, sophisticated black women and white detectives in various films noirs, as crucial to the powerful 1903 tract Women and Economics. On film, she shows up the bourgeois house as little more than construction of the noir hero's/detective's "aura of 'cool' [. .] his essential hipness" (240-41). 1 a brothel whose sole purpose--now that even the housewife is freed from housework [End Page 231] and Undoubtedly Naremore is correct, as the integrated nightclub is an iconic location within film noir and one childcare--is sexual and reproductive. Racial erotics, tracked throughout the 1930s in reportage, poetry, and generally visited by the male detective figure, but a difference here is that Eunice was Kathie's maid. She short fiction, became the focus of postwar novels by black women. Ann Petry's The Street (1947) and serves a woman, and she is a woman. [End Page 229] Gwendolyn Brooks's Maud Martha (1953), two novels by authors connected to the Left, were both published during the heyday of Hollywood's films noirs. Like the films' concerns with the new kinds of Coded through dress, lighting, and mise en scène as a femme fatale in her own right, Eunice is a replicant social relations forged during the Depression and World War II, each locates black women's labor within of Kathie's aura--a femme noire. The dark lady of film noir is a woman with a past, a kept woman who proletarian literary culture by linking domestic melodrama to female Bildungsroman. 5 performs no useful function other than sex. Her body is available, draped in mink and diamonds, for display and desire. She is free to meet men at night or in the afternoon because she is unencumbered by the As a popular medium, albeit often in its "B" form, postwar film noir began to visualize many of the issues usual trappings of domesticity. She is free in part because she has a housekeeper to clean up after a long lurking within proletarian literature--corrupt city life, the organization of work, social mobility, cross-class night of drinking, to fix the drinks and make the coffee, to help her dress. The "aura of cool" Blacks impart desire. As noir films borrowed 1930s proletarian narratives, themselves hybrid revisions of socialist realism to the white detective occurs through a transference: as authentic bearers of alienation, African Americans and domestic fiction, they also generated new literary concerns. The Street owes much to Stephen Crane's are the original outsiders. Both the white detective and the white femme fatale acquire their abilities to pass Maggie, Girl of the Streets and American naturalism, but it also taps fears haunting Tourneur's Cat People. into the underworld through their encounters with and knowledge of a darkness found beyond conventional 6 Gwendolyn Brooks structures Maud Martha like the jazz that orchestrates film noir as she revises a work and marriage. Like the "authenticity" of the original possessing an "aura," as Walter Benjamin defines coming of age story to reveal why the black femme fatale cannot be visualized in racist America. As Alan it (220), Eunice stands before Bailey as the "prerequisite" of another woman he has never seen. She doesn't Wald and Michael Denning have recently argued, the radical novel or the cultural front in American acquire a metaphoric status as femme noire; she embodies it. In this, she resembles Benjamin's notion of literature exceeded the bounds of 1930s proletarian culture. 7 For many writers, especially black writers, the "original" work of art, which remains fixed within "tradition," while its copies, endlessly available, are the themes and concerns central to 1930s fiction--the experience of collective subjectivity within social mobile and potentially revolutionary (223-24). Eunice vibrates sexuality--a sign hanging around black relations formed by economic and racial stratification--appeared after the Depression had ended. Invisible women's necks since they arrived shackled together on this continent--and thus allows us to know Kathie Man is a 1930s novel even if it didn't appear until 1952; so too is Margaret Walker's Jubilee, begun in the through her. Yet Eunice resists Bailey; she is straightforward in her lie and Bailey can see through her 1930s and completed in the 1960s. because she is the original woman of the dark. She points up Kathie's double duplicity. The "tradition" of racism and its economic and sexual effects are potentially wrecked by the white femme fatale. However, Focusing on the difficulties black women faced in supporting themselves and their families, analyzing the her radical rupture with conventional white femininity is still dependent upon this tradition. racial and sexual dynamics of black domestic workers in white women's households, The Street and Maud Martha deepened the domestic labor debates central to the Left. Beyond an analysis of housework as a Eunice never reappears in the film; however, her presence is essential to the construction of the white "double burden" for the working woman employed outside the home, these two novels consider what it femme fatale in many films noirs. Dressed as Billie Holiday did in the 1940s, upswept hair coifed with a means to maintain two homes--one's own and another's of a different class, race and neighborhood. 8 This veil of white camellias, black dress accented with white trim, Eunice, stylish and independent, assuredly contradiction is the focus of Toni Morrison's first novel (set during the 1940s), The Bluest Eye, in which resists a white man's authority. She defends herself and her former boss in a gesture of female solidarity, [End Page 232] Pauline travels between the white family, on whose blonde daughter she dotes, and her which extends to her look: the two women are erotic cross-dressers, as the white femme fatale inevitably own, where she ignores her daughter Pecola (whose name echoes that of Peola in Imitation of Life) with wears the clothes of the torch singer while [End Page 230] the maid acquires her boss's hand-me-downs. tragic consequences. It is also graphically displayed in Richard Wright's 12 Million Black Voices (1941). In Her deception parallels the deceit embodied by the object of desire, in this case femme fatale Kathie one two-page spread, pictures of the kitchenette are contrasted with the uniformed maid in a sparkling Moffet. Eunice's loyalty is to her employer, whom she knows has had a rough time with men, and who, kitchen (132-33).
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