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i
The Modernist
Art of Queer
Survival
Benjamin Bateman
1
iv
1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.
Published in the United States of America by Oxford University Press
198 Madison Avenue, New York, NY 10016, United States of America.
© Oxford University Press 2018
All rights reserved. No part of this publication may be reproduced, stored in
a retrieval system, or transmitted, in any form or by any means, without the
prior permission in writing of Oxford University Press, or as expressly permitted
by law, by license, or under terms agreed with the appropriate reproduction
rights organization. Inquiries concerning reproduction outside the scope of the
above should be sent to the Rights Department, Oxford University Press, at the
address above.
You must not circulate this work in any other form
and you must impose this same condition on any acquirer.
Library of Congress Cataloging-in-Publication Data
Names: Bateman, Benjamin, author.
Title: The modernist art of queer survival / Benjamin Bateman.
Description: New York, NY : Oxford University Press, 2018. |
Includes bibliographical references and index.
Identifiers: LCCN 2017006765 (print) | LCCN 2017025591 (ebook) |
ISBN 9780190676544 (pdf) | ISBN 9780190676551 (ebook) |
ISBN 9780190676568 (online course) | ISBN 9780190676537 (cloth : acid-free paper)
Subjects: LCSH: English literature—20th century—History and criticism. |
Modernism (Literature)—England. | Modernism (Literature)—United States. |
Homosexuality and literature. | Survival in literature. | Collective memory and literature. |
Literature and society—England—History—20th century.
Classification: LCC PR478.M6 (ebook) | LCC PR478.M6 B38 2018 (print) |
DDC 820.9/112—dc23
LC record available at https://lccn.loc.gov/2017006765
9 8 7 6 5 4 3 2 1
Printed by Sheridan Books, Inc., United States of America
v
Contents
Foreword vii
Acknowledgments xi
Introduction 1
1. James’s Animal Encounters 22
2. Wilde’s Messy Messianism 45
3. Forster’s Queer Invitation 64
4. The Invitation’s Success 85
5. Cather’s Survival by Suicide 114
Coda: Queerness’s Bloody Narration 140
v
vi
vi
Foreword
At the heart of Benjamin Bateman’s The Modernist Art of Queer Survival stands
a temporal paradox that is fundamental as well to modernism more broadly—
that study (“-ism”) of the “just now” (“modo”) is doomed, always, to belated-
ness. Bateman, a canny reader of queer theory and a formidable theorist in his
own right, puts some of this century’s most influential queer theory (as well as
the psychoanalytic writing of Michael Eigen) into productive conversation with
unmarked queer writing of the late nineteenth and early twentieth centuries. What
results is what one always hopes for from such intellectual alchemy: both the the-
ory and the objects of analysis are enriched.
The HIV/AIDS crisis of the 1980s made manifest in a blunt and brutally public
way the precarity that has always haunted queer lives. Queerness “is always under
threat,” Bateman writes, and “its survival cannot be taken for granted.” In the cold
light of this stark truth, and under the tyranny of what he famously dubbed “repro-
ductive futurism,” no less a thinker than Lee Edelman advised queers to “reject the
future and to ‘accede’ to their ‘figuration’ as the death drive.” Bateman is not the
first thinker to resist the inevitability of this conclusion, of course, but his rejoin-
der is utterly novel. For Bateman sends us back to the untimely and proleptic work
of Oscar Wilde, Henry James, E. M. Forster, and Willa Cather, which, once our
postmodernity has taught us how to read them, turn out to contain wisdom for
these times, to provide a transatlantic archive of “alternatives to conventional pro-
tocols of survival”—to teach us, in short, what Bateman calls (in a formulation
both precise and unforgettable) “the modernist art of queer survival.”
An important part of what Bateman takes from Eigen is an understanding of
the sovereign self—a self, as Bateman memorably evokes it, that is “composed,
vii
vi
viii Foreword
Foreword ix
Acknowledgments
This project could not have survived without the intellectual influence, generosity,
and comradeship of some very special people. Will Schroeder helped me con-
ceptualize the “queer invitation” many years ago, and I am indebted to him for
countless conversations on the topic. John Havard has been a continuing source
of support and critical feedback, and Elizabeth Adan has collaborated with me on
other projects whose theoretical currents animate this one. Andrew Knighton has
been my colleague in arms at Cal State Los Angeles and an embodiment of the
teacher-scholar ideal. I am lucky to call these four my peers and dear friends.
The completion of this book was made possible by a sabbatical and by fellow-
ships from the American Communities Program and the Barry Munitz Fund at
Cal State Los Angeles. I had the good fortune of being able to write the early chap-
ters at the Estación de Biología Tropical Los Tuxtlas (near Catemaco, Veracruz)
and the final chapters in Paris, and I had the even better fortune of writing all the
chapters in the company of my intellectually inspirational partner and co-survivor
of thick and thin, J. P. Drury.
Boundless gratitude goes to Rita Felski, who introduced me to queer theory,
encouraged my doctoral study, and then became my dissertation director and
mentor at the University of Virginia. Other intellectual support and camarade-
rie at UVA, Cal State Los Angeles, and elsewhere came from Kristen Taylor (the
most fabulous roommate and confidante anyone could ever have, anywhere), Walt
Hunter, Maria Karafilis, Anna Carastathis, Marlon Ross, Eric Lott, Lawrie Balfour,
Jim Garrett, Dionne Espinoza, Ruben Quintero, Michael Calabrese, Stewart Pillow,
Helen Dunn, Matthew Morrison, Robert Mendoza, Jennifer Geraci, Efren Lopez,
Cyndi Donelan, Jason Coats, Eric Lewitus, Brian Roberts, Justin Zelikovitz, Rob
xi
xi
xii Acknowledgments
Stilling, Marnella Stout, Warren Arbogast, Holly Evans, and Steph Brown. The hot
yoga community in Charlottesville helped keep me sane during graduate school
and yielded the invaluable friendships of Severine Bertret, Tricia Neumann, Lizzie
Clark, and Michaela Curran Grubbs.
A special place is reserved for Jennifer Wicke, who influences every page of
this book. Jennifer taught and keeps teaching me, quite simply, how to read. The
roots of every chapter lead back to seminars and one-on-one conversations with
Jennifer, and for over a decade she has been showing me, as the fiercest of friends,
how to pair close textual analysis with global political, environmental, and ethical
awareness. My sense of modernism is hers, and for a reason I cannot fully explain
I will always consider Lucy Gayheart our most precious gift to one another.
An earlier and abbreviated version of chapter 1 appeared in Modern Fiction
Studies as “Species Performance, Or, Henry James’s Beastly Sense,” and an ear-
lier version of chapter 3 appeared in Twentieth Century Literature as “Beyond
Interpellation: E. M. Forster, Connection, and the Queer Invitation.” Much appre-
ciation goes to these journals for their generous permissions. For including the
book in a series that has taught me so much about modernism, The Modernist
Literature and Culture Series, additional appreciation goes to Kevin Dettmar and
Mark Wollaeger, as well as to the reviewers who gave the manuscript serious and
thoughtful attention.
Finishing this book about survival was made both difficult and urgent by the
death of my brother Thomas from complications of aplastic anemia. He would
have detested a sentimental tribute, and so I dedicate this book, no matter how
bizarre they will find it, to my entire family. My parents, Bob and Gail Bateman,
have offered unstinting support of so many kinds. Seeing my grandparents survive
in them brings relief.
xi
Introduction
In a recent essay, Dana Luciano and Mel Y. Chen write that the “primary catalyst
for queer thought” is a “desire to persist in the face of precarity” (193).1 Whether we
speak of queer bodies targeted with harassment or forcible medical intervention,
queer sensibilities derided as dangerous or immature, or queer intimacies denied
respect and legitimacy, we admit of a close companionship between queerness and
precariousness. We acknowledge, that is, that queerness is always under threat and
that its survival cannot be taken for granted. Sometimes these threats to survival
are vivid and immediate—for example, the AIDS crisis and its attendant crises of
ignorance and neglect—and other times they are subtle and entrenched, as in the
various micro-aggressions that wear queer people down and out. Eve Sedgwick’s
foundational “Queer and Now” commences with the sobering thought that “eve-
ryone who does gay and lesbian studies is haunted by the suicides of adolescents”
(1). Many queer lives, to be sure, end prematurely. But not all end in the physi-
cal expiration of life. Some terminate gradually and even unconsciously in the
countless concessions to normativity demanded by dominant cultures that per-
ceive, through a perverse set of projective identifications, their own survival as
imperiled by queerness.
Survival as competition, violent assertion, self-preservation—this is the loose
legacy of evolutionary thinking as it has been and continues to be hijacked by
ideologies of capitalism, heteronormativity, and rugged individualism.2 Grouped
1
2
loosely under the heading of “survival of the fittest,” these ideologies distort the
writings of Darwin and others to put a scientific, and therefore naturalizing,
veneer on social inequalities of various stripes.3 As we know from Foucault, these
discourses also, in their manic pursuit of a “normal” humanity, proliferate new
inequalities by generating a staggering array of racial and sexual deviancies. In
other words, “fittest” comes to mean the best fit with rapidly emerging norms of
development (including somatic shape and size), desire, and deportment. And
even as the regulation of these norms happens at a population level—giving rise to
the biopolitical era—conforming to them becomes a matter of individual distinc-
tion and specialness, producing a competitive struggle over who does normativity
best. The most important units of analysis for this biopolitical management are
the individual and the species, where the former aspires to embody the norms of
the latter and the latter’s future is guaranteed by the former’s strength, selfishness,
and self-possession.
Cast as survival’s foe, queerness encounters an almost impossible dilemma:
remain queer and risk extermination; or conform as best as possible and extin-
guish itself. Either approach leaves queerness in close proximity to death, but
it is the latter that has won the day in mainstream gay and lesbian politics
and representation. “Homonormativity,” Lisa Duggan explains, is a “politics
that does not contest dominant heteronormative assumptions and institutions,
but upholds and sustains them, while promising the possibility of a demobi-
lized gay constituency and a privatized, depoliticized gay culture anchored in
domesticity and consumption” (179). Duggan’s definition describes the con-
temporary, neoliberal moment—in which conservative values of marriage,
childrearing, military service, and commercial acquisition have become the
priorities of many LGBT people and organizations—but it also names an
assimilative impulse that has a long life in gay and lesbian history and that
has always promised protection and longevity in exchange for annihilation.
Homonormativity is a privileged survival strategy; it helps privileged queers
survive with their privilege intact. But what remains of their queerness is often
quite threadbare.
The stubborn persistence of those high suicide rates among LGBT persons
noted by Sedgwick, the continued failure of hetero-and homonormativity to sup-
ply the senses of fulfillment they promise, and the gathering evidence of possessive
individualism’s inducement of both economic and environmental precarity form
a forceful indictment, at once ethical and political, of normative survival’s appeal,
accessibility, and sustainability. As many scientists and philosophers have argued,
Darwin’s discoveries need not have contributed to this destructive situation. In
3
Introduction 3
his journal of 1837, for example, Darwin writes, “if we choose to let conjecture run
wild, then animals … may partake of our origin in one common ancestor—we
may be all melted together” (qtd. in Degler 7). While Darwin cannot be exon-
erated of imperial racism and human exceptionalism, as he prefers to keep his
conjecture on a shorter leash than “melt” promises, his theory of natural selec-
tion does in fact rob the human of its specialness. Man is no longer the intelli-
gent design of a creator who bestows upon him absolute dominion over all other
life; instead, he is merely another life form created by the impersonal and random
forces of natural selection. Destined for and to be nothing, man has no guarantee
of his futurity or viability. And since he came from nowhere special, he is headed
for nowhere special—no golden-avenued heaven to compensate for life’s constitu-
tive suffering.4
But once the notion of the afterlife and its concomitant immortality vanishes,
Adam Phillips argues, man must necessarily become oriented, lest he descend into
nihilism, to getting more out of life on earth (xv). Thus the “more” previously
reserved for eternal life becomes internal to life itself; it becomes the “sur” of sur-
vival. And this turn of events for Phillips is an invitation to invent and improvise
a future, to supply new directions and purposes to a life given none by nature.5
Elizabeth Grosz—who writes trenchantly against the ideological conflation of
Darwin and biological essentialism that has made Darwin a persona non grata for
feminists and queer theorists alike—argues that Darwin’s radical contribution is
“an anti-humanist … understanding of biological dynamics that refuses to assume
that the temporal movement forward can be equated with development or prog-
ress” (28). Darwin’s work thus anticipates contemporary queer scholarship arguing
that developmental narratives insisting bodies arrive at particular places at par-
ticular times—conventional life trajectories—are social constructions, not natu-
ral formations, that leave queers suspended in a state of “extended adolescence”
(Halberstam, In a Queer 175). What has happened in evolution’s history speaks
little of what ought to happen in the future. Indeed, there is little way to predict,
at least by the terms of natural selection, which variations and adaptations extant
today will persist generations from now. An oddball mutation of the present may
turn out to be tomorrow’s lifesaver, or it may not.
Echoing Phillips’s emphasis on the creative opportunities afforded by the after-
life’s attenuation and by the incorporation of survival’s “sur” into terrestrial exist-
ence, Grosz queries, “What kind of new understanding of the humanities would it
take to adequately map this [Darwinian] decentering that places man back within
the animal, within nature, and within a space and time that man does not reg-
ulate, understand, or control? What new kinds of science does this entail? And
4
what new kinds of art?” (25). This book answers Grosz not with the “new” art she
imagines does not yet exist but with a modernist literary archive underappreci-
ated for its alternatives to conventional protocols of survival. The early twentieth
century, after all, was the time when Darwin’s ideas, no longer totally doomed by
their atheistic implications, were taking firmer root and translating more audi-
bly into the social, tendentious, and teleological Darwinisms with which Grosz
takes issue. Their distortion contributes to and coincides with the medical sci-
ences’ production of normative sexuality via the specification, anatomization,
and categorization of “abnormal” bodies, pleasures, and desires. Recall Foucault’s
memorable observation from The History of Sexuality that whereas the sodomite
of the pre-sexological era “had been a temporary aberration, the homosexual was
now a species” (43). Although Foucault brings a pejorative tone to homosexuality’s
speciation, his rhetoric invites consideration of how this novel species, unfit for
the procreative imperatives of normative personhood, might survive and imagine
its survival differently. The writers assembled here—Henry James, Oscar Wilde,
E. M. Forster, and Willa Cather—are all now recognized, to varying degrees and
always with an ounce or two of anachronism, as LGBT thinkers and artists who
struggled with and against the gender and sexual binaries of their time. While the
approach of this book is not primarily biographical, its premise is that the lived queer-
ness of these authors animates their different but also provocatively resonant efforts
to detach futurity from conventional scripts, to loosen the grip of biological deter-
minism, and to widen the experiential and affective parameters of individual lives.
Queer survival for these authors, I will show, means not the extension of an
individual life into the future but the distension of life, and feelings of aliveness,
across personal, species, imperial, and generational boundaries. The individual
does not disappear entirely in this reconceptualization, but it loses its status as
the privileged locus of drama, animation, intention, and uniqueness. The “more”
of life is to be found not in more of (and more time for) one’s own self but in the
lives of others. Getting closer to these lives—physically, intellectually, affectively—
produces a different kind of aliveness that is at one and the same time swelling
and shrinking, enlarging and miniaturizing, invigorating and enervating. It is a
survival in which the self expands by losing and lives by dying. If what appears
is a fragile vision of collective and interanimate survival, then what disappears
is the certainty of individual distinctness and possession, and the desirability of
placing national, racial, sexual, and creaturely limits on what counts as (my and
our) life.6 Roy Scranton’s widely circulated essay “Learning How to Die in the
Anthropocene” observes, “if homo sapiens survives the next millenniums, it will
be survival in a world unrecognizably different from the one we have inhabited.”
5
Introduction 5