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Preface and Acknowledgments Chapter 1: Enter the Spider Woman Notes PREFACE AND ACKNOWLEDGMENTS 1. Except when the original is required for the argument, all quotations will be in English translation throughout the text, with English source first, then the Spanish. 2. I can’t resist quoting Ellis Hanson’s good-natured dismissal of Kaja Silverman’s book, insofar as it comes across as “defending perversions”: “Silverman comes to the defense of those many, seemingly inevitable pleasures, reassuring us that masochism is okay if it is male, fetishism is okay if it is female, idealization is okay if it glorifies the downtrodden, and identification is okay if it is with some- one we are not supposed to be” (Out Takes 13). Hanson thinks that it would be better to write essays without the moralizing of any ethical criticism, even feminist-psychoanalytic moralizing. But I hope you’ll be keeping a scorecard for my perversions anyway. CHAPTER 1: ENTER THE SPIDER WOMAN 1. In the novel’s many avatars in play and film, Puig kept Molina’s age to be the same as his own, while Valentín remained twenty-six years old. I thank Benigno Sifuentes for this insight. Levine’s biography of Puig certainly emphasizes the chatty, gossipy, storytelling side of him, in part because of her extensive use of the letters he wrote home to his mother, another point of identification between Puig and Molina, whereas Valentín’s family has nothing in common with his author’s. 2. One of the first critics to relate Foucault to Molina’s discourse of clichés is Alicia Borinsky in her Ver/Ser visto. Carlos Alonso’s The Burden of Modernity underlines Vargas Llosa’s insistent attempt to define the post-Boom moment as one of essentially light and trivial literature, “like Puig’s,” a misreading that shows his distance from Puig even as it enables him to write Tía Julia y el escribidor. For a more comparatist perspective on the new respect for cliché in the writings of the ’80s, ushered in by Puig and by Angela Carter, see Michael Wood’s Children of Silence, essays honed from his articles in The New York Review of Books. 212 Notes 3. The most recent works which I have found useful for charting a path relating narrativity to desire in a European, mostly nineteenth-century context, would be Barthes’s S/Z, Peter Brooks’s Reading for the Plot, and Ross Chambers’s two books, Story and Situation and especially Room to Maneuver, which ends with a reading of Puig and with a reading of a novel about Ovid, David Malouf’s An Imaginary Life. 4. Similar criticisms have been labeled against the canons studied in Anglo-American and French literature: Sedgwick, Moon, D.A. Miller, Lucey, have all found more energy studying the male canon than the female. Fortunately, both Judith Roof’s Come As You Are: Sexuality and Narrative and Terry Castle’s The Apparitional Lesbian insist on a specificity of women’s experience in their examples. For my own project I am saddest about excluding the short stories and nov- els of Silvina Ocampo, surely the Latin American woman writer who has the most right to be considered a narrator of the perverse. Ocampo engaged in a relationship with lesbian poet and essayist Alejandra Pizarnik, whose relation- ship to Sadeian discourse and to Cortázar forms part of my chapter 4. A more detailed view of the “Rioplatense feminine perverse” would include Borinsky’s minas crueles, Molloy’s nouveau-roman lesbians and gay men, and Peri Rossi’s faux-male solitarios de amor, whom I hope to study in a future project. 5. In this essay he refrains from explicating his theory of sublimation, one aspect of which argues that love is to sex as the upper parts of the body are to the lower parts, but it is a distinction that Molina and Valentín in their prison understand implicitly: Molina asks Valentín for a kiss only after they have been having sex regularly, a proof to him that the relationship is not simply physical but also romantic: [Molina]:—Well, but as a farewell, I do want to ask you for something . [Valentín]:—What?—Something you never did, even though we did a lot worse things.[. .] A kiss. [. .] I’m curious . would you feel much revulsion about giving me a kiss?—Mmm. It must be a fear that you’ll turn into a panther, like with the first movie you told me.[. .]—It’s very sad being a panther woman; no one can kiss you. Or anything.—You, you’re the spider woman, that traps men in her web.—How lovely! Oh, I like that (260–1/264–5). 6. For an analysis of the complicity between Ellis and one of his sources the Symbolist author John Addington Symonds, see Koestenbaum’s brilliant essay, “Crouching Among Sailors” in his Double Talk. 7. Laplanche and Pontalis base the reading of the primal scene on a lovely narra- tive of the perverse, the Wolf Man case history. Besides their Vocabulary of Psycho-Analysis on the primal scene, see also their contribution to Burgin et al., eds., 1989. 8. Zizek’s use of fantasy as fiction is far more subtle than this, except whenever he wants to make a political point: see The Plague of Fantasies, which is also marred by a sort of vanguardist suspicion of narrativity. A closer example of circular rea- soning would be Marjorie Garber’s use of the maverick psychoanalyst Robert J. Stoller’s formulation about fetishism, “a fetish is a story in the form of an object”; see my discussion in chapter 4. Notes 213 9. One danger which may not be obvious to many academic critics is how easily identifying with characters permits a slide from a generally Freudian analysis to a generally Jungian one. Many of the Latin American authors in this study, par- ticularly Borges, Cortázar, and (as we shall soon see) Paz, were quite sympa- thetic to Jung. All the more reason to prefer a reading of The Spider Woman as a position which Valentín invents and into which Molina insinuates himself, not some preexisting Dark Goddess with its pre-existing symbolic content. 10. Elizabeth Abel’s Virginia Woolf and the Fictions of Psychoanalysis demonstrates persuasively that Freud singled out a patriarchal trend in European anthropol- ogy at a moment in which a matriarchal vision of prehistoric societies was equally available to him. The central text for a critique of the collusion between psychoanalysis and structuralist anthropology is, of course, Deleuze and Guattari’s Anti-Oedipus: Capitalism and Schizophrenia, and I follow some of its insights in my main text. 11. See his Myth and Archive: A theory of Latin American narrative, especially chapters one and four. 12. Ilan Stavans’s brilliant if uneven The Riddle of Cantinflas: Essays in Hispanic Popular Culture (1998) alludes to the trajectory I stretch out here (48), noting that the Paz-Ramos line of national character essays is extended by Roger Bartra’s 1987 The Cage of Melancholy, which is likewise haunted by a sense that the lower- class vulgarity of certain Mexican males is the key to understanding all Mexican men; Stavans tends to agree, but celebrates what Ramos and Paz deplore. 13. Of interest structurally: Paz seems astonished that the pachuco, although between two traditions, participating in neither, is nevertheless not paralyzed but in some anarchic ways hyperactive and excessively visible (just as queer cul- ture claims to reject both straight culture and gay culture). Of interest prophy- lactically: although mixing certain signs of masculinity and femininity by 1940s standards, the pachuco dandy does not deviate from the level of misog- yny of the cultures he stands between (just as we cannot presume that queer theory and culture shake off inherited male privileges). Paz also makes his appearance in lesbian and gay studies, the tamer precursor to queer theory, insofar as Almaguer and Lancaster cite some remarks from The Labyrinth of Solitude to bolster their claim that the active role in gay sex is not, or not very, stigmatized among Mexican (and other Latin or Latino) men, only the passive role. And Valentín, albeit in a prison cell, does not feel his masculinity threat- ened by penetrating Molina. 14. Rosario Castellanos, Mexico’s premier first-wave feminist writer, skewers the traditionalist reading of Eve and Malinche both, not to mention a good half- dozen other stereotypes of Mexican women, in her posthumously published satirical play El eterno femenino (1975). 15. For queer readings of Moctezuma, see José Piedra, “Colonial Sissies”; for the larger context of marginalizing masculinity in the colonial enterprise, see Margarita Zamora, “Reading in the Margins of Columbus.” 16. There are no real criticisms of Paz in the North American academy, except of the historicizing kind: Jason Wilson suggests that Paz’s position is of a piece 214 Notes with Surrealist doctrines of love on the one hand and discourses emphasizing the alienation of modernity on the other, implying that these are the truth about love and the truth about modernity. Straddling the North American and Mexican academies is Claudio Lomnitz’s critique of centralist thinking in his Exits from the Labyrinth. In Mexico, criticisms of Paz blur into criticisms of his role for twenty years as the gatekeeper to official literary culture (even when lit- erary culture was at odds with political culture). Probably the best independent critique of Paz from within Mexico, though not without flashes of bitterness, is Jorge Aguilar Mora’s La divina pareja, which, instead of opposing the European intellectual tradition which Paz employs from some “autochthonous” or empiricist position, founds his critique in the dissonant voices of the European tradition—Nietzsche, Deleuze—which Breton and Sartre could never fully silence, much the way that, say, Greil Marcus in his book on punk music’s roots in a “secret history of the twentieth century” critiqued Surrealism and existentialism for undervaluing the negative moment of Dadaism and other movements with which they were in competition.
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