in formationNovember 18, 2006 6:04 am

Celina–

An Archive of Feelings
       Coming out of the well-established trauma theory proffered first of all by the Freudian notion of “the protective shield” (embodying both sensation and numbness) and taken up variously by different cultural theorists such as Benjamin and Jameson, Cvetkovich redoes the idea and the function of trauma by examining instances of feelings that are traumatic (but not necessarily fatal) in the spaces “on the side of the road” (16) (a notion similar to Sedgwick’s “beside”)—feelings burgeoning out of traumas like homosexuality, incest experiences (the section on which I hesitate), queer diasporas, and AIDS activisms. In talking about feelings, or emotions that constitute cultural experiences, Cvetkovich problematizes the definition of public and private spheres, or what constitutes a legitimate public sphere. Using feelings out of experiences of everyday trauma (as opposed to the so-called traumatic “big event”), she produces a cultural vocabulary that sustains various emotions as a valid organizing force for the “public” “sphere” without imposing an imperative of ethical emotions (Ch. One). This validation of ways of expressing or not expressing emotions, especially in the case of butch-femme relations, further changes the common idea of passivity and activity.
       The thrust of Cvetkovich’s project significantly lies in her creativity in reshaping the definition of “an archive,” as well as “how to come up with an archive.” Through her attention to the “space on the side of the road – locations of culture that often seem too local or specific to represent the nation (or read the public),” (16) such as the Tribe 8 mosh-pitting concert and the oral history project on ACT UP members (which I have a problem with), the topology of “an archive” now includes the ephemeral, the transitory, the non-conformist, and even the fictional (as in the fictional archive of Fae Richards in the pseudo-documentary The Watermelon Woman). Part of her goals in doing a creative archive is to produce vocabulary and to grant cultural visibility as well as legitimacy to communities “on the side of the road,” and in so doing, she allows the space for positively and creatively thinking about how different ways of living (such as lesbianism as a result of incestuous experiences) are as equally viable as many other means.

 

Touching Feeling
       Sedgwick’s Touching Feeling, as its title subtly implies, embarks on a project of what I would call the “spatialization of performativity,” a notion that takes up a tinge of Buddhist teaching in the ending chapter of her book.
       On the spatializing approach (or discipline, in her exact wording), Sedgwick sees how J. L. Austin ultimately (or fundamentally, I would say) attempts to blur the absolute distinction between performative and constative utterances, and how theorists of performativity therefore need to produce a map (constellation) of the relations of all possible performative utterances, including those not-so-apparent acts. Also drawing on the “aberrant” relation of the performative to its reference, as is posited by Paul de Man, Sedgwick perceives a spatial quality of the non-referential (or self-referential, as in Livingston’s words) move of the performatives, which then echoes the idea that the “referent always comes back to haunt the language user.” This spatial quality of the performativity theory can be further appreciated in Sedgwick’s pronouncement of her overarching theme of the book—the word BESIDE—, which in itself is not dualistic, agnostic, and ecological, a term that successfully replaces the wishful usage of the idea “marginal,” “periphery,” etc.
       In theorizing a spatialization of the performative (or so I think), Sedgwick picks up the notion of texture pronounced by Renu Bora and proceeds to state that how the sense of touch necessarily involves an array of conceptual and perceptual data, and how (using the example of Judith Scott) it hints at the dissolution of space between the person and the object bearing the texture (an idea reminiscent of Laura Marks’ haptic perception). This spatial dissolution, or at least shifting, is (my interpretation) a performative act that changes the relations of the person and the “thing,” an act that also produces affective relationship—that is, affective and cognitive at the same time. This relationship is performative in that the products of affects generate even more affective responses (autotelic).
       The Buddhist teaching, or the pedagogy of Buddhism, figures for Sedgwick as a performative teaching due to several reasons: It is first of all a subtle, non-identificary pedagogy that ponders on the commonly failed pedagogical moments in which the reversal of master/slave (master/pupil) relations takes place sometimes without our recognition, or precisely at the moment of our misrecognition. The topos of Buddhist teachings can thus be said to dwell on the notion of realization, or recognition, instead of plain “knowing” (till the moment you forget) — a problematic in western phenomenology of what “knowing” means. Sedgwick uses the example of “finger pointing at the moon” in Buddhist teaching to elucidate the troubling relations of the means (to indicate) and the end (to proffer). The spatial, and thus the performative, quality of the Buddhist teaching lies in the ambiguity of “what that pointing means.” The act of the pointing is both referential of the moon (which is probably too distant to be accurately comprehended) and self-referential of the fingertip that does the pointing. If we tentatively say that the moon is the end while the finger is the means, Sedgwick, following Buddhist teachings, states that the means is the end, and the end is the means. Between our fingers and the moon, therefore, lies the performative ecology that self-generates and proliferates.

in formationNovember 9, 2006 6:18 pm

Feeling Brown:
Ethnicity and Affect in Ricardo Bracho’s The Sweetest Hangover (and Other STDs)

José Esteban Muñoz *

Ethnicity, Affect, and Performance

The theoretical incoherence of the identity demarcation "Latino" is linked to the term’s failure to actualize embodied politics which contest the various antagonisms within the social that challenge Latino/a citizen-subjects. While important political spectacles have been staged under group identity titles such as Chicano and Nuyorican, Latino, a term meant to enable much-needed coalitions between different national groups, has not developed as an umbrella term that unites cultural and political activists across different national, racial, class, and gender divides. This problem has to do with its incoherence, by which I mean the term’s inability to index, with any regularity, the central identity tropes that lead to our understandings of group identities in the United States. "Latino" does not subscribe to a common racial, class, gender, religious, or national category, and if a Latino can be from any country in Latin America, a member of any race, religion, class, or gender/sex orientation, who then is she? What, if any, nodes of commonality do Latinas/os share? How is it possible to know latinidad?

Latino/a can be understood as a new social movement. In this sense I want to differentiate between citizen-subjects who subscribe to the category Latino/a and those the US census terms "Hispanic." Rejecting "Hispanic" in and of itself does not constitute a social movement, nor am I suggesting any such thing. But I do want to posit that such a linguistic maneuver is the germ of a self-imaging of Latino as, following the important and path-breaking work of Chicana feminist Norma Alarcón, an "identity-in-difference." In this schematic an identity-in-difference is one that understands the structuring role of difference as the underlying concept in a group’s mapping of collective identity. For Alarcón an identity-in-difference is an optic better [End Page 67] suited to consider contemporary mappings of diversity than the now standardized homogenizing logic of multiculturalism. 1 To be cognizant of one’s status as an identity-in-difference is to know that one falls off majoritarian maps of the public sphere, that one is exiled from paradigms of communicative reason and a larger culture of consent. This exile is more like a displacement, the origin of which is a historically specific and culturally situated bias that blocks the Latina/o citizen-subject’s trajectory to "official" citizenship-subject political ontology.

This blockage is one that keeps the Latina/o citizen-subject from being able to access normativity, playing out as an inability to perform racialized normativity. A key component of my thesis is the contention that normativity is accessed in the majoritarian public sphere through the affective performance of ethnic and racial normativity. This performance of whiteness primarily transpires on an affective register. Acting white has everything to do with the performance of a particular affect, the specific performance of which grounds the subject performing white affect in a normative life world. Latinas and Latinos, and other people of color, are unable to achieve this affective performativity on a regular basis.

In his study Marxism and Literature, Raymond Williams coined the term "structure of feeling" to discuss the connections and points of solidarity between working-class groups and a social experience that can be described as "in process" yet nonetheless historically situated. 2 Williams’s formulation echoes Alarcón’s explication of "identity-in-difference" as "identity-in-process." 3 I will suggest that Williams’s approach and a general turn to affect might be a better way to talk about the affiliations and identifications between radicalized and ethnic groups than those available in standard stories of identity politics. What unites and consolidates oppositional groups is not simply the fact of identity but the way in which they perform affect, especially in relation to an official "national affect" that is aligned with a hegemonic class. Latina/o (and other minoritarian) theatre and performance set out to specify and describe ethnic difference and resistance not in terms of simple being, but through the more nuanced route of feeling. More specifically, I am interested in plotting the way in which Latina/o performance theatricalizes a certain mode of "feeling brown" in a world painted white, organized by cultural mandates to "feel white." 4 [End Page 68]

Standard models of United States citizenship are based on a national affect. English-only legislation initiatives throughout the nation call for English to be declared the official national language. In a similar fashion there is an unofficial, but no less powerfully entrenched, national affect. It is thus critical to unpack the material and historical import of affect as well as emotion to better understand failed and actualized performances of citizenship. May Joseph has brilliantly explicated the ways in which the performative aspects of citizenship have been undertheorized in previous discourses on citizenship. She reminds readers that within the important discourses on citizenship and participatory democracy, "[p]erformance emerges as an implied sphere rather than an actually located project." 5 In this analysis, following Joseph’s lead, I position performance as an actualized sphere, one which needs to be grasped as such to enact an analysis of citizenship. Citizenship is negotiated within a contested national sphere in which performances of affect counter each other in a contest that can be described as "official" national affect versus emergent immigrant. The stakes in this contest are nothing less than the very terms of citizenship. It is thus useful to chart and theorize the utility efficacy of different modes of affective struggle. This essay suggests that it is useful to look at contemporary US Latina/o drama and performance as symbolic acts of difference that insist on ethnic affect within a representational sphere dominated by the standard national affect.

I contend that this "official" national affect, a mode of being in the world primarily associated with white middle-class subjectivity, reads most ethnic affect as inappropriate. Whiteness is a cultural logic which can be understood as an affective code that positions itself as the law. The lens of Foucauldian discourse analysis permits us to understand whiteness and the official national affect that represents its interests as a truth game. 6 This game is rigged insofar as it is meant to block access to freedom to those who cannot inhabit or at least mimic certain affective rhythms that have been preordained as acceptable. From the vantage point of this national affect code, Latina/o affect appears over the top and excessive. The media culture, a chief disseminator of "official" national affect, often attempts to contain Latina/o images as spectacles of spiciness and exoticism. 7 Such mainstream depictions of Latino affect serve to reduce, simplify, and contain ethnic difference. The work of many Latino/a playwrights and performers operates in direct opposition to the majoritarian sphere’s media representation of Latinos. Much of this performance work functions as political attempts to contest and challenge prefabricated media stereotypes with dense and nuanced accounts of the emotional performances of self that constitute Latina/o difference and survival. [End Page 69]

The affect of Latinos/as is often off. One can even argue that it is off-white. The "failure" of Latino affect, in relation to the hegemonic protocols of North American affective comportment, revolves around an understanding of the Latina or the Latino as affective excess. I know I risk reproducing some predictable clichés as to the Latino being "hot n spicy" or simply "on fire." I answer these concerns by making two points: (1) It is not so much that the Latina/o affect performance is so excessive, but that the affective performance of normative whiteness is minimalist to the point of emotional impoverishment. Whiteness claims affective normativity and neutrality, but for that fantasy to remain in place one must only view it from the vantage point of US cultural and political hegemony. Once we look at whiteness from a racialized perspective, like that of Latinos, it begins to appear to be flat and impoverished. At this moment in history it seems especially important to position whiteness as lack. (2) Rather than trying to run from this stereotype, Latino as excess, it seems much more important to seize it and redirect it in the service of a liberationist politics. Such a maneuver is akin to what I have described elsewhere as a disidentification with toxic characterizations and stereotypes of US Latinos. A disidentification is neither an identification nor a counter-identification–it is a working on, with, and against a form at a simultaneous moment. 8 Thus the "hot n spicy spic" is a subject who cannot be contained within the sparse affective landscape of Anglo North America. This then accounts for the ways in which Latina/o citizen-subjects find their way through subgroups that perform the self in affectively extravagant fashions.

Minoritarian identity has much to do with certain subjects’ inability to act properly within majoritarian scripts and scenarios. Latinos and Latinas are stigmatized as performers of excess–the hot and spicy, over-the-top subjects who simply do not know when to quit. "Spics" is an epithet intrinsically linked to questions of affect and excess affect. Rather than simply reject this toxic language of shame I wish to reinhabit it and suggest that such stigmatizing speech permits us to arrive at an important mapping of the social. Rather than say that Latina/o affect is too much, I want to suggest that the presence of Latina/o affect puts a great deal of pressure on the affective base of whiteness, insofar as it instructs us in a reading of the affect of whiteness as underdeveloped and impoverished.

The inquiry I am undertaking here suggests that we move beyond notions of ethnicity as fixed (something that people are) and instead understand it as performative (what people do), providing a reinvigorated and nuanced understanding of ethnicity. Performance functions as socially symbolic acts that serve as powerful theoretical lenses through which to view the social sphere. I am interested in crafting a critical apparatus that permits us to read ethnicity as a historical formation uncircumscribed by the boundaries of conventional understandings of identity. In lieu of viewing racial or ethnic difference as solely cultural, I aim to describe how race and ethnicity can be understood as "affective difference," by which I mean the ways in which various historically coherent groups "feel" differently and navigate the material world on a different emotional register. [End Page 70]

To better understand affective difference a turn to the phenomenological psychology articulated by Jean-Paul Sartre is efficacious. The methodological underpinnings of my approach have included Williams’s historicization of feeling and Alarcón’s formulations of an identity-in-difference. Sartre’s 1939 text, Sketch for a Theory of Emotions, first formulated many of the major ideas that would be fully realized in Being and Nothingness, the major text of the first half of his career. In that brief book Sartre rejects a Freudian notion of the unconscious and instead insists on a Husserlian description of the "conscious phenomenon" that is emotion. For Sartre consciousness is a conscious activity, the act of knowing that one thinks. Emotion is thus an extension of consciousness, what I would call a performed manifestation of consciousness. According to Sartre, humans comprehend the world as making demands on them. Life in this existentially and phenomenologically oriented description consists in a set of tasks, things we need to do. We encounter routes and obstacles to the actualization of certain goals, and make a map for ourselves of the world which includes these pathways and blocks to these goals. But when we are overwhelmed by this map of the world, a map replete with obstacles and barriers to our self-actualization, we enact the "magical" process that Sartre describes as emotions. When facing a seemingly insurmountable object, we turn to emotion. Sartre concludes this study by writing, "The study of emotions has indeed verified this principle: an emotion refers to what it signifies. And what it signifies is indeed, in effect, the totality of human relations of human-reality to the world." 9 I am most interested in this notion of emotion being the signification of human reality to the world. Such a theory is deeply relational. It refuses the individualistic bent of Freudian psychoanalysis and attempts to describe emotions as emotions, the active negotiations of people within their social and historical matrix.

While these ideas about the relational nature and social contingency of emotion are helpful in the articulation of this writing project, it is equally important to posit that I do not subscribe to Sartre’s approach without some deep reservations. Sartre ultimately describes the emotions as regressive, explaining that consciousness can "be-in-the-world" in two different fashions. One mode is what he calls an "organized complex of utilizable things," while the other magical way of being in the world clicks into place when the organized matrix of utensils is no longer perceivable as such and one becomes overwhelmed. 10 Emotions describe for Sartre our relations to a world that has overwhelmed us. In Sartre’s paradigm the magical realm of emotions is something we regress into when under duress. It does not take much critical scrutiny to unpack this move as betraying a typically misogynist gender logic that positions men as reasonable and better suited to deploying the world of utensils whereas women (and men who are overly feminine) are cast as a weaker order who must regress to a magical relation with the world. Furthermore, the discussion of magic and regression resonates with an understanding of people of color as primitives who forsake reason only to hide behind jujus.

Yet the actual description of an emotion can nonetheless be useful to a minoritarian theory of affect. Emotions are described in Sartre’s book as surfacing during moments [End Page 71] of losing one’s distance in relation to the world of objects and people. Because stigmatized people are presented with significantly more obstacles and blockages than privileged citizen-subjects, minoritarian subjects often have difficulty maintaining distance from the very material and felt obstacles that suddenly surface in their own affective mapping of the world. The world is not ideologically neutral. The organization of things has much to do with the way in which capital and different cultural logics of normativity that represent capital’s interests give normative citizen-subjects advantageous distance. I estimate that the use of Sartre’s affective sketch is the way it can help minoritarian subjects better comprehend the working of emotion. This mapping can potentially enable a "critical" distance that does not represent a debunking of emotion but, instead, an elucidation of emotion’s "magical" nature within a historical web. The phenomenological aspect of Sartre’s inquiry demystifies the magic of emotion and this in and of itself is an important contribution to a theory of the affective nature of ethnicity.

Unlike Sartre, Walter Benjamin values the realm of affect, which he sees as a vital human resource under siege by the advent of technology. For Benjamin, the realm of affect has been compromised within the alienating age of mechanical reproduction. Though some technology represents the possibility for a utopian return of affect (notably cinema), Benjamin nonetheless longs and searches for strategies by which affect could work through (not avoiding, ignoring, or dismissing) the numbing alienation associated with technological modernization. Furthermore, he pursues aesthetic strategies that, as Miriam Hansen put it, "reassess, redefine, the conditions of experience, affectivity, memory and the imagination." 11 Sartre’s work, when considered and partially amended in relation to a writer like Benjamin, stands as a productive theoretical opening.

Within this field of contested national affect, Latina/o drama possesses the potential to stage theoretical and political interventions. David Román has argued that the performance of Latino has "been politically efficacious for people from quite distinct cultural backgrounds and ideological positions to meet and organize under the label of Latina/o and Chicana/o in order to register an oppositional stance to majoritarian institutions." 12 While I have stated that the term "Latino" has been politically incoherent, it has nonetheless, as Román has argued, done some important political work. 13 The performance praxis of US Latina/os assists the minoritarian citizen-subject in the process of denaturalizing the United States’ universalizing "national affect" fiction as it asserts ontological validity and affective difference. A useful example of this theoretical/political potential is the often misread drama by the Cuban American playwright, Maria Irene Fornes, who eschews identity labels like Latina. Her refusal or reluctance to embrace an uncritical model of Latina identity is a critical [End Page 72] and theoretical act. Only a few of Fornes’s plays actually feature Latino/a characters: Conduct of Life is staged in a generalized Latin American nation, and Sarita features characters clearly marked as Latina/o. Even so, I contend that all of her dramatic personages represent Latina/o affective reality. Their way of being, their modes of negotiating the interpersonal and the social, stand as thick descriptions of ethnic feeling within a hegemonic order. Fornes’s oeuvre stands out from the mainstream of American theatre partly because one is not easily able to assign motivation to her characters. Traditional narrative arcs of plot development are all but absent in her work, a difference that is often interpreted as the avant-garde nature of her plays. Such a reading is only half right, however. This particular mode of avante-gardism can be characterized as representative of a specifically transcultural avant-garde. Her plays appear mysterious to North American eyes because they represent a specifically Latin/o manera de ser (way of being). This mystery is not accidental or a problem of translation; this effect is, instead, strategical, measured, and interventionist.

This Bridge Called My Crack

In the remainder of this essay I will focus on a case study that I view as a left theatricalization of the affective overload that is latinidad. I will consider Ricardo Bracho’s play, The Sweetest Hangover, and specifically its 1997 production at Brava Theater in San Francisco. This play represents a life world where Latina/o affect structures reality. The "excessive" affective that characterizes latinidad (and excess should always be underscored in this context as merely relative) is the fundamental building block of the world imagined in this performance. I will go on to suggest that the world of Bracho’s production also indexes other anti-normative subcultural formations–such as the alternate economies of recreational drug use and homosexual desire.

This leads me to this paper’s punning subtitle, "This Bridge Called My Crack," a play on the classic 1981 anthology of writing by radical women of color, This Bridge Called My Back. The word "crack" is invoked in this section as part of a playful attempt to highlight the thematics of anal eroticism and recreational drug use–the crack is not crack cocaine but instead crystal meth, a drug that, in certain vernacular orbits, is referred to as "crack." It is important to note that my punning here is meant to serve more than the general cause of irreverence. I am instead interested in calling attention to the continuation of the radical women of color project by gay men of color. In the 1983 foreword to Bridge, Moraga comments on the shift in cultural climates between the 1981 volume and the edition she is prefacing; within a parenthesis she writes: "(I am particularly encouraged by the organizing potential between third world lesbians and gay men in our communities of color)." 14 Granted, I make much of this parenthetical statement; I use it, for instance, to draw a line between the groundbreaking work of Bridge authors and the recent cultural production of gay Latinos like Bracho, Luis Alfaro, Jorge Ignacio Cortiñas, Nilo Cruz, and Jonathan Cineseros. I nonetheless connect the work of such cultural workers because I feel that they do "co-map" Latino life worlds where Latino affect–manifested in politics, performance, and other [End Page 73] passions–is no longer represented as stigmatized excess. The gay male writing tradition that I am attempting to suture to this feminist tradition labors, via affective performance, to enact a powerful utopianism that is most certainly influenced by Bridge. Affective performances that reject the protocols of (white) normativity help map out cultural spectacles that represent and are symbolically connected to alternative economies, like the economies of recreational drugs and homoeroticism. Such spectacles and the alternative economies they represent help us, to borrow a phrase from one of Cherríe Moraga’s poems, "dream of other planets." The poem itself, entitled "Dreaming of Other Planets," works as something of a key to understanding the utopian impulse that reverberates throughout Bracho’s play:

my vision is small
fixed
to what can be heard
between the ears
the spot
between the eyes
a well-spring
opening
to el mundo grande

relámpago strikes
between the legs
I open against
my will dreaming

of other planets I am
dreaming
of other ways
of seeing

this life. 15

This theoretical formulation, "dreaming of other planets," represents the type of utopian planning, scheming, imaging, and performing we must engage in if we are to enact other realities, other ways of being and doing within the world. The play, like the poem, does not only dream of other spaces but of other modes of perceiving reality and "feeling" the world. While Moraga dreams of other ways of seeing, Bracho’s play instructs its audience in other ways of feeling, feeling brown. For Moraga the dream of another time and place is achieved through the auspices of poetry and the act of writing. This notion of "dreaming" is ultimately descriptive of a critical approach that is intent on critiquing the present by imagining and feeling other temporalities and spaces.

More concretely, another planet that is dreamed in the instance of Bracho’s play is a nightclub, a place called Aztlantis, a name that signifies both the Chicano lost homeland and the lost city of myth. This other place and time calls us to think about the project of imagining a utopian time and place. It is a scene of what I have referred to elsewhere as "everynight life." 16 Nightlife is a zone where the affective dominance [End Page 74] of white normativity is weakened. The freaks come out at night. The play’s set is wide and spacious, organized by walls of corrugated metal, lit with flashing pinks and blues producing a frenzied nightclub aura. Vinyl shower curtains are deployed to further segment space. The freaks that populate this club include the central protagonist Octavio Deseo, Chicano club promoter and diva extraordinaire. He runs his nightlife emporium with the help of his ex-lover, the Salvadoran disc jockey djdj. The club’s frequent performers are two black women–Plum, a black female student who leaves academia at night and enters the alternative affective register of Azlantis, and Natasha Kinky, a black woman of transgender origin who dances at the club with Plum. The club regulars are Miss Thing 2 and 1. Thing 2 is a twenty-year-old Filipino gay man and Thing 1 is a black Puerto Rican gay man, also twenty. The Things, who speak in rhyme and comment on all the play’s proceedings, are both Greek chorus and a reference to the Things in Dr. Zeus’s Cat in the Hat, little monsters who bring the house down. The cast is rounded off by Octavio’s love interest, Samson, a thirty-year-old man of mixed Filipino and Chicano ancestry who works as a tattoo artist and a security guard at the club.

Bracho’s multiethnic ensemble signals a new moment in minoritarian performance and cultural work in which the strict confines of identitarian politics are superseded by other logics of group identification. The play’s grouping does not cohere by identity but instead by a politics of affect, an affective belonging. All of these subjects are unable to map themselves onto a white and heterosexually normative narrative of the world. The protocols of theatre, literature, and cultural production by people of color in the United States has primarily concentrated on black/white relational chains (which can best be described as colored/white configurations) or ethnic/racial separatist models. The fact that Azlantis is populated not exclusively by Latinos but by different kinds of people of color of various genders suggests that traditional identitarian logics of group formation and social cohesion are giving sway to new models of relationality and interconnectedness. We can understand the ties that bind this utopian nightlife community to be affective ones; shared vibes and structures of feeling assemble utopia in this production.

The play’s multiracial and multigender composition is mirrored in the actual audience in attendance on opening night. It seems useful to cite a theatre review from the San Francisco Examiner, an article whose first two paragraphs focus exclusively on the play’s audience and thus stands as a unique document of the play’s reception.

Almost every opening night for a new play has something of the air of a party, given all the friends of the author and cast who turn out to show their support. Saturday at the Brava Theater Center, however, was more like attending a community celebration–perhaps crossed with the peak hour at a popular gay nightclub.
The house was as packed as it possibly could be, short of putting chairs on the stage. The median age was decidedly lower than at most theatrical events and the racial mix considerably broader. The crowd, or a substantial portion of it, greeted the world premiere of Ricardo A. Bracho’s "The Sweetest Hangover (& other stds)" as if it were a celebration of a community that rarely gets to see itself depicted in any genre. 17
Reviewer Robert Hurwitt discusses the racial composition of the play, which he describes as "a dramatic treatment of the world of gay people of color–Hispanic, [End Page 75] Asian, African American; male, female and transexual." 18 The reviewer’s amazement concerning the play’s audience dominates the first three paragraphs of the review. He is especially intrigued by the audience’s demographic relation to the characters onstage. The performative and happening-like nature of opening night and the play’s subsequent extended run are worth considering since that too is part of the play’s intervention. In his influential study of the Renaissance stage, Stephen Orgel explicated the importance of the actual space of the Swan Theater to the larger culture: "[the] building was the physical embodiment of both an idea of theater and an idea of the society it was created to entertain." 19 In a similar fashion the space of the Brava Theater and its audience work in tandem with the actual play text, representing a certain idea within the social, one that was first articulated in Bridge. And the literal space of a theatre like Brava, a major venue that specializes in feminist, queer, and racialized performance, is also important to consider. Brava is the literal figuration of an ideological landscape first laid out in Bridge. The fact that this queer male world can benefit and manifest itself in relation to this house, 20 partially built by racialized feminism, is a literal legacy from that foundational anthology.

The world of The Sweetest Hangover is a world without white people. During the play’s second act Thing 1 is feeling overwhelmed by the white people at the nightclub. He complains of what he calls "colonial regression syndrome." He wears a pith helmet, ascot, and other items of explorer gear and talks about shooting a film called "Paris is Gagging–A Study in Whiteness and Other Forms of Madness." His stalwart yet shady companion Thing 2 suggests he get over whiteness by simply blinking his eyes and letting in darkness. This ritual thus magically expels whiteness from the play, leaving a brown world of feeling, organized by the affective belongings between people of color. In this way The Sweetest Hangover mirrors and reconstructs the composition of This Bridge Called My Back. The play offers an ensemble of racialized and ethnic characters that, like Bridge and its contributors, try to reconceptualize the social from a vista that is not organized around relations to whiteness or the majoritarian sphere. In this fashion the play offers us a profound optic to think through the social that is predicated on a break from the structuring logic of white normativity.

The play amplifies the message of Bridge by folding in both male homosexuality (and eroticism) as well as the demimonde of recreational drug use. In the same way in which Bridge argued for modes of female being in the world that white feminism and different modalities of patriarchy rejected, The Sweetest Hangover makes a case for other ways of being in the world that are deemed outlaw and illicit. The play’s lead character, Octavio, as well as most of its other characters are recreational drug users. The production resists the moralism that US culture continually rehearses in relation to recreational drug use. In a simpler fashion the play embraces non-couple-oriented, non-monogamous gay male sexuality–a modality of being queer that is currently being demonized and scapegoated by gay pundits from the right. The "crack" that the [End Page 76] subtitle invoked is meant to speak to both demonized identity vectors: recreational drug users and gay men who refuse to compromise their erotic life by conforming to normative and assimilationist modes of comportment. 21 While Bridge does not mention the anti-drug hysteria that surfaced during Ronald Reagan’s so-called "war on drugs," 22 or the particularities of homophobia directed at men of color, it does, nonetheless, make a case for anti-normative and racialized ways of being in the world.

The major conflict in the play between Octavio and his lover Samson is not Octavio’s drug problem, but Octavio’s refusal to conform to a drug-free monogamous ideal that Samson desires. This ideal is a modality of affective normativity. The play enacts reversal in that Samson’s desire for this ideal is critiqued with the same sharp critical lens usually reserved for individuals with a "drug problem." Octavio’s particular relationship to drugs and sex is not moralized against or celebrated. Within the logic of the play drugs simply are. Such modes of being in the world are folded into the rich affective archive of latinidad. Obviously this is not to say that all Latinos participate in the alternative economies of homosexual eroticism or recreational drug use, but to imply that these demonized acts are, in part, components of some Latino experiences.

Sex and drugs are not the only horizon of Latino affective reality that the play embodies. Sound is as important to the play and the story of Latino feelings as the other nightlife components discussed in this essay. Octavio’s ex-lover djdj has taken a "vow of sonics," which entails his refusal to speak through any other vehicle than the records he spins. Octavio asks Samson not to take this refusal to speak to him seriously since djdj broke up with Octavio by playing a song. Djdj’s voice is heard in a series of one-scene monologues throughout the play. Since he does not "speak," his monologues represent non-diegetic 23 moments in the play, moments when the character speaks directly to the audience. The Things, Miss Thing 1 and Miss Thing 2, function as a Greek chorus during these soliloquies, sounding like a catchy pop melody hook chorus. In the first scene of the second act, a scene titled "djdj exposes," the master of sonics exposes his affective reality by playing snatches of songs by 1980s Latin free-style pop pioneers, like Exposé, who were made famous by their hit "Point of No Return." This melancholic meditation provides a moment of foreshadowing that announces the character’s death later in the act. At this point in the drama djdj has literally hit a point of no return.

I met a man last night, and kissing him was hearing Exposé for the first time. taking me to the point of no return. not the words uh-oh-oh or the tempo uh-oh-oh just that time of my life. high school keggers in Excelsior, after-parties hanging with the popular girls and all the doggish jocks and lookout weekend cuz here I cum because weekends were made for fun. This is the mid 80’s high nrg cha-cha and six minutes, six minutes, six-minutes doug e fresh you’re on-uh-uh-on time. Yeah it’s like a jungle sometimes getting wasted and I think I’m going under this [End Page 77] numb feeling of lubes and Michelob as I dance with Michelle to Shannon’s Let the Music Play or is it Lisa Lisa Lost in Emotion. Kissing him was a party in some football player’s backyard where cops would come, Eddie would start with Lisa, Anita would leave to the backseat of a car, Daisy would fall in love with someone else’s boyfriend for the second time that weekend. Straight mating rituals done to the roof the roof the roof is on fire we don’t need no water let the motherfucker burn. Kissing him in the Mission, coming back from a beer run, Stacey Q singing We Connect and we do. But this is Collingwood Jurassic Park. 3 am and I don’t know what song is on his radio. I’m kissing him and I feel the jets in my pulse. 24
The mention of "the jets in his pulse" announces the next moment in the play’s soundscape, the Jets’s "I Got a Crush on You." This monologue stands as a unique interrogation of a relational chain that connects affect to memory to sonics. Music plays a major role in Bracho’s play; its job is to draft an affective schematic particular to the emotional emergence and becoming of a citizen-subject who will not "feel" American in the way in which the protocols of official affective citizenship demand. The sappiness of the pop tunes registers as affective excess to majoritarian ears but as something altogether different to the minoritarian listener who uses these songs as part of her affective archive. The sounds of popular culture and the playwright’s citational practice tell a story about the way in which the resources of popular culture are deployed to tell an affective story that is different and decidedly dissident in relation to structuring codes of US national affect. Djdj’s soliloquy, like the whole of the play, calls on music to conjure a past affective temporality, and that sonic past is important to the utopic reformulated and anti-essentialist nationalism of the play.

Djdj’s plot line is central to the play’s narrative. His death due to AIDS-related complications breaks up the affective community that held the utopic world of the play together. Plum has gone off to law school; Nat, after traveling to Thailand for hormonal injections, has found a man; Samson has fled the urban space, running from a fear of AIDS and urban violence; and Octavio goes out in the world of "everynightlife"; Miss Thing 1 and Miss Thing 2 remain as the ruling queens of the bar stool. In the play’s final scene the rhyming queens sit at the Endup, an actual gay bar in San Francisco, Thing 1 wearing opera glasses and carrying a butterfly net. These instruments of white gentility are to be deployed for the project of installing a man in his life. The dialogue indicates that even though the world of Azlantis has crumbled, the affective possibilities it represented are far from diffused. Thing 1 undergoes a brief crisis of consciousness on his bar stool throne, which his co-Thing talks him through.

THING 1: Ain’t no Azlantis to go to, no djdj (crosses himself) to sweat to. Ain’t no Samson to swoon over, Octavio to gag on. Last I bumped in the girls, Nat had herself a man and Plum was ’bout ready to start law school. What’s there for us?
THING 2: These seats. A new bar. Same old fashions, same old tired faces and tracks. Why, you looking for something else?
THING 1: I need more, more than kiking with the children, making a world dark and glamorous and giving off vapors to the white girl. Something for us, instead of waiting in line to be put on their lists.
THING 2: And you got it. Cute fashions, friends in low places that are keeping you high. Major props. [End Page 78]
THING 1: We might have it by the d.j. booth or here in welfare alley at the Endup but turn to the corner and bam! you are punk ass shit. Nothing.
THING 2: Naw I beg to differ. Being punk ass shit is not nothing. Being a punk is power.
THING 1: According to whom? Not the fellas on my corner, definitely not my folks. Power don’t come in bumps or pumps, girl.
THING 2: The power of being a punk in the world comes from knowing it’s your world and the rest of these sad motherfuckers live in it and to get to your groove. Boypussy Power!
THING 1: Yeah but how can you hear your beat with the other wall of sound, white noise. . . .
THING 2: Change the channel and stop listening to college grunge radio.
By advocating for "Boypussy Power!" Miss Thing 2 is riffing on the lessons and important manifestos of biopower made by radical feminists of color. In that instance a line is being drawn between the feminist field of struggle and the struggles that gay men of color face. The work of these radical women of color is instructive and enabling, both for these two characters in the play and for the playwright himself. The most important advice Thing 2 gives Thing 1 is the declaration that being a "punk" is power once one understands that the world and the groove belong to the "punks." Thing 1 worries about the sound of white noise and Thing 2 makes it clear that he must learn how to tune such sounds out. The sound of white noise is the official national affect, the beat of a majoritarian drum that defies a minoritarian sense of rhythm. Thing 2 (and the playwright) instructs Thing 1 and the audience to believe in one’s own affective groove, one’s own way of being, dancing, striving, dreaming, loving, fighting, and moving in the world and never to let the affective hum of white normativity overwhelm that very important groove.

This analysis has posited ethnicity as "a structure of feeling," as a way of being in the world, a path that does not conform to the conventions of a majoritarian public sphere and the national affect it sponsors. It is my hope that thinking of latinidad in this way will help us better analyze the obstacles that must be negotiated within the social for the minoritarian citizen-subject. I have positioned Bracho’s work as a continuation of another project begun almost twenty years ago by fierce women of color who also found their way of being in the world labeled wrong, inappropriate, and insane. Many of the contributors to that volume wrote about the way in which the dominant culture made them feel crazy and wrong-minded. Part of Bridge’s project was to show that this craziness was a powerful way of being in the world, a mode of being that those in power needed to call crazy because it challenged the very tenets of their existence. Ricardo Bracho’s The Sweetest Hangover continues that project, allowing us to continue to dream of other planets and finally to make worlds.

José Esteban Muñoz teaches in the Department of Performance Studies, Tisch School of the Arts, New York University. He is the author of Disidentifications: Queers of Color and the Performance of Politics (University of Minnesota Press, 1999) and is currently working on two book-length projects tentatively titled Feeling Brown: Ethnicity, Affect and Performance and Cruising Utopia. He is the coeditor of the book series Sexual Cultures: New Directions from The Center for Lesbian and Gay Studies (New York University Press).

Notes

* I am grateful to David Román for keen and intelligent editorial advice. Conversations with Ricardo Bracho about his work and the world it makes have been useful for the completion of this essay and a source of pleasure and inspiration.

1. See Norma Alarcón, "Conjugating Subjects in the Age of Multiculturalism," in Mapping Multiculturalism, ed. Avery F. Gordon and Christopher Newfield (Minneapolis: University of Minnesota Press, 1996), 127-48.

2. Williams warns us that it is important to "on the one hand acknowledge (and welcome) the specificity of these elements–specific dealings, specific rhythms–and yet to find their specific kinds of sociality, thus preventing the extraction from social experience which is conceivable only when social experience itself has been reduced." Thus the trick here is to identify specific "dealings" and "rhythms" that might not be recognizable or identifiable in relation to already available grids of classification, while, on the other hand, understanding these specific "feelings" as part of a larger social matrix and historically situated. See Raymond Williams, Marxism and Literature (New York: Oxford University Press, 1978), 133.

3. Alarcón, "Conjugating Subjects," 136.

4. While this essay is meant to be self-contained and stand on its own, it is also a prolegomenon of sorts to a book-length project on Latino as a structure of feeling, a way of "feeling brown" in the world. That book will tentatively share the same title as this article.

5. May Joseph, Nomadic Identities: The Performance of Citizenship (Minneapolis: University of Minnesota Press, 1999), 14.

6. Foucault discusses truth games (les jeux de vérité) throughout his oeuvre. In one particularly useful interview Foucault describes truth games and their relation to the self: "I have tried to find out how the human subject fits into certain games of truth, whether they were to take the form of a science or refer to scientific models, or truth games such as those one may encounter in institutions or practices of control." Michel Foucault, "The Ethics of the Concern of the Self as a Practice of Freedom," in Paul Rabinow, ed., Ethics: Subjectivity and Truth, trans. Robert Hurley, et al. (New York: The New Press, 1997), 281.

7. For more on Latino exoticism, see Tropicalizations: Transcultural Representations of Latinidad, ed. Frances R. Aparicio and Susana Chávez-Silverman (Hanover: University Press of New England, 1997).

8. See my book Disidentifications: Queers of Color and the Performance of Politics (Minneapolis: University of Minnesota Press, 1999) for more on the cultural politics of disidentifications.

9. Jean-Paul Sartre, Sketch for a Theory of Emotions, trans. Philip Mairet (London: Methuen and Co., 1962), 93.

10. Ibid.

11. Miriam Hansen, "Benjamin and Cinema: Not a One-Way Street," Critical Inquiry 25:2 (Winter 1999): 325. Also see Jonathan Flatley’s forthcoming book, Affective Mappings: Melancholia and the Politics of Modernism.

12. David Román, "Latino Performance and Identity," Aztlan: A Journal of Chicano Studies 22:2 (Fall 1997): 151-68.

13. For other crucial interventions that measure the political force of Latino performance see Alberto Sandoval-Sanchez, José, Can You See?: Latinos On and Off Broadway (Madison: University of Wisconsin Press, 1999); Alicia Arrizón, Latina Performance: Traversing the Stage (Bloomington: Indiana University Press, 1999); and Jorge Huerta, Chicano Theatre: Themes and Forms (Ypsilanti: Bilingual Press, 1982).

14. Cherríe Moraga, "Refugees of a World on Fire: Foreword to the Second Edition," in This Bridge Called My Back: Writings by Radical Women of Color, ed. Cherríe Moraga and Gloria Anzaldúa (New York: Kitchen Table Women of Color Press, 1983).

15. Cherríe Moraga, The Last Generation (Boston: South End Press, 1993), 33.

16. See my coauthored introduction to my coedited volume, Everynight Life: Culture and Dance in Latin/o America, ed. with Celeste Fraser Delgado (Durham and London: Duke University Press, 1997).

17. Robert Hurwitt, "Celebrating "Hangover," San Francisco Examiner, 14 April 1997.

18. Ibid.

19. Stephen Orgel, The Illusion of Power: Political Theater in the English Renaissance (Berkeley: University of California Press, 1975).

20. Here I mean "house" to describe the actual theatre and the conceptual and ideological house built by radical women of color.

21. While gay culture generally moves to an assimilationist center, focusing on debates like gays in the military or gay marriage, Bracho’s work and the work of a generation of radical gay men of color insists on resisting the terms of this national debate and instead investing in radicalized and unapologetic forms and practices of gay male difference.

22. The "war on drugs" was understood in certain activist circles as the "war on the poor."

23. I borrow this phrase from the language of cinema studies. Non-diegetic means action that is part of the actual film text but not part of the plot or narrative.

24. All quotes from The Sweetest Hangover are from the unpublished play. My thanks to Ricardo Bracho for granting me permission to quote from his work. Subsequent quotations are taken from this text.

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             declarations of whiteness  vol 3 no 2 contents   
     Volume 3 Number 2, 2004               
   
 

Declarations of Whiteness: The Non-Performativity of Anti-Racism

Sara Ahmed
The University of Lancaster

This paper examines six different modes for declaring whiteness used within academic writing, public culture and government policy, arguing that such declarations are non-performative: they do not do what they say. The paper offers a general critique of the mode of declaration, in which ‘admissions’ of ‘bad practice’ are taken up as signs of ‘good practice’, as well as a more specific critique of how whiteness studies constitutes itself through such declarations. The declarative mode involves a fantasy of transcendence in which ‘what’ is transcended is the very ‘thing’ admitted to in the declaration (for example, if we are say that we are racists, then we are not racists, as racists do not know they are racists). By investigating declarative speech acts, the paper offers a critique of the self-reflexive turn in whiteness studies, suggesting that we should not rush too quickly beyond the exposure of racism by turning towards whiteness as a marked category, by identifying ‘what white people can do’ , by describing good practice, or even by assuming that whiteness studies can provide the conditions of anti-racism. Declarations of whiteness could be described as ‘’unhappy performatives’, the conditions are not in place that would allow such declarations to do what they say.

1. It has become commonplace for whiteness to be represented as invisible, as the unseen or the unmarked, as a non-colour, the absent presence or hidden referent, against which all other colours are measured as forms of deviance (Frankenberg 1993; Dyer 1997). But of course whiteness is only invisible for those who inhabit it. For those who don’t, it is hard not to see whiteness; it even seems everywhere. Seeing whiteness is about living its effects, as effects that allow white bodies to extend into spaces that have already taken their shape, spaces in which black bodies stand out, stand apart, unless they pass, which means passing through space by passing as white. Writing about whiteness as a non-white person (a ‘non’ that is named differently, or transformed into positive content differently, depending on where I am, who I am with, what I do) is not writing about something that is ‘outside’ the structure of my ordinary experience, even my sense of ‘life as usual’, shaped as it is by the comings and goings of different bodies. And so writing about whiteness is difficult, and I have always been reluctant to do it. The difficulty may come in part from a sense that the project of making whiteness visible only makes sense from the point of view of those for whom it is invisible.

2. This difficulty might explain my reluctance to embrace whiteness studies as a political project, even in its critical form. At the same time, I am aware that we can construct different genealogies of whiteness studies, and our starting points would be different. My starting point would always be the work of Black feminists, especially Audre Lorde, whose book Sister Outsider, reminds us of exactly why studying whiteness is necessary for anti-racism. Any critical genealogy of whiteness studies, for me, must begin with the direct political address of Black feminists such as Lorde, rather than later work by white academics on representations of whiteness or on how white people experience their whiteness (Frankenburg 1993, Dyer 1997). This is not to say such work is not important. But such work needs to be framed as following from the earlier critique. Whiteness studies, that is, if it is to be more than ‘about’ whiteness, begins with the Black critique of how whiteness works as a form of racial privilege, as well as the effects of that privilege on the bodies of those who are recogised as black. As Lorde shows us, the production of whiteness works precisely by assigning race to others: to study whiteness, as a racialised position, is hence already to contest its dominance, how it functions as a ‘mythical norm’ (1984: 116). Whiteness studies makes that which is invisible visible: though for non-whites, the project has to be described differently: it would be about making what can already be seen, visible in a different way.

3. Whiteness studies is after all deeply invested in producing anti-racist forms of knowledge and pedagogy. In other words, whiteness studies seeks to make whiteness visible insofar as that visibility is seen as contesting the forms of white privilege, which rests on the unmarked and the unremarkable ‘fact’ of being white. But in reading the texts that gather together in the emergence of a field, we can detect an anxiety about the status or function of this anti-racism. The anxiety is first an anxiety about what it means to transform whiteness studies into a field. If whiteness becomes a field of study, then there is clearly a risk that whiteness itself will be transformed into an object. Or if whiteness assumes integrity as an object of study, as being ’something’ that we can track or follow across time and space, then whiteness would become a fetish, cut off from histories of production and circulation. Richard Dyer for instance admits to being disturbed by the very idea of what he calls white studies: ‘My blood runs cold at the thought that talking about whiteness could lead to the development of something called ‘White Studies’ (1997, 10). Or as Fine, Weis, Powell and Wong explain: ‘we worry that in our desire to create spaces to speak, intellectually or empirically, about whiteness, we may have reified whiteness as a fixed category of experience; that we have allowed it to be treated as a monolith, in the singular, as an "essential something"’ (1997, xi).

4. The risk of transforming whiteness into ‘an essential something’ might be a necessary risk, for sure. We have to choose whether it’s a risk worth taking. But the risk does not exist independently of other risks. The anxiety about transforming whiteness into ‘an essential something’ gets stuck to other anxieties about what whiteness studies might do. One of these anxieties is that whiteness studies will sustain whiteness at the centre of intellectual inquiry, however haunted by absence, lack and emptiness. As Ruth Frankenburg asks ‘why talk about whiteness, given the risk that by undertaking intellectual work on whiteness one might contribute to processes of recentering rather than decentering it, as well as reifying the term, and its "inhabitants"’ (1997, 1).

5. Another risk is that in centering on whiteness, whiteness studies might become a discourse of love, which would sustain the narcissism that elevates whiteness into a social and bodily ideal. The reading of whiteness as a form of narcissism is of course well established. The ‘whiteness’ of academic disciplines, including philosophy and anthropology has been subject to devastating critiques (see, for examples, Mills 1998; Asad 1973). For example, a postcolonial critique of anthropology would argue that the anthropological desire to know the other functioned as a form of narcissism: the other functioned as a mirror, a device to reflect the anthropological gaze back to itself, showing the white face of anthropology in the very display of the colour of difference. So if disciplines are in a way already about whiteness, showing the face of the white subject, then it follows that whiteness studies sustains the direction or orientation of this gaze, whilst removing the ‘detour’ provided by the reflection of the other. Whiteness studies could even become a spectacle of pure self-reflection, augmented by an insistence that whiteness ‘is an identity too’. Does whiteness studies function as a narcissism in which the loved object returns us to the subject as the origin of love? We do after all get attached to our objects of study, which might mean that whiteness studies could ‘get stuck’ on whiteness, as that which ‘gives itself’ to itself. Dyer talks about this risk when he admits to another fear: ‘I dread to think that paying attention to whiteness might lead to white people saying they need to get in touch with their whiteness’ (1997, 10). Whiteness studies would here be about white people learning to love their own whiteness, by transforming it into an object that could be loved.

6. Dyer is right, I think, to feel such dread. Whiteness studies is potentially dreadful, and scholarship within the field is full of admissions of anxiety about what whiteness studies ‘could be’ if was allowed to become invested in itself, and its own reproduction. We should I think, pay attention to such critical anxieties, and ask what the enunciation of such anxieties is doing. In terms of the constitution of the field, for example, the anxiety is not so much that the borders will be invaded by inappropriate others (as with traditional disciplines), but that the borders will themselves be inappropriate. But at the same time, and somewhat paradoxically, the anxiety about borders works to install borders: whiteness becomes an object through the expression of anxiety about becoming an object. The repetition of the anxious gesture, that is, gestures toward a field. Fields can be understood, after all, as the forgetting of gestures that are repeated over time. Is there a relationship between the emergence of a field through the enunciation of anxiety and the emergence of a new form of whiteness, an anxious whiteness? Is a whiteness that is anxious about itself – its narcissism, its egoism, its privilege, its self-centeredness – better? What kind of whiteness is a whiteness that is anxious about itself? What does such an anxious whiteness do?

7. Such an anxious whiteness would be different to the ‘worrying’ whiteness that Ghassan Hage critiques in White Nation (1998) and Against Paranoid Nationalism (2003). This worrying whiteness is one that worries that ‘others’ may threaten its existence. An anxious whiteness would be one that is anxious about such worrying: this white subject would come into existence in its very anxiety about the effects it has on others, or even in fear that it is taking something away from others. This white subject might even be anxious about its own tendency to worry about the proximity of others. So let’s repeat my question: is an anxious whiteness that declares its own anxiety about its worry better, where better might even evoke the promise of "non-racism" or "anti-racism?

8. Before posing this question through an analysis of the effects of how whiteness becomes declared, we could first point to the placing of ‘critical’ before ‘whiteness studies’, as a sign of this anxiety. I am myself very attached to being critical, which is after all what all forms of transformative politics will be doing, if they are to be transformative. But I think the ‘critical’ often functions as a place where we deposit our anxieties. We might assume that if we are doing critical whiteness studies, rather than whiteness studies, that we can protect ourselves from doing – or even being seen to do – the wrong kind of whiteness studies. But the word ‘critical’ does not mean the elimination of risk, and nor should it become just a description of what we are doing over here, as opposed to them, over there.

9. I felt my desire to be critical as the site of anxiety when I was involved in writing a race equality policy for the university at which I work in the UK, where I tried to bring what I thought was a fairly critical language of anti-racism into a neo-liberal technique of governance, which we can inadequately describe as diversity management, or the ‘business case’ for diversity. All public organisations in the UK are now required by law to have and implement a race equality policy and action plan, as a result of the Race Relations Amendment Act (2000). My current research is tracking the significance of this policy, in terms of the relationship between the documentation it has generated and social action. Suffice to say here, my own experience of writing a race equality policy, taught me a good lesson, which of course means a hard lesson: the language we think of as critical can easily ‘lend itself’ to the very techniques of governance we critique. So we wrote the document, and the university, along with many others, was praised for its policy, and the Vice-Chancellor was able to congratulate the university on its performance: we did well. A document that documented the racism of the university became usable as a measure of good performance.

10. This story is not simply about assimilation or the risks of the critical being co-opted, which would be a way of framing the story that assumes ‘we’ were innocent and critical until we got misused (in other words, this would maintain the illusion of our own criticalness). Rather, it reminds us that the transformation of ‘the critical’ into a property, as something we have or do, allows ‘the critical’ to become a performance indicator, or a measure of value. The ‘critical’ in ‘critical whiteness studies’ cannot guarantee that it will have effects that are critical, in the sense of challenging relations of power that remain concealed as institutional norms or givens. Indeed, if the critical was used to describe the field, then we would become complicit with the transformation of education into an audit culture, into a culture that measures value through performance.

11. My commentary on the risks of whiteness studies will involve an analysis of how whiteness gets reproduced through being declared, within academic texts, as well public culture. I will hence be reading Whiteness Studies as part of a broader shift towards what we could call a politics of declaration, in which institutions as well as individuals ‘admit’ to forms of bad practice, and in which the ‘admission’ itself becomes seen as good practice. By reading Whiteness Studies in this way, I am not suggesting that it is a symptom of bad practice: rather, I think it is useful to consider ‘turns’ within the academy as having something to do with other cultural turns. The examples are drawn from the UK and Australia, as the two places in which my own anti-racist politics have taken shape. My argument is simple: anti-racism is not performative. I use performative in Austin’s (1975) sense as referring to a particular class of speech. An utterance is performative when it does what it says: ‘the issuing of the utterance is the performing of an action’ (1975, 6).

12. I will suggest that declaring whiteness, or even ‘admitting’ to one’s own racism, when the declaration is assumed to be ‘evidence’ of an anti-racist commitment, does not do what it says. In other words, putting whiteness into speech, as an object to be spoken about, however critically, is not an anti-racist action, and nor does it necessarily commit a state, institution or person to a form of action that we could describe as anti-racist. To put this more strongly, I will show how declaring one’s whiteness, even as part of a project of social critique, can reproduce white privilege in ways that are ‘unforeseen’. Of course, this is not to reduce whiteness studies to the reproduction of whiteness, even if that is what it can do. As Mike Hill suggests: ‘I cannot know in advance whether white critique will prove politically worthwhile, whether in the end it will be a friendlier ghost than before or will display the same stealth narcissism that feminists of color labeled a white problem in the late 1970s’ (1997, 10).

Declaration 1
I /we must be seen to be white

13. I am going to start here, with this declaration that is often made within texts that are part of the genealogy of ‘critical whiteness studies’, as its one that’s familiar. Let’s take Richard Dyer, whose work has been important and crucial: ‘Whites must be seen to be white, yet whiteness consists in invisible properties, and whiteness as power is maintained by being unseen’ (1997, 45). This ‘must be seen’ is a curious form of utterance. Partly, it is pointing to how whiteness rests on the very existence of white bodies, which ‘can be seen’ as apart from other bodies. So Dyer shows us a paradox: there must be white bodies (it must be possible to see such bodies as white bodies), and yet the power of whiteness is that we don’t see those bodies as white bodies. We just see them as bodies: the history of whiteness can be traced through its disappearance as a bodily or cultural attribute. But the utterance not only describes a paradox, it also functions as a declaration that takes the form: ‘Whites must be seen to be white’. As a declaration, this sentence would operate as a call for action: we should see whites as whites. You only call for an action when the action is not something that occurs in the present. So the statement is also a claim about the present: whiteness is unseen, and this invisibility is how whiteness gets reproduced as the unmarked mark of the human.

14. This book, which is, after all, white (by name and in colour) is about ’seeing’ whiteness in cultural forms such as cinema. So we could say it ’sees’ what it describes as ‘unseen’. The claim to see whiteness works through a description of whiteness as having properties, as a colour: ‘whiteness consists in invisible properties’. Whiteness as a racialised position becomes ‘like’ the colour white: an absence of colour in itself. The transformation of invisibility into a property clearly involves reification. It is easy and not necessarily very helpful to point out where texts reify the categories they seek to critique. What we need to ask here is what are the effects of the reification; is the transformation of whiteness into that which ‘is’ (invisible) an effect of how whiteness is being declared? In other words, does the request that we see white people as ‘being white’ ironically make whiteness ‘invisible’, or at least maintain this invisibility? I can repeat a sentence I used in my opening paragraph: Whiteness is only invisible to those who inhabit it. To those who don’t, the power of whiteness is maintained by being seen; we see it everywhere, in the casualness of white bodies in spaces, crowded in parks, meetings, in white bodies that are displayed in films and advertisements, in white laws that talk about white experiences, in ideas of the family made up of clean white bodies. I see those bodies as white, not human.

15. The declaration that we must see whiteness, which could even be described as foundational within whiteness studies, assumes that whiteness is unseen in the first place. It is hence an exercise in white seeing, which does not have ‘others’ in view, those who are witness to the very forms of whiteness, daily. Of course, White does not claim not to be an exercise in white seeing. But by transforming what it sees into a property of things, the power of this gaze seems to disappear from its view. Calling for whiteness to be seen can exercise rather than challenge white privilege, as the power to transform one’s vision into a property or attribute of something or somebody.

16. I would also argue that if whiteness is defined as ‘unseen’, and the book ’sees’ whiteness (in this or that film), then the book could even be constructed as not white (or not white in the same way). In other words, the argument that we must see whiteness because whiteness is unseen can convert into a declaration of not being subject to whiteness or even a white subject (’if I see whiteness, then I am not white, as whites don’t see their whiteness’). Perhaps this fantasy of transcendence is the privilege afforded by whiteness, as a privilege which disappears from sight when it has itself in view. Now, it is important to state here that I am not locating the fantasy of transcendence in this book, which is one that avoids transforming whiteness into ‘another identity’. Rather, I would suggest that when Dyer’s text is read as a declaration (’we must see whiteness’), and indeed when whiteness studies becomes a declaration about whiteness, then it constitutes its subject as transcending its object in the moment it sees or apprehends itself as the object (being white).

Declaration 2
I am/we are racist

17. This might be a less familiar mode for declaring whiteness. But it is an intriguing mode. In the UK, the language of institutional racism has become part of institutional language. We can see this ‘taking in’ and ‘taking on’ of institutional racism within the Macpherson Report (1999) into the police handling of the murder of Stephen Lawrence. The Macpherson report is an important document insofar as it recognises the police force as ‘institutionally racist’. What does this recognition do? A politics of recognition is also about definition: if we recognize something such as racism, then we also offer a definition of that which we recognize. In this sense, recognition produces rather than simply finds its object; recognition delineates the boundaries of what it recognises as given. As other social commentators have pointed out, the Macpherson report not only involved definitions of what is a racist incident (Chahal 1999), but also in defining the police as institutionally racist offered a definition, albeit hazy, of institutional racism (Solomon 1999). To quote from the report, institutional racism amounts to: ‘The collective failure of an organisation to provide an appropriate and professional service to people because of their colour, culture, or ethnic origin. It can be seen or detected in processes, attitudes and behaviour which amount to discrimination through unwitting prejudice, ignorance, thoughtlessness and racist stereotyping which disadvantage minority ethnic people’.

18. The language of institutional racism of course was not, of course, invented by the report. The push to see racism as institutional and structural comes out of anti-racist and Black politics: it is a direct critique of the idea that racism is psychological, or that is simply about bad individuals. In this report, the definition of an institution as being racist does involve recognition of the ‘collective’ rather than individual nature of racism. But it also forecloses what is meant by ‘collective’ and institutional by seeing evidence of that collectivity only in what institutions fail to do. In other words, the report defines institutional racism in such a way that racism is not seen as an ongoing series of actions that shape institutions, in the sense of the norms that get reproduced or ‘posited’ over time. We might wish to ’see’ racism as a form of doing or even a field of positive action, rather than as a form of inaction. In other words, we might wish to examine how institutions become white through the positing of some bodies rather than others as the subjects of the institution (who the institution is shaped for, and who it is shaped by). Racism would not be evident in what ‘we’ fail to do, but what ‘we’ have already done, whereby the ‘we’ is an effect of the doing. The recognition of institutional racism within the Macpherson report reproduces the whiteness of institutions by seeing racism simply as the failure ‘to provide’ for non-white others ‘because’ of their difference.

19. We might notice as well that the psychological language creeps into the definition: ‘processes, attitudes and behaviour which amount to discrimination through unwitting prejudice, ignorance, thoughtlessness and racist stereotyping’. In a way, the institution becomes recognised as racist only through being posited as like an individual, as someone who suffers from prejudice, but who could be treated, so that they would act better towards racial others. To say ‘we are racist’ is here translated into the statement it seeks to replace, ‘I am racist’, where ‘our racism’ is describable as bad practice that can be changed through learning more tolerant attitudes and behaviour. Indeed, if the institution becomes like the individual, then one suspects that the institution also takes the place of individuals: it is the institution that is the bad person, rather than this person or that person. In other words, the transformation of the collective into an individual (a collective without individuals) might allow individual actors to refuse responsibility for collective forms of racism.

20. But there is more to say about the effects of this declaration, and what it does when institutional racism becomes an ‘institutional admission’. How would we read such declaration? I am uneasy about what it means for a subject or institution to posit itself as being racist. If racism is shaped by actions that don’t get seen by those who are its beneficiaries, what does it mean for those beneficiaries to see it? We could suppose that the declaration restricts racism to what we can see: after all the definition also claims that racism ‘can be seen or detected’ in certain forms of behaviour. But I would suggest the declaration might work both by claiming to see racism (in what the institution fails to do) and by maintaining the definition of racism as unseeing. If racism is defined as unwitting and collective prejudice, then the claim to be racist by being able to see racism in this or that form of practice is also a claim not to be racist in the same way. The paradoxes of admitting to one’s own racism are clear: saying ‘we are racist’ becomes a claim to have overcome the conditions (unseen racism) that require the speech act in the first place. The logic goes: we say, ‘we are racist’, and insofar as we can admit to being racist (and racists are unwitting), then we are showing that ‘we are not racist’, or at least that we are not racist in the same way.

Declaration 3
I am/we are ashamed by my/ our racism

21. To declare oneself as being racist, or having been racist in the past, often involves a cultural politics of emotion: we might feel bad for one’s racism, a feeling bad that ’shows’ we are doing something about ‘it’. But what does declaring one’s bad feeling do? For example, what would it mean to declare one’s shame for being or having been implicated in racism, which may or may not take the form of shame about being white? In Australia, the demand for recognition of racism towards Indigenous Australians, and for reconciliation, takes the form of the demand for the nation to express its shame (Gaita 2000a, 278; Gaita 2000b, 87-93). This demand has of course been refused by Howard and his wittingly racist government. It might seem like an odd strategy, but I want us to think a little about the political consequences of the action that has been refused: that is, what would it mean for the nation to declare its shame for being racist? Let’s recall the preface to Bringing them Home:

It should, I think, be apparent to all well-meaning people that true reconciliation between the Australian nation and its indigenous peoples is not achievable in the absence of acknowledgement by the nation of the wrongfulness of the past dispossession, oppression and degradation of the Aboriginal peoples. That is not to say that individual Australians who had no part in what was done in the past should feel or acknowledge personal guilt. It is simply to assert our identity as a nation and the basic fact that national shame, as well as national pride, can and should exist in relation to past acts and omissions, at least when done or made in the name of the community or with the authority of government (Governor-General of Australia, Bringing them Home 1996).

22. In this quote, the nation is represented as having a relation of shame to the ‘wrongfulness’ of the past, although this shame exists alongside, rather than undoing, national pride. This proximity of national shame to indigenous pain may be what offers the promise of reconciliation, a future of ‘living together’, in which the rifts of the past have been healed. The nation posited here as ‘our identity’, in admitting the wrongfulness of the past, is moved by the injustices of the past. In the context of Australian politics, the process of being moved by the past seems ‘better’ than the process of remaining detached from the past, or assuming that the past has ‘nothing to do with us’. But the recognition of shame – or shame as a form of recognition – comes with conditions and limits. In this first instance, it is unclear ‘who’ feels shame. The quote explicitly replaces ‘individual guilt’ with ‘national shame’ and hence detaches the recognition of wrong doing from individuals, ‘who had no part in what was done’. This history is not personal, it implies. Of course, for the indigenous testifiers, the stories are personal. We must remember here that the personal is unequally distributed, falling as a requirement or even burden on some and not others. Some individuals tell their stories, indeed they have to do so, again and again, given this failure to hear (see Nicoll 2002, 28), whilst others disappear under the cloak of national shame.

23. Indeed, white people might only appear within the document as ‘well meaning people’, people who would identify with the nation in its expression of shame. Those who witness the past injustice through feeling ‘national shame’ are aligned with each other as ‘well meaning individuals’; if you feel shame, then you mean well. Shame ‘makes’ the nation in the witnessing of past injustice, a witnessing that involves feeling shame, as it exposes the failure of the nation to live up to its ideals. But this exposure is temporary, and becomes the ground for a narrative of national recovery. By witnessing what is shameful about the past, the nation can ‘live up to’ the ideals that secure its identity or being in the present. In other words, our shame shows that we mean well. The transference of bad feeling to the subject in this admission of shame is only temporary, as the ‘transference’ itself becomes evidence of the restoration of an identity of which we can be proud.

24. National shame can be a mechanism for reconciliation as self-reconciliation, in which the ‘wrong’ that is committed provides the very grounds for claiming national identity. It is the declaration of shame that allows us ‘to assert our identity as a nation’. Recognition works to restore the nation or reconcile the nation to itself by ‘coming to terms with’ its own past in the expression of ‘bad feeling’. But in allowing us to feel bad, shame also allows the nation to feel better or even to feel good. This conversion of shame into pride also shapes the Sorry Books, which have been posted on the web as a virtual form of community building. Sorry Books work as a form of public culture; individual postings are posted, and together form the book. Each posting works as an apology for the violence committed against Indigenous Australians, but they also work as a demand for the government to apologise on behalf of white Australia (for a consideration of the apology as a speech act see Ahmed 2004. All Sorry Book websites accessed 13/12/2002).

25. Take the following utterance. ‘The failure of our representatives in Government to recognise the brutal nature of Australian history compromises the ability of non indigenous Australians to be truly proud of our identity’. Here, witnessing the government’s lack of shame is in itself shaming. The shame at the lack of shame is linked to the desire ‘to be truly proud of our country’, that is, the desire to be able to identify with a national ideal. The recognition of a brutal history is implicitly constructed as the condition for national pride: if we recognise the brutality of that history through shame, then we can be proud. As another message puts it, ‘I am an Australian citizen who is ashamed and saddened by the treatment of the indigenous peoples of this country. This is an issue that cannot be hidden any longer, and will not be healed through tokenism. It is also an issue that will damage future generations of Australians if not openly discussed, admitted, apologised for and grieved. It is time to say sorry. Unless this is supported by the Australian government and the Australian people as a whol I cannot be proud to be an Australian’ ( see link) .

26. Such utterances, whilst calling for recognition of the ‘treatment of the indigenous peoples’ does not recognise that subjects have unequal claims ‘to be an Australian’ in the first place. If saying sorry, leads to pride, who gets to be proud? I would suggest that the ideal image of the nation, which is based on some bodies and not others, is sustained through this very conversion of shame to pride. In such declarations of national pride, shame becomes a ‘passing phase’ in a passage towards being as a nation. Nowhere is this clearer than in the message: ‘I am an Australian Citizen who wishes to voice my strong belief in the need to recognise the shameful aspects of Australia’s past -– without that how can we celebrate present glories’. Here, the recognition of what is shameful in the past – what has failed the national ideal – is what would allow the white nation to be idealised and even celebrated in the present.

27. Such expressions of national shame are problematic as they seek within an utterance to finish an action, by claiming the expression of shame as sufficient for the return to national pride. In other words, such public expressions of shame try to ‘finish’ the speech act by converting shame to pride: it allows what is shameful to be passed over in the very enactment of shame. Declarations of shame can work to re-install the very ideals they seek to contest. As with the declarations of racism I discussed in declaration 2, they may even assume that the speech act itself can be taken as a sign of transcendence: if we say we are ashamed, if we say we were racist, then ‘this shows’ we are not racist now, we show that we mean well. The presumption that saying is doing – that being sorry means that we have overcome the very thing we are sorry about – hence works to support racism in the present. Indeed, what is done in this speech act, if anything is done, is that the white subject is re-posited as the social ideal.

Declaration 4
I am/we are happy (and racist people are sad)

28. A paradox is clear. The shameful white subject expresses shame about its racism, and in expressing it shames, it ’shows’ that it is not racist: if we are shamed, we mean well. The white subject that is shamed by whiteness is also a white subject that is proud about its shame. The very claim to feel bad (about this or that) also involves a self-perception of ‘being good’. There is a widely articulated anxiety that if the subject feels ‘too bad’, then they will become even worse. This idea is crucial to the idea of reintegrative shaming in restorative justice. A reintegrative shame is a good shame insofar as it does not make subjects ‘feel too bad’. In John Braithwaite’s terms, reintegration ’shames while maintaining bonds of respect or love, that sharply terminates disapproval with forgiveness, instead of amplifying deviance by progressively casting the deviant out’ (1989, 12-13).

29. Shame would not be about making the offender feel bad (this would install a pattern of deviance), so ‘expressions of community disapproval’ are followed by ‘gestures of reacceptance’ (Braithwaite 1989, 55). Note, this model presumes the agents of shaming are not the victims (who might make the offender feel bad), but the family and friends of the offender. It is the love that offenders have for those who shame them, which allows shame to integrate rather than alienate. As such Braithwaite concludes that, ‘The best place to see reintegrative shaming at work is in loving families’ (1989, 56). The idea that shame should re-integrate is dependent on the fantasy of happy families; what ‘’bad others’ are integrated into a social form that still depends on the exclusion of other others. The presumption here is that the family (and we could extend this to the nation as family) is good, and that bad feelings can only be good if they returned by an allegiance to social form.

30. It is hence no accident then that racism has been seen as caused by bad feelings. For example the reading of white people as injured and suffering from depression is crucial to neo-fascism: white fascist groups speak precisely of white people as injured and even hurt by the presence of racial as well as sexual others (see Ahmed 2004). But it has also been made by scholars such as Julia Kristeva, who suggests that depression in the face of cultural difference provides the conditions for fascism: so we should eliminate the ‘Muslim scarf’ (1993, 36-37). For Kristeva, cultural difference makes people depressed, and fascism is a political form of depression: so to be against fascism, one must also be against such visible displays of difference. There is more sophisticated version of this argument in Ghassan Hage’s Against Paranoid Nationalism (2003), which suggests that continued xenophobia has something to do with the fact that there is not enough hope to go around, although of course he does not attribute the lack of hope to cultural difference. Despite their obvious differences, the implication of such arguments is that anti-racism is about making people feel better: safer, happier, more hopeful, less depressed, and so on.

31. It might seem that happy, hopeful and secure non-racist whites hardly populate our landscape. So we really should not bother too much about them. But I think we should. For this very promise – this very hope that anti-racism resides in making whites happy or at least feeling positive about being white - has also been crucial to the emergence of pedagogy within whiteness studies.

32. Even within the most ‘critical’ literature on whiteness studies, there is an argument that whiteness studies should not make white people feel bad about being white (Giroux 1997, 310). Such arguments are made in the context of right-wing dismissals of whiteness studies as being ‘about’ making whites ashamed. They may also respond to the work of bell hooks (1989) and Audre Lorde (1984), who both emphasise how feeling bad about racism or white privilege can function as a form of self-centeredness, which returns the white subject ‘back into’ itself, as the one whose feelings matter. hooks in particular has considered guilt as the performance rather than undoing of whiteness. Guilt certainly works as a ‘block’ to hearing the claims of others in a re-turning to the white self. But within Whiteness Studies, does the refusal to make whiteness studies be about ‘feeling bad’ allow the white subject to ‘turn towards’ something else? What is the something else? Does this refusal to experience shame and guilt work to turn Whiteness Studies away from the white subject?

33. I would suggest that Whiteness Studies does not turn away from the white subject in turning away from bad feeling. Instead, I would even suggest that Whiteness Studies might even produce the white subject as the origin of good feeling. Ruth Frankenberg has argued that if whiteness is emptied out of any content other than that which is associated with racism or capitalism ‘this leaves progressive whites apparently without any genealogy’ (1993, 232). The implication of her argument is in my view unfortunate. It assumes the subjects of Whiteness Studies are ‘progressive whites’, and that the task of Whiteness Studies is to provide such subjects with a genealogy. In other words, whiteness studies would be about making ‘anti-racist’ whites feel better, as it would restore to them a positive identity. Kincheloe and Steinberg make this point directly when they comment on: ‘the necessity of creating a positive, proud, attractive antiracist white identity’ (1998, 34). The shift from the critique of white guilt to this claim to a proud anti-racism is not a necessary one. But it is telling shift. The white response to the Black critique of shame and guilt has enabled here a ‘turn’ towards pride, which is not then a turn away from the white subject and towards something else, but another way of ‘re-turning’ to the white subject. Indeed, the most astonishing aspect of this list of adjectives (positive, proud, attractive, antiracist) is that ‘antiracism’ becomes a white attribute: indeed, anti-racism may even provide the conditions for a new discourse of white pride.

34. Here, antiracism becomes a matter of generating a positive white identity, an identity that makes the white subject feel good about itself. The declaration of such an identity is not in my view an anti racist action. Indeed, it sustains the narcissism of whiteness and allows whiteness studies to make white subjects feel good about themselves, by feeling good about ‘their’ antiracism. One wonders again what happens to bad feeling in this performance of good, happy whiteness. If bad feeling is partly an effect of racism, and racism is accepted as ongoing in the present (rather than what happened in the past), then who gets to feel bad about racism? One suspects that happy whiteness, even when this happiness is about anti-racism, is what allows racism to remain the burden of non-white others. Indeed, I suspect that bad feelings of racism (hatred, fear, pain) are projected onto the bodies of unhappy racist whites, which allows progressive whites to be happy with themselves in the face of continued racism towards non-white others.

Declaration 5
I/we have studied whiteness (and racist people are ignorant)

35. This declaration is a reminder that we should not forget the ‘Studies’ in ‘Whiteness Studies’. That word is also making a claim. Many have commented already on how whiteness is right at the center of intellectual history, but it is an absent centre: it is not studied explicitly, as it were. As Michele Fine has argued, ‘whiteness has remained both unmarked and unstudied’ (1997, 58). Her article appears within an excellent collection of essays, Off White. As Fine astutely observes, ‘paradoxically, to get off white, as the title of the collection suggests, first requires that we get on it in critical and politically transformative ways’ (1997, 58).

36. The organizing impulse within Whiteness Studies is that the studying of whiteness will be critical and transformative, quite understandably, and even quite rightly. But it might be opportune to question even this most founding assumption. The project of critical Whiteness Studies is about showing the ‘mark’ of the unmarked, about seeing the privilege concealed by the universality of ‘the human’. But what I want to question is whether learning to see the mark of privilege involves unlearning that privilege. What are we learning when we learn to see privilege? (Of course this question reminds us that the project of ‘learning to see’ is addressed to privileged subjects.)

37. Of course, if you live and work in the world of education, then you are likely to assume that learning is a good thing; we would probably share a resistance to defining learning as the achievement of learning outcomes, but have a view of learning as the opening up the capacity to think critically about what is before us. But one problem with being so used to the learning = good equation, is that we might even think that everyone should aspire to such learning, and that the absence of such learning is the ‘reason’ for inequality and injustice (cf. papers by Aveling and Nicoll in this issue). There is of course a class elitism that presumes university is the place we go to learn, let alone to think. This is the same elitism that says that those who don’t get to university, have failed, or are deprived. The aspiration of ‘university for all’ offers at one level a vital hope for the democratization of an elite culture, but at another, sustains the bourgeois illusion that others ‘would want’ the culture that is constituted precisely through not being available to all.

38. Now, this elitism has specific implications for racism. It is often assumed that if people learnt not just about whiteness, but about the world as such, then they would be ‘less likely’ to be racists. As Fiona Nicoll (1999) and Ghassan Hage (1998) have argued, the discourse of tolerance involves a presumption that racism is caused by ignorance, and that anti-racism will come about through more knowledge. We must contest the classism of the assumption that racism is caused by ignorance – which allows racism to be seen as what the working classes (or other less literate others) do. How does this classism travel into the subject-constitution of whiteness studies?

39. I suspect it does, or at least that it could do. Phil Cohen for has example has suggested that whiteness has ‘in the last few years, undergone a radical reinvention’; ‘it is a self-conscious and critical, not taken for granted or disavowed’ (1997, 244). He is talking about whiteness here, rather than whiteness studies. But who is being addressed in this affirmation of a new whiteness? This idea of a new whiteness, which is ’self-conscious and critical’, is about a particular kind of white subject, one that is not equally available to all whites, let alone any others. I have already suggested that the term ‘critical’ functions within the academy to differentiate between the good and the bad, the progressive and the conservative, where ‘we’ always line up with the former. The term ‘critical’ might even suggest the production of ‘good knowledge’. The term ’self-conscious’ has its own genealogy; its own conditions of emergence. A self-conscious subject is one that turns its gaze towards itself, and that might manage itself, or reflect upon itself, or even turn itself into a project (Rose 1999). Such a self-conscious subject is classically a bourgeois subject, one who has the time and resources to be a self, as a subject that has depth which one can be conscious about, in the first place (Skeggs 2004). The term ’self-conscious’ might even suggest the production of a ‘good subject’, one who has positive attributes.

40. The fantasy that organises this new white subject/knowledge formation is that studying whiteness will make white people, ’self-conscious and critical’. This is a progressive story: the white subject, by learning (about themselves?) will no longer take for granted or even disavow their whiteness. The fantasy presumes that to be critical and self-conscious is a good thing, and is even the condition of possibility for anti-racism (see also paper by Westcott in this issue). I suspect one can be a self-conscious white racist, but that’s beside the point. The point is that racism is not simply about ‘ignorance’, or stereotypical knowledge. We can learn about racism and express white privilege in the very presumption of the entitlement to learn or to self-consciousness. We could even recall here the Marxian critique of self-consciousness as predicated on the distinction between mental and manual labour, and as supported by the concealment of the manual labour of others (Marx and Engels 1969). Indeed, if learning about whiteness becomes a subject skill and a subject specific skill, then ‘learned whites’ are precisely ‘given privilege’ over others, whether those others are ‘unlearned whites’ or learning or unlearned non-white others. Studying whiteness can involve the claiming of a privileged white identity as the subject who knows. My argument suggests that we cannot simply unlearn privilege when the cultures in which learning take place are shaped by privilege.

Declaration 6
I am/we are coloured (too)

41. My final declaration returns us to the question of ‘the colour’ of whiteness. As Dyer’s work (1997) points out so beautifully, whiteness is often seen as the absence of colour: colour is what other people have (blackness as ‘coloured’). To learn to see whiteness as a colour rather than an absence of colour is crucial to the marking of whiteness.

42. But the declaration that whiteness is a colour (too) can actually function as a return address that exercises white privilege. For example, the turn towards the language of diversity within Australia and UK is often made through the adoption of the language of colour. Race becomes a question of surface, of different colours, where in being a colour, whiteness becomes just a colour, along with other colours. In other words, the transformation of whiteness into a colour can work to conceal the power and privilege of whiteness: as such, it can exercise that privilege. This is ‘the rainbow’ view of multiculturalism, or multiculturalism as a ‘colour spectrum’ (Lury 1996). In particular, I am interested in exploring how the rainbow view involves a claim of whiteness as an ‘alongsideness’.

43. This neutralization of the difference of whiteness can operate without reference to colour. In the UK, it is now common to say equality and diversity are ‘not just for minorities’, they are ‘for everyone’. White people are included in this ‘everyone’. Now at one level this inclusion is useful: it stops equality being seen as simply a project for minorities: white people too have a responsibility in the struggle against inequality and racism. Racism does in this way affect everybody, including those whom it gives privilege, and hence the responsibility for anti-racism should be ‘everyone’s’. But ‘the everyone’ is ambivalent: it can also imply that white people are part of the everyone, not only in the sense of sharing responsibility (which is of course a hope rather than a social given), but also in the sense that they suffer discrimination. The ‘everyone’ can work to conceal inequalities that structure the present. When whites, amongst others, are including in ‘the everyone’, then they can become present as ‘just’ another minority.

44. The consultation document produced by the Women and Equality Unit in the UK, Equality and Diversity: Making it Happen, states: ‘We need to move beyond the idea that discrimination legislation is only about protecting minority groups, important though that this. It is now very much about providing protection for everyone’. Here, everyone needs protection, not just minority groups. As such, everyone suffers discrimination. Being a colour amongst other colours becomes a claim to being discriminated against along with others. We need to read this neutralization of hierarchy with care. The declaration ‘I am/we are a coloured’ does have, in its form, the bracketed ‘too’. The ‘too’ often evokes a pronoun, even when the pronoun is not used: the speech act takes the form of a ‘me too’, or ‘we too’. Me too, I have suffered; we too, we have suffered. It is almost as if the white subject suffers from being ‘left out’ of what gets put in place to deal with the effects of white privilege.

45. So, although the ‘we are all colours’ language does not necessarily take the form of a language of injury, it provides the conditions for the use of such language: here, everybody might be injured, might be victims of discrimination, even racism, whatever your colour. Within fascism the claim is stronger: the white subject is the one who is injured by others and needs to be protected from others. Here, the claim is that the white bodies are injured along with the bodies of others, and need to be protected along with others. The declaration ‘we are coloured too’ hence allows the disappearance of the privilege of whiteness, or the disappearance of the vertical axis ; the ways in which white bodies aren’t simply placed horizontally alongside other bodies. To treat white bodies ‘as if’ they were bodies alongside others is to imagine that we can undo the vertical axis of race through the declaration of alongsideness.

Conclusion

46. I must admit to my own anxieties in writing about such declarations as non-performative. It feels a bit smug to be critical of whiteness studies, and even critical of ‘critical whiteness studies’, given that I have already ‘admitted’ that I do not identify with this field. So where am I in this critique? There I am, you might say, writing race equality policies that get used by my university as an indicator of its good performance. The critique I am offering, as a Black feminist, is a critique of something in which I am implicated, insofar as racism structures the institutional space in which I make my critique, and even the very terms out of which I make it. In the face of how much we are ‘in it’, our question might become: is anti-racism impossible?

47. Given that Black politics, in all its varied forms, has worked to challenge the ongoing ‘force’ of racism, then to even question whether anti-racism is possible seems misguided and could even be seen as a denial of the historical fact of political agency. Surely the commitment to being against racism has ‘done things’ and continues to ‘do things’. What we might remember is that to be against something is precisely not to be in a position of transcendence: to be against something is, after all, to be in an intimate relation with that which one is against. To be anti ‘this’ or anti ‘that’ only makes sense if ‘this’ or ‘that’ exists. The messy work of ‘againstness’ might even help remind us that the work of critique does not mean the transcendence of the object of our critique; indeed, critique might even be dependent on non-transcendence.

48. So our task might be to critique the presumption that to be against racism is to transcend racism. I hence would not follow critics such as Paul Gilroy in suggesting anti-racism needs to go beyond race in order to avoid the reification of race (2000, 51-53). I am very sympathetic to the logic of this argument. But for me we cannot do away with race, unless racism is ‘done away’. Racism works to produce race as if it was a property of bodies (biological essentialism) or cultures (cultural essentialism). Race exists as an effect of histories of racism as histories of the present. Categories such as black, white, Asian, mixed-race, and so on have lives, but they do not have lives ‘on their own’, as it were. They become fetish objects (black is, white is) only by being cut off from histories of labour, as well as histories of circulation and exchange. Such categories are effects and they have affects: if we are seen to inhabit this or that category, it shapes what we can do, even if it does not fully determine our course of action. Thinking beyond race in a world that is deeply racist is a best a form of utopianism, at worse a form of neo-liberalism: it imagines we could get beyond race, supporting the illusion that social hierarchies are undone once we have ’seen through them’ (see also paper by Haggis in this issue).

49. For me, the task is to build upon Black activism and scholarship that shows how racism operates to shape the surfaces of bodies and worlds. I am not saying that understanding racism will necessarily make us non-racist or even anti-racist, although of course I sometimes wish this was true. But race, like sex, is sticky; it sticks to us, or we become ‘us’ as an effect of how it sticks, even when we think we are beyond it. Beginning to live with that stickiness, to think it, feel it, do it, is about creating a space to deal with the effects of racism. We need to deal with the effects of racism in a way that is better. Racism has effects, including the diminishing of capacities for action, which is another way of describing the existential and material realities of race. Living with racism would be finding a way to be less diminished by its effects. This is not to posit racism as the origin of everything, which would be to create a new metaphysics of race. Racism is a way of describing histories of struggle, repeated over time and with force, that have produced the very substance or matter we call inadequately ‘race’.

50. This might sound like an argument about the performativity of race. I am sympathetic with the idea that race is performative in Judith Butler’s (1993) sense of the term: race as a category is brought into existence by being repeated over time (race is an effect of racialisation). I have even argued for the performativity of race myself (Ahmed 2002). But throughout this paper I have insisted on the non-performativity of anti-racism. It might, seem now, a rather odd tactic. If race is performative, and is itself an effect of racism, then why isn’t anti-racism performative as well? Is anti-racism a form of ‘race trouble’ that is performative as it ‘exposes’ the performativity of race, and which by citing the terms of racism (such as ‘white’) allows those terms to acquire new meanings? I would suggest the potential ‘exposure’ of the performativity of race does not make ‘anti-racism’ performative as a speech act. As I stated in my introduction, I am using performativity in Austin’s sense as referring to a particular class of speech, where the issuing of the utterance ‘is the performing of an action’ (1975, 6). In such speech the saying is the doing; it is not that saying something leads to something, but that it does something at the moment of saying. It is important to note here that, for Austin, performativity is not a quality of a sign or an utterance; it does not reside within the sign, as if the sign was magical. For an utterance to be performative, certain conditions have to be met. When these conditions are met, then the performative is happy. This model introduces a class of ‘unhappy performatives’: utterances that would ‘do something’ if the right conditions had been met, but which do not do that thing, as the conditions have not been met.

51. I would hasten to add that in my view performativity has become rather banal and over-used within academic writing; it seems as if almost everything is performative, where performative is used as a way of indicating that something is ‘brought into existence’ through speech, representation, writing, law, practice, or discourse. Partly, I am critiquing this ‘banalisation’ of the performative, as well as how performativity as a concept can be used in a way that ‘forgets’ how performativity depends upon the repetition of conventions and prior acts of authorization (see Butler 1997). I am also suggesting that the logic that speech ‘brings things into existence’ (as a form for positive action) only goes so far, and indeed the claim that saying is doing can bypass that ways in which saying is not sufficient for an action, and can even be a substitute for action.

52. My concern with the non-performativity of anti-racism has hence been to examine how sayings are not always doings, or to put it more strongly, to show how the investment in saying as if saying was doing can actually extend rather than challenge racism. Implicitly, I am critiquing a claim that I have not properly attributed: that is, the claim that anti-racism is performative. I would argue that the six declarations of whiteness I have analysed function as implicit claims to the performativity of anti-racism. The claim to the performativity of anti-racism would be to presume that ‘being anti’ is transcendent, and that to declare oneself as being something shows that one is not the thing that one declares oneself to be. It might be assumed that the speech act of declaring oneself (to be white, or learned, or racist) ‘works’ as it brings into existence the non- or anti-racist subject or institution. None of these claims I have investigated operate as simple claims. None of them say ‘I/we are not racists’ or ‘I/we are anti-racists’, as if that was an action. They are more complex utterances, for sure. They have a very specific form: they define racism in a particular way, and then they imply ‘I am not’ or ‘we are not’ that.

53. So it is not that such speech acts say ‘we are anti-racists’ (and saying makes us so); rather they say ‘we are this’, whilst racism is ‘that’, so in being ‘this’ we are not ‘that’, where ‘that’ would be racist. So in saying we are raced as whites, then we are not racists, as racism operates through the unmarked nature of whiteness; or in saying we are racists, then we are not racists, as racists don’t know they are racists; or in expressing shame about racism, then we are not racists, as racists are shameless; or in saying we are positive about our racial identity, as an identity that is positive insofar as it involves a commitment to anti-racism, then we are not racists, as racists are unhappy, or in being self-critical about racism, then we are not racists, as racists are ignorant; or in saying we exist alongside others, then we are not racists, as racists see themselves as above others, and so on.

54. These statements function as claims to performativity rather than as performatives, whereby the declaration of whiteness is assumed to put in place the conditions in which racism can be transcended, or at the very least reduced in its power. Any presumption that such statements are forms of political action would be an overestimation of the power of saying, and even a performance of the very privilege that such statements claim they undo. The declarative mode, as a way of doing something, involves a fantasy of transcendence in which ‘what’ is transcended is the very thing ‘admitted to’ in the declaration: so, to put it simply, if we admit to being bad, then we show that we are good (see also paper by Hill and Riggs in this issue). So it is in this specific sense that I have argued that anti-racism is not performative. Or we could even say that anti-racist speech in a racist world is an ‘unhappy performative’: the conditions are not in place that would allow such ’saying’ to ‘do’ what it ’says’.

55. Our task is not to repeat anti-racist speech in the hope that it will acquire performativity. Nor should we be satisfied with the ‘terms’ of racism, or hope they will acquire new meanings, or even look for new terms. Instead, anti-racism requires much harder work, as it requires working with racism as an ongoing reality in the present. Anti-racism requires interventions in the political economy of race, and how racism distributes resources and capacities unequally amongst others. Those unequal distributions also affect the ‘business’ of speech, and who gets to say what, about whom, and where. We need to consider the intimacy between privilege and the work we do, even in the work we do on privilege.

56. You might not be surprised to hear that a white response to this paper has asked the question, ‘but what are white people to do’. That question is not necessarily misguided, although it does re-center on white agency, as a hope premised on lack rather than presence. It is a question asked persistently in response to hearing about racism and colonialism: I always remember being in an audience to a paper on the stolen generation and the first question asked was: ‘but what can we do’. The impulse towards action is understandable and complicated; it can be both a defense against the ’shock’ of hearing about racism (and the shock of the complicity revealed by the very ’shock’ that ‘this’ was a ’shock’); it can be an impulse to reconciliation as a ‘re-covering’ of the past (the desire to feel better); it can be about making public one’s judgment (’what happened was wrong’); or it can be an expression of solidarity (’I am with you’); or it can simply an orientation towards the openness of the future (rephrased as: ‘what can be done?’). But the question, in all of these modes of utterance, can work to block hearing; in moving on from the present towards the future, it can also move away from the object of critique, or place the white subject ‘outside’ that critique in the present of the hearing. In other words, the desire to act, to move, or even to move on, can stop the message ‘getting through’.

57. To hear the work of exposure requires that white subjects inhabit the critique, with its lengthy duration, and to recognise the world that is re-described by the critique as one in which they live. The desire to act in a non-racist or anti-racist way when one hears about racism, in my view, can function as a defense against hearing how that racism implicates which subjects, in the sense that it shapes the spaces inhabited by white subjects in the unfinished present. Such a question can even allow the white subject to re-emerge as an agent in the face of the exposure of racism, by saying ‘I am not that’ (the racists of whom you speak), as an expression of ‘good faith’. The desire for action, or even the desire to be seen as the good white anti-racist subject, is not always a form of bad faith, that is, it does not necessarily involve the concealment of racism. But such a question rushes too quickly past the exposure of racism and hence ‘risks’ such concealment in the very ‘return’ of its address.

58. I am of course risking being seen as producing a ‘useless’ critique by not prescribing what an anti-racist whiteness studies would be, or by not offering some suggestions about ‘what white people can do’. I am happy to take that risk. At the same time, I think it is quite clear that my critique of ‘anti-racist whiteness’ is prescriptive. After all, I am arguing that whiteness studies, even in its critical form, should not be about re-describing the white subject as anti-racist, or constitute itself as a form of anti-racism, or even as providing the conditions for anti-racism. Whiteness studies should instead be about attending to forms of white racism and white privilege that are not undone, and may even be repeated and intensified, through declarations of whiteness, or through the recognition of privilege as privilege.

59. In making this prescription, it is important that I do not rush to ‘inhabit’ a ‘beyond’ to the work of exposing racism, as that which structures the present that we differently inhabit. At the same time, it is always tempting to end one’s work with an expression of political hope. Such hope is what makes the work of critique possible, in the sense that without hope, the future would be decided, and there would be nothing left to do. Perhaps its time to ‘return’ to the ‘turn’ of whiteness studies, by asking where else we might turn. If ‘whiteness studies’ turns towards white privilege, as that which enables and endures declarations of whiteness, then this does not simply involve turning towards the white subject, which would amount to the narcissism of a perpetual return. Rather, whiteness studies should involve at least a double turn: to turn towards whiteness is to turn towards and away from those bodies who have been afforded agency and mobility by such privilege. In other words, the task for white subjects would be to stay implicated in what they critique, but in turning towards their role and responsibility in these histories of racism, as histories of this present, to turn away from themselves, and towards others. This ‘double turn’ is not sufficient, but it clears some ground, upon which the work of exposing racism might provide the conditions for another kind of work. We don’t know, as yet, what such conditions might be, or whether we are even up to the task of recognizing them.

Sara Ahmed has recently taken up a new post as Reader in Race and Cultural Studies, Goldsmiths College, University of London. Her writings include: Differences that Matter: Feminist Theory and Postmodernism (1998); Strange Encounters: Embodied Others in Post-Coloniality (2000) and The Cultural Politics of Emotion (2004). She is currently working on two books: Orientations: Towards a Queer Phenomenology and Doing Diversity: Racism and Educated Subjects. The latter book will draw on data collected from the research project Integrating Diversity? Gender, Race and Leadership in the Post 16 Skills Sector, which is housed in Women’s Studies, Lancaster University and the Centre of Excellence for Leadership (CEL), and is funded by the DfES. The project, which she co-directs with Elaine Swan, asks the question ‘what does diversity do’ within the context of adult and community learning, further education and higher education in the UK, and includes comparative analyses of the ‘turns’ to diversity within Australia and Canada. Email: s.ahmed@gold.ac.uk

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Cohen, P. (1997) ‘Labouring Under Whiteness,’ in R. Frankenburg (ed) Displacing Whiteness: Essays in Social and Cultural Criticism. Durham: Duke University Press.

Dyer, R. (1997) White. London: Routledge.

Fine, M., L.C. Powell, L. Weis, L. Mun Wong (eds.) (1997) Off-White: Readings on Race, Power and Society. New York: Routledge.

Frankenberg R. (1993) White Women, Race Matters: The Social Construction of Whiteness. Minneapolis: University of Minnesota Press.

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Gilroy, P. (2000) Between Camps: Nations, Cultures and the Allure of Race. Harmondsworth: Penguin Books.

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Whiteness: A Critical Reader. New York University Press.

Hage, G. (1998) White Nation: Fantasies of White Supremacy in a Multicultural Society. Sydney: Pluto Press.

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© borderlands ejournal 2004

in formationNovember 4, 2006 2:34 am

here is Anne Fausto-Sterling’s website:

http://bms.brown.edu/faculty/f/afs/afs_publications_articles.htm

"The Five Sexes:"

http://bms.brown.edu/faculty/f/afs/fivesexesprnt.pdf

"Revisited:"

http://bms.brown.edu/faculty/f/afs/5sexesrevprnt.pdf

in formation 1:08 am

Transition Copyright © 2000 Duke University Press and the W.E.B. DuBois Institute. All rights reserved.
Transition 9.4 (2000) 98-113

in formation 12:37 am

–wentao

Sexuality is not a simple thing, and sex is always political practices. In *Female Masculinity* by Judith Halberstam, we are given, within a logic of embodiment, a discourse of acts of gender and sexuality. Indeed, in Halberstam’s work, the tension between action and words–vocabularies–stands out cautiously, an attempt to supplicate a sense of modersty from the later towards the former from her readers.

Learning from Foucault’s "history of the present" in *Discipline and Punish*–"an analysis of those objects given as necessary components of our reality"–and Eve Sedgewick’s "nonce taxonomies" in *Epistemology of the Closet,* Halberstam tries to bring in the production of new taxonomies. That is indicated right from the title of the book. Female and Masculine are paradoxically put together. As an intervention into the hegemonic process of naming and defining, this book, oftentimes as a historical–historical in the sense of temporality and that of spatiality as well– interpretation, makes efforts to break up old forms of classification of desire, physicality and subjectivity by establishing new ways of terming–many times (if not always) fractal–and drawing gender geometries. "A perversely presentist model of historical analysis"(52), it goes back to the past, with an ethically conscious knowledge of not knowing the present. The vocabularies for that part of the present that we think we know cease to work. The nineteenth century tribal and female husband cannot be simply labelled as part of what we know today about lesbianism, for instance. They have their own historical and political specificities, the realization of which helps proliferate gender and sexual variance. This kind of "perverse" reading (also the "logic of the unnatural"[255])–reminiscient of Foucault’s "incorporation of perversions" and "reverse discourse"–has successfully brought in a geneological history of alternative sexual practices and gender regimes. Such a historical fixture, specifically an existence of female sexuality, orients Halberstam’s history from the past to the fleeting present and the forthcoming future of possibilities. Oppositional as she is, the author shows revolutionary optimism towards the historical playfullness in realities and practices. The only thing she wants the reader to keep in mind and about which she seems worried as a   professor of English, is, again, the dynamics of concepts and bodies–they work with each other. Bodies are many: femals, males, transexuals, hermaphrodites, whites, blacks, and so on. Concepts are few: masculity, femininity. Bodies are successfully making and re-making themselves as the ethics of survival, to the situation of which the epistemological vocabularies should learn to deal with rather than violently colonize. Only in this way, corporeal bodies could be more of possibilities and words could be more effectively liberating. 

At this level, this book is highly performative in that it de-pathologizes sexual and gender dysphoria ("the experience of not feeling ‘at home’ in one’s body"–Love [107])–like butch stone/masculinity played out on a woman’s body from the commonsensical while problematic (owing to its unquestioned relation to the rising of capitalism). It has, in some sense, successfully appropriated a reading of its own on The Well of Loneliness and Leslie Feinberg’s Stone Butch Blues.

 

Works Cited:

Halberstam, Judith. Female Masculinity. Durham: Duke UP, 1998. 

Love, Heather. "A Gentle Angry People: The Lesbian Culture Wars." in Transition 9.4 (2000). Duke UP, 2000. page 98-113. 

 

 

in formationNovember 3, 2006 7:29 pm

David Deutsch’s Many Worlds

Oddly enough, this kind of reminds me of the tension between Practices (discourse of acts) and Epistemology (vocabulary) in Halberstam, not to mention the trans- dimension–

 

This article by David Deutsch appeared in Frontiers magazine, December 1998 and is copyright © by David Deutsch 1998.


Cartoon of David Deutsch

David Deutsch’s Many Worlds

Our universe is just one of many, linked together by the astounding phenomena of the quantum world. David Deutsch believes this multiverse view of reality could hold the future of computing.

A growing number of physicists, myself included, are convinced that the thing we call ‘the universe’ — namely space, with all the matter and energy it contains — is not the whole of reality. According to quantum theory — the deepest theory known to physics — our universe is only a tiny facet of a larger multiverse, a highly structured continuum containing many universes.

Everything in our universe — including you and me, every atom and every galaxy — has counterparts in these other universes. Some counterparts are in the same places as they are in our universe, while others are in different places. Some have different shapes, or are arranged in different ways; some are so different that they are not worth calling counterparts. There are even universes in which a given object in our universe has no counterpart — including universes in which I was never born and you wrote this article instead.

On large scales, universes obey the laws of classical physics, and so each behaves as though the others were not there. But on microscopic scales, quantum mechanics becomes dominant and the universes are far from independent. Universes that are very alike are close together in the multiverse and affect each other strongly, though only in subtle, indirect ways — a phenomenon known as quantum interference.

Without quantum interference, electrons would spiral into atomic nuclei, destroying every atom literally in a flash. Solid matter would be unstable, and the phenomena of biological evolution and human thought would be impossible. And as I shall explain, it is quantum interference that provides our evidence for the existence of the multiverse.

Through interference, each particle in our universe can be affected by its counterparts in other universes. What we see as a single subatomic particle is really a sprawling trans-universe structure, spanning a large region of the multiverse. Although we cannot see the parts of this structure that are outside our universe, we can infer their presence from the results of experiments. Perhaps the most striking involve quantum computers — devices that collaborate with nearby universes to perform useful computations.

How do they do that? While conventional, non-quantum computers perform calculations on fundamental pieces of information called bits, which can take the values 0 or 1, quantum computers use objects called quantum bits, or qubits (pronounced queue-bits). A qubit can also either represent 0 or 1, but its value can vary from universe to universe. Hence in the time it takes a conventional computer to perform a given calculation, a quantum computer with its counterparts in other universes can perform many such calculations. In particular, they can each perform different pieces of a complex computation simultaneously. Using quantum interference, the computer in our universe can then combine its results with those of its counterparts, to arrive at the overall answer.

Not all types of computation are capable of being shared out among universes in this way. Within one universe we are free to shuffle information about from place to place, and to perform whatever logical operations we like on it, but in the multiverse, things are not so convenient. The laws of physics severely restrict the operations that we can perform. Nevertheless, quantum computers offer fundamentally new capabilities, including absolutely secure methods of communication, ways of breaking the best existing codes, and seemingly miraculous algorithms for solving mathematical problems that are currently intractable.

For instance, Deep Blue, IBM’s chess-playing supercomputer, can examine about 200 million chess positions per second by sharing the work among its 256 processors, each of which examines almost one million positions per second. A quantum computer, running a search algorithm discovered by Lov Grover of AT&T’s Bell Laboratories in New Jersey, could outclass Deep Blue by sharing the work among many universes. Grover proved that if there were time to search N items using a conventional computer in one universe, his algorithm could exploit the multiverse to search a total of N2 items in the same time. Thus a single quantum processor, with the same clock rate as one of Deep Blue’s processors, could examine a trillion chess positions in one second — and in two seconds it could examine four trillion, in three seconds nine trillion, and so on [see correction below – DD].

Research groups worldwide are now racing to build the first practical quantum computer. Any physical object that can store a bit can in principle also serve as a qubit, but in practice, because interference is harder to control in larger systems, qubits have to be microscopic objects such as individual ions or atomic nuclei. The most powerful prototype quantum computers in existence have only a handful of qubits each, but they can already demonstrate modes of computation that no existing computer can match.

To predict that future quantum computers, made to a given specification, will work in the ways I have described, one need only solve a few uncontroversial equations. But to explain exactly how they will work, some form of multiple-universe language is unavoidable. Thus quantum computers provide irresistible evidence that the multiverse is real. One especially convincing argument is provided by quantum algorithms — even more powerful than Grover’s — which calculate more intermediate results in the course of a single computation than there are atoms in the visible universe. When a quantum computer delivers the output of such a computation, we shall know that those intermediate results must have been computed somewhere, because they were needed to produce the right answer. So I issue this challenge to those who still cling to a single-universe world view: if the universe we see around us is all there is, where are quantum computations performed? I have yet to receive a plausible reply.

Oxford physicist David Deutsch laid the theoretical foundations of quantum computing. He examines the multiverse, quantum computers and other topics in his book The Fabric of Reality, published by Penguin.



* This was a bad example. Scott Aaronson at UC Berkeley has since drawn my attention to some comments by Richard Cleve (quant-ph/9906111) pointing out that chess and chess-like games (with a fixed number of choices per move, especially if this number is small) are not very suitable for speedup by Grover searching. At best one would expect a speedup by a moderate, fixed factor. This does not rule out quantum chess-playing algorithms altogether, just algorithms based on Grover-accelerated brute-force searching. But there is no special reason to expect better quantum chess algorithms to exist.

in formationOctober 20, 2006 6:07 pm

Response to Gender Trouble& Bodies that Matter
Wentao and Celina

Wentao—
To make gender trouble is not to postulate a subversively normative sexuality that goes “before,” “outside,” or “beyond.” (page 40) It is culturally impossible and politically impracticable to do that. Indeed, it is an uncritical way to follow the monolithic phallogocentrism and compulsory heterosexuality. One way, as Butler suggests, is to do a genealogical investigation of the heterosexual construct of the hierarchical/patriarchal sex/gender/sexuality/desire over time and place, which is not seeking for the origins, rather to see the origins themselves as in the process of the discursive formation. To make it trouble is an attempt to understand the plausibility of binary relations and to suggest the other possibilities of the forming of the “real” so that the naturalized appearance of substance can be put in question. The biological sex is a set of “performatively enacted signification” (44), the release of which from the naturalization within the parameter of power will occasion (not cause) the production of various subversive gendered meanings, which will be enriching our ethical beings. It is an ethical responsibility and political inevitability to shake categories like “body,” “language,” “gender,” which have been substantialized in the process of establishing and reifying an ontology of compulsory heterosexuality for the sake of a hegemonic order of human intelligibility. The point is not to stay marginal or unintelligible, but to participate in the network or marginal zones (xxxii, but I appropriated it.) to see other possibilities of constituting open categories and open beings without having to succumbing to “a normative telos of definitional closure” (22). It is to see the “tenuousness of gender reality” (xxiv) as a way to explore the possible and the real (xxii) with “an open coalition” (22) without any claim of universality or unity–rather, these are among the possible achievements of the coalition. “The interpretive possibilities of gender” (16) help conjure realities that do not yet exist (xvii) by casting light upon “the cultural emergence of those ‘incoherent’ or ‘discontinuous’ gendered beings” not as failures or cases of nonintelligibility, but as places of the fracture of any reification or naturalization, places of “the insistent ambiguity and openness of linguistic and cultural signification”(51). where many future lie and where a genealogical ontological investigation departs–the historical present, as Marx put it (8).
Celina—
Inasmuch as gender subversions are constantly promised by various feminist efforts either to displace heterosexual gendered attributes onto the performative queer body, to seize the subject-agent position of “I” in Cartesian language (as for Monique Wittig), or to challenge the very naturalness and prediscursive-ness of a body impenetrable by shifting cultural meanings, there remains this widespread incredulity as to whether we could talk about the discursiveness of body formation aside from its materiality. If body as well as gender is discursively maintained and thus transformed, what about the “material” genitalia, the flesh-and-blood anatomical sex? The question of whether language or materiality precedes and decides the surface of body is in itself an invalid postulation not only because materiality is always already inside discourse but precisely because even that act of “positing” the body prior to language is phenomenologically a material act per se. To give it a Mary-Douglas turn, body is a set of limits whose closures and orifices are produced and marked out by the cultural matrices of discursive power (predominantly heterosexual) as a way not merely of maintaining bodily boundaries (sex would be so much simpler were that the only case!) but also of making certain bodily acts (read heteronormative) intelligible and acceptable while others (read homosexual and homoerotic) prohibited. In this case, one understands the happening of bodily materiality as made possible and being regulated by discursive practices. Conversely, when that “effect” of bodily acts regulated by discourse gets repeated and congealed over time, it successively produces the appearance of sheer fact and nature, which is the unification of bodily dissonances and thus the illusory core of body, sex, gender, substance, identity, whose very “nature” is in turn explained to be the “cause” but not the object” of sexual desire. Body as a set of (heteronormaitve) cultural limits—instead of the Foucaultian passive receptor of inscription—is thus the departing point from which we could possibly reconfigure the relationships among sex, gender, and desire. It is also the leverage point from which we can begin to elaborate on what Wittig calls the “co-extensiveness” of sexuality and power, both of which altogether forms a endlessly generative self-referential ecology, in which the passive tool (read body) becomes alive, promiscuous, rebellious, and keeps coming back to haunt the master (read gender, sexuality, and identity).
Now, what about rebellious bodies that choose to live within the dictates of norms (or at least seemingly within it), aside from its still performative thrust that rewrites and pollutes the purity of norms (think about queer parenting and marriage), and aside from the fact that it is an acting out, a parody, and a transformation of that melancholic heteronormative belonging (now becoming a process of mourning since it is now being acted out)? How do we account for this “choice”? – or rather, it is more of a matter of accessibility and thus survival than of choice, and a matter of re-invoking and re-signifying the norms not in its original term but as a new way of inhabiting the body.

in formationSeptember 18, 2006 2:35 pm

Yes–we have millions of books to read–and everything seems surreptitiously performative–I just came to find another author on the blurring boundaries between staged performances and social theatricality, which is Samuel Weber (Mass Mediauras: Form, Technics, Media/ Theatricality as Medium / Targets of Opportunity: On the Militarization of Thinking)–anyway, I just put it here–maybe some time later will return to it—

by Wentao 

in formationAugust 30, 2006 3:02 am

—-wentao 

Body Art/Performing the Subject (1998) by Amelia Jones

Nomadic Identities: The Performance of Citizenship (1999) by May Joseph

i don’t know why i put there here—somewhat related to Performance, i guess?

both of the authors are included in The Visual Culture Reader ed by Nicholas Mirzoeff (in which Karl Marx is [1818-1883, was a legendary writer and activist], according to the description at the end of the book) 

 
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Under Review

A Gentle Angry People:
The lesbian culture wars

Heather Love

Figures



A few years ago, at the end of a disastrous relationship, a rampantly heterosexual friend of mine decided that she wanted to be a lesbian. Equipped with a mild crush on a coworker, an obsession with the British actress Helen Mirren, and the usual store of "fantasies about women," my friend started to act what she imagined to be the part. She began to stock the kitchen cabinet with herbal teas–unopened (she couldn’t stand them)–and requested lesbian-themed gifts for her birthday. I bought her a pair of hand-carved salad spoons and kept my fingers crossed. Several quiet months rolled by, but my friend was undeterred. One night, she put on a Joan Armatrading CD and announced she was fixing me stir-fry–Wasn’t that something lesbians ate? I heated up garlic and onion and went to sit in the other room. When she emerged from the kitchen ten minutes later, she was carrying a plate of overcooked vegetables topped by two of the largest bratwurst sausages I have ever seen.

I didn’t have high hopes for my friend’s career as a lesbian. She did not resemble any lesbians I knew. In those days lesbians were a gentle angry people, and they didn’t take kindly to horny straight women bearing sausages. Lesbianism was still seen mainly as a way of affirming one’s commitment to other women. While desiring your sisters didn’t hurt your chances of qualifying as a lesbian, it didn’t necessarily help them either; lesbianism, as far as I could tell, was more about sitting in circles than sitting on each other’s faces. This conflation of lesbian activity and feminist consciousness dated from the early years of the Women’s Liberation Movement. Long seen as the province of jailbirds, vampires, and evil schoolmistresses, lesbianism was redefined in the early 1970s as a personally beneficial, politically meaningful activity for women.

Suddenly, lesbianism stopped being one of the naughtiest things a woman could do and became one of the nicest. Because women were seen as basically [End Page 98] [Begin Page 101] nice, the idea of two women together seemed extra-nice. While men at the height of the sexual revolution continued, as Valerie Solanas wrote in the S.C.U.M. (Society for Cutting Up Men) manifesto, to throw women into a "sex bag," women offered each other an escape from the evil that men do, in and out of bed. This vision of lesbian beatitude, captured in the title of Lillian Faderman’s landmark history of the lesbian world, Surpassing the Love of Men (1981), led to a great deal of social transformation. But it also led to a culture of lesbianism–or "lesbian feminism"–that many women came to find rigid, narrow, and cloying.

Things look pretty different these days. For one thing, lesbianism has gone mainstream in a way that few of us ever imagined. A good deal of current lesbian activism is geared toward getting spousal health benefits and joint 401(k) plans, not smashing the patriarchy. As gays and lesbians have achieved a modicum of social recognition and civil rights, settling down and having kids has become an increasingly plausible way of life for lesbians. But the radical potential of same-sex relations has not disappeared. Rather, it has shifted away from the integrationist agenda of gay and lesbian rights toward the anti-assimilationist politics of queerness.

The queer movement is associated with political groups such as Queer Nation and Sex Panic, and with the writings of critics like Eve Sedgwick, Michael Warner, and Judith Butler. Instead of imagining the utopian potential of a particular sexuality or gender, queer politics resists the distinction between gay and straight, and the fixed idea of gender it depends on. These days, many of us take our cues from perverts, porno flicks, and drag bars rather than the "female friendships" of the nineteenth century. The look and feel of lesbian culture is radically different. It’s been years since anyone asked me to a solstice ritual in women’s space, but just the other day someone was asking, Do I have amale nickname? Do I have anypiercings?

What’s most remarkable about this new generation of lesbians is not their naughty sex practices. It’s safe to assume that women, even lesbian feminists, were doing such things all along, whether or not they were talking about them in their consciousness-raising groups. What is striking is their antagonism toward their forebears. The editors of the glossy, soft-core magazine On Our Backs set the standard for this kind of épater les féministes approach in the early 1980s–they stole their title from the achingly serious lesbian-feminist publication Off Our Backs. Today, On Our Backs has been joined by in-your-face zines like Taste of Latex, Pussy Grazer, Quim, and Slut Mag, as well as such books as Macho Sluts (1989), Rough Trade (1996), and Doing It for Daddy (1994), all of which seem specially designed to make lesbian-feminist skin crawl. And Internet magazines like Lesion Nation (featuring articles such as [End Page 101] "I Want a Dumb Girl!" "Ask Mr. Butchie," and "Have Your Ex Murdered") seem intent on deep-sixing any lingering sense of the healing power or otherworldly bliss of lesbian relationships. While such smutty provocations continue to piss off the lavender brigade, they have also expanded the life-world of lesbians. Queer antics may not put us on the fast track to revolution, but they burst open the range of possibilities for what it means to be a woman who desires other women.

* * *

It’s not only on the streets, in the bars, and on the Web that one sees this shift away from lesbian feminism. These days, queer stuff is happening everywhere, especially in the academy. Scholarly treatments of sexuality have exploded over the last decade as a host of high-profile critics have set about queering the lectern. While old-school lesbian studies remained institutionally marginal and chronically underfunded throughout the 1970s and 1980s, queer theory, with its Foucauldian pedigree, its critique of essentialism, and its postidentity politics, has had an easier go of it. From its christening in the pages of the feminist journal Differences to its moment of ascendancy in the English Department at Duke University in the mid-1990s, queer theory’s influence has been, if not universally lauded or accepted, at least widely debated.

Queer theory’s éclat in the academy has raised the hackles of many lesbian feminists, who have tended to characterize queer critics as a collection of privileged fashion hounds with little connection to real-world politics. Many women are particularly suspicious of the gender-neutrality of the term queer. They argue that queer theory’s glamour stems largely from its focus on gay men, and that its status in the academy comes at the expense of lesbians, feminism, and grassroots activism.

What is often forgotten in debates between queer theory and lesbian feminism is the former’s activist pedigree. While many accounts imply that queer theory started in a shopping mall, it actually grew out of the lesbian and gay community’s response to the AIDS crisis; many of its most profound theoretical insights emerged from the experiences of activists in ACT-UP and Queer Nation. Before the 1980s, lesbians had fought misogyny; gay men protested homophobia. But the new movement helped gay men and women discover the shared nature of their oppression. In addition, the mediagenic tactics of ACT-UP showed many critics the importance of representation in political struggle.

Despite the involvement of queer academics in organizations like the New York-based Sex Panic, queer theory is still taken to task for its lack of concern with "real-world" politics. Most disturbing to the older generation of lesbian feminists, perhaps, is the new look of queer politics: in seeking to resist what Michael Warner has called the "regimes of the normal," many queer critics have explored the aspects of homosexual culture most galling to lesbian-feminist critics–sadomasochism, sex work, pornography, butch/femme roles, gay shame, dildoes, masculine identification. In studying and validating such practices, queer theory has raised many of the ghosts that lesbian feminism had hoped to bury. [End Page 102]

* * *

In Between the Body and the Flesh: Performing Sadomasochism, Lynda Hart takes up the controversial question of lesbian sadomasochism. Since the so-called ’sex wars’ of the 1980s, s/m has been the subject of intense scrutiny in the lesbian community. Lesbian s/m has been singled out for attention not because of what lesbian sadomasochists do but because of who they are–because of their identity as lesbians. Anyone with a taste for soft-core porn would be unfazed by the idea that lesbians like to taste the whip every once in a while, but such practices were not exactly what lesbian-feminist critics had in mind when they described love between women as surpassing the love of men. Since lesbianism’s raison d’être in the 1970s was to bust women out of the constraints of patriarchy, the architects of the lesbian nation did not have much use for women who liked to humiliate their sisters rather than empower them.

In examining the exile of s/m lesbians within the women’s movement, Hart offers a compelling critique of the "woman-identified woman": that gentle, androgynous, sexually moderate figure who functioned as a feminist mascot. Hart recounts the prehistory of lesbianism–the years prior to the 1969 Stonewall protests, the bad old days for lesbian feminists. Before Stonewall, working-class lesbian life in the United States had a very different organizing principle. Women who went with other women in those days did not necessarily see themselves as lesbians, or homosexual. Instead of identifying themselves by sexual preference, pre-Stonewall lesbians identified themselves by gender: as butch–adopting masculine codes of behavior and dress; or as femme–adopting feminine codes. In the late 1960s, as the new lesbian dispensation emerged, butch and femme were left out: almost everyone in the new movement agreed that it would be a good idea to move away from "leather and lace" and toward an ethos of "overalls and flannel for all."

As you might imagine, this campaign was not entirely successful. Along with [End Page 103] butch/femme, any number of objectionable practices turned out to be much more tenacious than lesbian feminists had imagined. All the consciousness-raising in the world couldn’t keep some women from seeking out the pleasures of bondage and domination, role playing, incest scenes, and rape fantasies. In Between the Body and the Flesh, Hart takes this failed campaign as a cautionary tale about the dangers of identity politics. By holding all lesbians to the standard of the "woman-identified woman," lesbian feminism excluded butches, femmes, transgender lesbians, and women of color. In light of this history Hart argues that definitions of lesbianism need to be open-ended in order to avoid the pitfalls of identity politics.

Hart’s critique of identity is framed within a larger discussion of lesbian s/m practices. She draws on several firsthand accounts that describe the loss of self that occurs in the heat of ritualized violence; she imagines s/m as a "leap into corporeality that can facilitate a process of coming to realize that the ’self’ is not only a construct, a prosthetic device, but often a burdensome one." It’s a bit of a stretch–you have to read a lot of Lacan before getting spanked makes you think like this–but Hart’s argument is provocative. She suggests that sadomasochism itself is a kind of queer activism, a wildcat strike against identitarian thinking.

But Hart’s argument against identity is undermined by her residual affection for the idea of "the lesbian." She attempts to counter the exclusionary force of lesbianism by focusing her attention on the lesbian sadomasochist, whom she takes as a living, breathing, moaning example of all that gets suppressed in the name of community. Hart imagines the lesbian sadomasochist as the dream-girl of third-wave [End Page 104] [Begin Page 106] feminism: a badass leather-clad subject intent on undoing the foundations of her own identity.

* * *

In Female Masculinity, Judith Halberstam shares Hart’s conviction that it’s time for critics to get "serious about a discourse of acts rather than identities." Calling for "a more precise vocabulary" of sexual acts, Halberstam considers what may be the only topic more disturbing to lesbian feminists than lesbian sadomasochism: the thoroughly masculine woman, the serious butch, the lifelong tomboy. In the early 1970s, when lesbian feminists set out to counter the stigma associated with lesbianism, the stereotype of the mannish woman–a cultural icon since the turn of the century, at least–was one of their primary targets. These activists wanted to uncouple masculinity and lesbianism; they cleaned up the lesbian community, getting butches out of men’s suits and into slacks and blouses. While radical feminists continued their crusade to keep women from sleeping with the enemy (i.e., men), butches were seen as an even more insidious threat to the lesbian-feminist community–the enemy within.

Halberstam is charming as a fox in the henhouse. Assaulting what she calls "feminist sex," she quotes a "cloying, sterile, and generally unappealing" bit of early 1980s lesbian erotica ("Ummmm. Her hands feel so good. ‘Can I have just a little finger in my vagina?’") and thrashes its dainty sensibility. Halberstam wants to put masculine women and their man-sized appetites back on the radar screen. The idea that relations between women should constitute a place apart–egalitarian, empowering, liberatory–is dismissed. One need not be a dyed-in-the-lavender-wool lesbian to be disturbed by some implications of Female Masculinity, but Halberstam’s refusal to work within the "difference" paradigm raises a series of exciting questions. What does masculinity mean when it is played out on a woman’s body? Is lesbianism still an appropriate name for love between women when the women involved think of themselves as men? What is the relationship between what butches and femmes do to each other and what straight men and women do to each other? What about when butch/femme affairs involve women in the same ignominies as straight relationships? Is misogyny the same when it’s practiced by masculine women instead of men?

Female Masculinity takes on everything from eighteenth-century frictioners (tribades) to mustachioed drag kings like Mo B. Dick and Buster Hymen to transgender dykes. Halberstam argues convincingly that there has been persistent bias against masculine women in the lesbian community and in lesbian criticism. Moreover, she uses the example of the masculine woman to suggest that lesbians need a subtler vocabulary for sexuality and gender. Indeed, the concept of "female masculinty" offers a handy way to talk about a range of genders and sexualities. But Halberstam is more or less single-minded in her dedication to the [End Page 106] figure of the butch dyke, who emerges as the real hero of her book.

Halberstam’s examination of butch dykes reflects her own passions and experiences: in the introduction, she announces that "this book is an attempt in part to make my own female masculinity plausible, credible, and real." I found Halberstam’s inside account of the ups and downs of butch life familiar. I have been kicked out of my fair share of women’s bathrooms, so I found her discussion of gender-policing in the john especially engaging. And I lingered with delight over Halberstam’s vivid descriptions of drag king performances; inspired, I planned my own queer-cracker rendition of Lynyrd Skynyrd’s southern-rock classic "Gimme Three Steps."

The political charge of Halberstam’s project becomes clear when she takes on the stone butch–the masculine woman best known for her refusal to be touched in bed. While many have seen the stone butch’s refusal as pathological–a sure sign that cross-identification is no fun–Halberstam reconsiders gender dysphoria (the experience of not feeling "at home" in one’s body) as a sustainable and even desirable experience. She argues "against a pathological theory of gender dysphoria":

Within certain brands of female masculinity, the effects of gender dysphoria produce new and fully functional masculinities, masculinities, moreover, that thrive on the disjuncture between femaleness and masculinity.

Halberstam’s recuperation of the stone butch is both exciting and paradoxical. She is attentive to the difficulties that masculine women encounter, and she offers compelling accounts of the effects of gender dissonance in their lives. And yet Halberstam is much less concerned with disjuncture than with creation of "fully functional" masculinities. In the end, her desire to affirm the experience of masculine women tips the balance toward [End Page 107] [Begin Page 109] the positive. Halberstam does offer compelling readings of depressing lesbian texts such as The Well of Loneliness and Leslie Feinberg’s Stone Butch Blues. But Female Masculinity celebrates butches, not their blues: this book didn’t quite satisfy my appetite for the downhearted pleasures of old-school butch melancholia. Despite its commitment to butch history, Female Masculinity left me feeling strangelynostalgic for those tear-stained butches of yore.

Halberstam’s enthusiasm for her subject recalls Hart’s discussion of rough sex. But Hart is less eager than Halberstam to celebrate individual figures: when Hart waxes rapturous, it is not over the sleek profile of the lesbian sadomasochist but over the magic that can happen between two women. Although she explores the expansive, disorienting possibilities of s/m, Hart doesn’t tarry long enough with its mixed pleasures–its suspension of the daytime rules of desire, its interrogation of trust and commitment and disclosure. Too often, she rushes to return us to a reassuring world of healing and communication. Between the Body and the Flesh features a scary, sexy cover with bald ladies in leather straps fucking each other on a high barstool; open the cover and the pleasures seem both more pastoral and more predictable. In a discussion of sexual consent, for instance, Hart quotes the following bit of dialogue from a lesbian s/m story: "Mandy . . . Would you take me to the sleeping cabin and spank me? . . . And as we walk to the cabin will you tell me what I have to do when we get there?" Mandy? The sleeping cabin? In the dungeon, people get whipped to death for this kind of shit. [End Page 109]

Both Hart and Halberstam imagine a turn away from the constraining and often exclusionary politics of identity, toward a discourse of sexual acts and multiple genders. This has always been part of queer theory’s promise: to ease the twentieth-century compulsion to map and name every sexual identity. Rather than adopting a single identity to announce proudly at the march, one can construct a more open-ended story about likes and dislikes, habits, memories, fantasies, practices. As queer critics like Sedgwick have argued, the vocabulary of sexual and gender identity doesn’t help us talk about desire. And the importance of talking about desire is obvious if we contrast the labels we normally use–out gay man, single straight woman, sex-positive lesbian with children–with the more contradictory stories that constitute our lives.

In spite of queer theory’s distaste for stable identities, affirmations like these are not unusual in queer studies. While many theorists have insisted on the need to move away from categories of identity, few have been able to imagine a post-identity future. Though Hart and Halberstam do important political work, they are not really so different from the lesbian feminist critics they abhor. Rather than undoing the foundations of all identities, these books threaten to enthrone a new set of heroines in another history of lesbian development. In place of the "woman-identified woman," these studies offer more up-to-date models: the well-heeled lesbian dominatrix, the fast-talking lady in a suit.

* * *

There are still plenty of reasons to hold out hope for a queer future. Perhaps the failure of these books to fully imagine such a future is a sign of the continuing hold that identities have over us. Hart explains her lingering attachment to the idea of the lesbian by observing that identities function as prosthetic devices–props that help us navigate the real world. But Hart’s account of identity as a necessary evil strikes me as overly austere. After all, identity-categories are not only necessary, they can also be surprising, productive, even sexy. The dildo itself is a stunning example of a sexy prosthesis. While one might argue that the dildo is a tool to knock down identity, it nevertheless draws on the energy of identity. The thrill of the rubber cock is not just that it mmm feels so good, but more precisely that it conjures a world that is supposed to be unavailable to women. Before we dismiss identity altogether, we ought to remember that the lure of identity accounts for some of life’s queerer pleasures: leather, iron femmes, female masculinity, schoolgirl scenes, doing it for daddy.

What queer theory has to offer is not really an escape from identity categories, but a way of thinking about how partial, incomplete, and fictional they are. That [End Page 110] identity is messy does not mean that we can ignore it; in fact, the impurity and difficulty of identity gives us all the more reason to pay attention to it.

In a recent essay on butch/femme, Judith Butler writes:

Lesbianism cannot be reduced to or explained in terms of dominant heterosexual norms and the relationship between lesbianism and dominant heterosexuality cannot be refused without risk, and remains to be theorized. A non-reductive approach to the relationship seems important . . . because it is imperative to theorize from a perspective that does not fear contamination and, hence, is not driven by the need to purify one’s desire of all traces of the opposition.

Such criticism has been surprisingly scarce. Most of the literature on butch/ femme sets a hard-and-fast boundary between what men and women do and what women and women do; most theorists hold out unspecified hopes for butch/femme as a redemptive practice. [End Page 111] But as Butler realizes, completely relinquishing the model of gender difference means giving up the belief in purity that has fueled almost all lesbian criticism to date. Butler takes the contamination of butch/femme by heterosexuality as a given: she asks not what heterosexuality has done to butch/femme, but what butch/femme might do to heterosexuality.

Queer theory’s battle cry of "acts not identities" is largely inspired by Foucault’s work on the creation of "the homosexual" as a social type at the end of the nineteenth century. Too often, queer critics have transformed the terms of Foucault’s History of Sexuality into an impossible directive. Identity remains a principle in the organization of our existence, and while it is important to resist identity’s normalizing force, attempts to slip the noose of identity entirely may only tightenthe knot. Butler offers a way to recognize [End Page 112] the power of identities–and the kind of freedom that exists within them–by recognizing how they inevitably fail.

* * *

Giving up on the purity of lesbian identity may take some doing. Idealizing love between women has been a persistent habit; neither post-identity politics nor anti-essentialism nor a bad attitude has proven an adequate bulwark against this kind of utopianism.

For lesbians, the bitterest pill to swallow may well turn out to be the fact that we are not so different after all. Giving up the myth of lesbian purity, lesbian difference, and the transformative power of love between women is quite a letdown. We come face-to-face with some intractable problems: gender isn’t easy; power is unevenly distributed in relationships; love is always strange, and often ugly.

Most difficult, perhaps, may be the realization that, while love between women is not necessarily better or different, it must bear an extra burden–the depressing effects of stigma and social violence. Our thirty-year habit of idealization is a response to this history–our pride is tied very closely to our shame. While celebrating our victories may offer consolation of a sort, it can’t do much to protect us from the vagaries of desire, or the continuing rejection of a hostile world.

Heather Love is a Ph.D. candidate in English at the University of Virginia.

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