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The Play of Desire: Sinclair Ross's Gay Fiction

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The Play of Desire: Sinclair Ross's Gay Fiction Université de Montréal The Play of Desire: Sinclair Ross's Gay Fiction Andrew Lesk Département d'études anglaises Faculté des arts et des sciences Thèse présentée à la Faculté des études supérieures en vue de l'obtention du grade de Philosphiæ Doctor (Ph. D.) en Études anglaises juin 2000 8 Andrew Lesk, 2000 National Libmry Bibiiithèque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services setvices bibliographiques The author has granteci a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Libmy of Canada to Bibliothèque nationale du Canada de reproduce, loan, distriiute or sel reproduire, prêter, distribuer ou copies of this thesis in rnicroform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/filrn, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts kom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Université de Montréal Faculté des études supérieures Cette thèse intitulée: The Play of Desire: Sinclair Ross's Gay Fiction présentée par: Andrew Lesk a été évaluée par un jury composé des personnes suivantes: Thèse acceptée le ....................../3 mAP, The tradition of an identifiable homosexual writing in Canada has long been suppressed in order that a virile heterosexuality might continue to be inscribed upon the national consciousness, especially in the process of building a national literature, in either Engiish or French. The English Canadian canon is a consciously consiructed literary place wherein only those texts, and their authors, that can be critically authorized to reflect this national "goal" are admitted. The aspiration and need for a "straight"-forward canon underscored-and continues to do so-an anxiety regarding presumably uncontrollable (sexual) desires seemingly inimical to its project. Homosexual desire, this dissertation argues, has often been pathologized, criminalized and ignored, and the study of its place in writing by (or about) gay and lesbian Canadian writers has been woefully underexamined (if not suppressed itself). In order to rectify this situation, this dissertation recasts both the writing and the reading of the writing of Sinclair Ross. It argues that an appreciation of Ross must take into consideration the discourses circulating in Ross's formative years (and beyond), especially those discourses which prescribed a normative (hetero)sexuality and which controlled other sexualities by labeling them either deviant or criminal, Ross's coded and "closeted" fictions reveal configurations of problematic identities, genders, and subjectivities, especially as these evoke and trouble "acceptable" (sexual) desire. The threat (or promise) of a homosexual Other is suppressed or misrepresented in critical examinations of Ross's fictive characters, based largely on a misunderstanding, perhaps, of Ross's literary exhibition of the closet, one which underscores a strategic (though perhaps unconscious and necessary) encoding of what Eve Sedgwick calls "male homosociality." Key to this dissertation's argument is the notion that Ross may have rejected as rnuch as accepted psychosocial profiles of the homosexual in mid- century Canada. The influence of the work of sexology and psychiatry cannot be underestimated, though it was (and is) not the only formative discourse circulating during Ross's life. The trajectory of Ross's writing, from 1934 to 1974, reveals an ongoing and shifting concern with not only (sexual) "deviance" but also gender. The examinations of gender play and instabiiity in Ross's early stories give way to a concern with the representation of a homosexuality not differentiated by "gender confusionw-such as a "manly womanW-but by an allegorized narcissism andlor sense of criminal deviance. Ross's growing awareness of the contradictions between what was considered sexually "criminaIn-such as homosexuality-and the ability to write about it accurately (as far as one is able to do so) resulted in the inability of Ross's "homotexts"-his stylized representation of homosexuality-to withstand the contradiction. Infomed by gay and lesbian studies, queer theory, and feminist theory, this dissertation illustrates my contention that queering Ross both reveals new avenues for textual exploration and threatens foreclosure of a cntical understanding of the impossibility of hornosexual subjectivity in his fiction. My critical interventions propose that an understanding of the unstable categories of desire, identity, and subjectivity are required in order to comprehend Ross's concerns with "homosexual difference" and changing configurations of gender and sexuality. La tradition d'une écriture homosexuel identifiable au Canada a été supprimé pendant longtemps, ahde permettre l'inscription d'une hétérosexualité vide sur la conscience nationale, surtout en cours de développer une littérature nationale en anglais ainsi qu'en fiançais. Seul les textes des auteurs autorisés à refléchir ce "but" national sont admis dans le canon anglais- canadien, un milieu créé consciemment. L'aspiration et le besoin d'un canon b'direct" a souligné - et continue de le faùe - une anxiété vis-a-vis les désYS (sexuels) soi-disant incontrôlables et apparemment opposés à son projet. Cette dissertation soutient que le désir homosexuel a souvent été depeint comme pathologique, crllninalisé et ignoré, et que l'étude de sa place dans la littérature écrite par (ou concernant) les auteurs canadiens gaies et lesbiennes a été tristement sousexaminée (sinon supprimé). Ahde rectifier la situation, cette dissertation refait l'écriture ainsi que la lecture de l'écriture de Sinclair Ross. Elle argumente qu'une appréciation de Ross doit réfléchir le discours qui circulait pendant les années de fomtion de Ross (et audelà), surtout le discours qui prescrit une (hétéro)sexualité normative et qui contrôle les autres sexualités, en les étiquetant déviantes' ou bien criminelles. La fiction de Ross, codée et ''aiferniée," &le les configurations des identités, des sexes et subjectivités problematiques, surtout car ceux-la évoquent et troublent le désir (sexuel) "acceptable." La menace (ou la promesse) d'un Autre homosexuel, est supprimé ou mal representée en cours de l'évaluation critique des cacactères fictives de Ross, peutêtre basé en grande partie sur un malentendu de son exhibition littRaire de "l'armoire," soulignant un codage stratégique (purtant, même si c'est subconscient et nécessallp) d'une "homosocialité mâle," comme c'est appelé par Eve Sedgwick. Ross aurait pu rejeter autant qu'accepter les profiles psychosociaux de l'homosexuel au Canada au milieu du siècle, une notion clé dans cette dissertation. L'influence de sexologie et de la psychiatrie ne doit pas être sous-evaluée, pourtant ce n'était (et n'est) pas le seul discours formatif qui tournait pendant la vie de Ross. La trajectoire de l'écriture de Ross de 1934 à 1974, révèle une inquiétude continuelle et changeante à l'égard de la représentation d'une homosexualité qui n'est pas differenciée par une "confusion des sexes" - par exemple, une 'îemme masculine" - mais plutôt par un narcissisme allégorisé ethun sens de déviance criminelle. La perception montante des contradictions entre ce qui était considéré sexuellement "criminel" - par exemple, l'homosexualité - et l'abilité d'écrire sur ce sujet avec précision (en tant qu'on est capable de le faire), a mené a l'habilité des "homotextes" de Ross - sa représentation stylisée de l'homosexualité - de résister a la contradiction. Informée des études gaies et lesbiennes aussi bien que la théorie féministe, cette dissertation illustre mon ahtionque l'écriture de Ross déroule des nouvelles voies d'exploration textuelle, et menace la fermeture avant ternie de la compréhension critique de l'impossibilité de la subjectivité homosexuel dans sa fiction. Mes interventions critiques proposent qu'une compréhension des catégories instables du désir, de l'identité et de la subjectivité, sont requis pour comprendre les soucis de Ross a l'égard de "la différence homosexuelle" et les con€igurations changeantes de sexe et de la sexualité. vii This dissertation and my doctoral studies were made possible by the valuable financial assistance I received from the Université de Montréal, the Département d'études anglaises, and the Canadian and Ontario governrnents. 1 would like to thank my supervisor, Lianne Moyes, for her perceptive and generous assistance in both challenging my work and keeping me on track. In addition, 1 would like to thank Robert K. Martin, whose interest in écriture gaie provided me with a seminal focal point. The Département d'études anglaises has always provided me with both practical experience and intellectual stimulation, in having me teach courses which have contributed toward professonal apprenticeship; and in particular, the department secretaries, Michelle Hamelin-Braun and Johanne Simard, have always been helpfùl in getting me through the finer details. I would also like to express my gratitude to others who have, in various ways, contributed to this endeavour: Arnaryll Chanady, Terry Goldie, John O'Connor, Patrick HoIland, Janice Kulyk Keefer, Mary Nyquist, Alice van
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