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Sappho: ]Fragments sappho: ]fragments Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-profit press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afloat. Contributions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t find a welcoming port elsewhere. Our adventure is not possible without your support. Vive la open-access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) Sappho ]fragments jonathan goldberg with an afterword by L.O. Aranye Fradenburg Joy sappho: ]fragments. Copyright © 2018 Jonathan Goldberg. This work carries a Creative Commons by-nc-sa 4.0 International license, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform, and build upon the material, as long as you clearly attribute the work to the authors and editors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transformation, you distribute your rebuild under the same license. http://creativecommons.org/licenses/by-nc-sa/4.0/ First published in 2018 by dead letter office, babel Working Group, an imprint of punctum books, Earth, Milky Way. www.punctumbooks.com The babel Working Group is a collective and desiring-assemblage of scholar–gypsies with no leaders or followers, no top and no bottom, and only a middle. babel roams and stalks the ruins of the post-historical university as a multiplicity, a pack, looking for other roaming packs with which to cohabit and build temporary shelters for intellectual vagabonds. We also take in strays. isbn-13: 978-1-947447-97-4 (print) isbn-13: 978-1-947447-98-1 (epdf) lccn: 2018967623 Library of Congress Cataloging Data is available from the Library of Congress Book design: Kristen McCants Cover design: Vincent W.J. van Gerven Oei Cover image: “Portrait of the Poetess Sappho,” Roman bust, Archaeo- logical Museum of Istanbul. Photograph by Eric Gaba (2013). Fragments 1. Sappho 15 2. γλυκύπικρον 21 3. Love Revealed 27 4. Living as a Lesbian 35 5. Histoire de Sapho 43 6. Chance Meetings 49 7. “Sapho to Philaenis” 59 8. The Country of the Pointed Firs 67 9. Carol 75 10. “To begin with Sappho” 89 11. The Bechdel Test 107 12. “The Wise Sappho” 115 13. Sister Outsider 125 Afterword: After-Party: Sappho Meets Freud 133 by L.O. Aranye Fradenburg Joy Bibliography 149 Acknowledgments Eileen Joy invited me to write a book for her punctum books Dead Letter Office series; indeed, it was she who suggested its title would be Sappho. I thank her for the provocation and the pleasure I took in fulfilling this assignment. At punctum I am grateful also to Vincent W.J. van Gerven Oei for the cover design and for so expeditiously answering queries and launch- ing the book. Kristen McCants did exemplary copyediting, unobtrusive and always attentive. I thank Tesla Cariani for some preliminary research on an image that proved unattainable. Dagmawi Woubshet and I exchanged a useful email on Zami. I am grateful for advice from Adam Haslett and Daniel Thomas Davis, from Bonnie Honig, Kevin Pask and Marcie Frank. Friends upon whose work I depended kindly endorsed the uses to which I put it: Karen Newman, Robert Reid-Pharr, Laurie Shannon. Lynne Huffer and Sharon Cameron each read a section of this book and responded in gratifying ways. Michael Moon read it all over and again at every stage. To him, as ever, my debts and love only increase. Eve Kosofsky Sedgwick comes first and last in this book, and rightly so; her thinking encompasses mine. I only wish she were still alive to share this one, or that I might once again have been in touch with Michelle Cliff about the ways her work has inspired mine. Without mostly believing or declaring themselves to be women, they are precocious in seeking out and meditating over trans- sexual stories, as if sure that those carry some personal message if only it can be divined . They are often gerontophilic: sharing a grandmother’s bedroom, hanging out . with the nuns. What is certain is that they find ways of spending time with women, whether their contemporaries or older, including their mothers and aunts . Their interest is increasingly in the women themselves, especially lesbians and proto-lesbians, an interest in resources that women and girls can confer — while the boys’ sexual attraction may indeed prove to be toward other men . Maybe not surprisingly, redefining identities and fooling with gender categories provide lifelong, tonic, and challenging nurturance . Eve Kosofsky Sedgwick, “Anality: News from the Front” 1 Sappho To begin to suggest what this book will do, it might be best to compare it with another recent book, also titled Sappho, that perhaps better fulfills the expectations that title may raise. I have in mind Sappho, by Page duBois, Distinguished Profes- sor of Classics and Comparative Literature at the University of California San Diego.1 DuBois, author of a previous book on Sappho (Sappho is Burning — a title, she notes in her acknowledgments, she owes to Judith / Jack Halberstam2) and the collaborator with John Daley on an edition of translations of the fragments, is an obvious choice to write a book in the “Understanding Classics” series to which it belongs. Unlike me, she is an expert in the field; her volume seeks to let readers know what can be known through the name “Sappho.” To the degree that it is possible, duBois provides information — about the life of Sappho, the corpus of her work, and the transmission of these archaic Greek texts as they were received in antiquity, in 1 All parenthetical citations in this chapter are from Page duBois, Sappho (London: I.B. Tauris, 2015). For another queer take on the reception history of Sappho, see Terry Castle, “Always the Bridesmaid, Never the Groom,” in Boss Ladies, Watch Out! Essays on Women, Sex, and Writing, 167–79 (New York: Routledge, 2002), inspired by Yopie Prins, Victorian Sappho (Princeton, nj: Princeton University Press, 1999). For an early tally of twentieth-century women writers engaged with Sappho, see Susan Gubar, “Sapphistries,” Signs: Journal of Women in Culture and Society 10, no. 1 (Autumn 1984): 43–62, https://doi.org/10.1086/494113. 2 Page duBois, Sappho is Burning (Chicago: University of Chicago Press, 1995), xi. sappho: ]fragments the classical era, and in more modern times. Her final chapter, “Queer Sappho,” is where her project meets mine. Indeed, in seeking to give her readers information, duBois heads in this direction; she offers anything but the concrete knowledge that her topics might lead a reader to expect. The only biography we have of Sappho was written sixteen hundred years after her lifetime. No exact dates for her seventh century bc corpus can be provided, nor is “corpus” really the right word to describe the fragments that we have. Only two or three poems are complete enough to be treated as texts; newly discovered papyri in the last couple of decades have substantiated some biographical information (found in Herodotus) about Sappho and her brothers and filled in the glimpses of herself in old age found in some fragments. They hold out the possibility of more discoveries in years to come. The two texts of Sappho most frequently discussed are Fragment 31, almost all of which is cited as exemplary in Longinus, and the initial poem to Aphrodite that was not printed until the sixteenth century. How Sappho was known in antiquity (Plato, for instance, alludes to her in the Phaedrus and named her as the tenth Muse) stands at some distance from the figure conveyed in the classical era (Ovid, in the Amores, penned an anguished letter from Sappho to her male lover Phaon; Catullus translated Fragment 31, substituting himself for Sappho as the presumed speaker in that poem), as well as from being the figure of all sorts of erotic distress she bears in modernity. Compiling the various accounts of Sappho that survive from antiquity, duBois concludes about them that “we will never know” how true any of them might be (80). “What do we make of the appearance of Sappho in [classical] comedy,” where she is the object of ridicule for unbridled heterosexual love, duBois asks, and answers, “Difficult to know” (93). “There is no stable ‘Sappho,’ no fixed person, no knowable biography, no final set of ‘collected works’” (153), she concludes, before turning to “Queer Sappho” for the possibilities that lie beyond the supposed certainties of the stable, the fixed, the known. That is where my Sappho is situated. It also is where duBois situates hers. Her opening sentences pronounce Sappho a “figure,” “no longer a person” (“a person perhaps,” she puts it a bit later [5]), “not yet an author,” 16 sappho “a somewhat enigmatic name,” “a nexus” of “knowledge, attachment and projection.” “Who or what is Sappho” (33), duBois asks, and seeks to give as full an answer as possible to the unanswerable question. In subtitling my book “Fragments,” I demure from pursuit of the goal of some kind of complete or absolute knowledge, and do not do what duBois attempts in her chapter 4, “Trying to Translate Sappho,” to list everyone from John Donne to Ezra Pound who attempted translations (among them, Katherine Philips, Aphra Behn, Michael Field, H.D., Monique Wittig, and Judy Grahn, to sample the list of female sapphists mentioned).
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