Times Square Red - Samuel Delaney

Story Summary:

Times Square Red by Samuel Delaney is an analytic essay, and the second portion of a two-part book that focuses on the renovation of Times Square; this portion describes the two main methods of interpersonal communication, contact and networking, and argues that although both are beneficial, contact is the superior of the two and society must work to encourage it rather than continue along its current networking-based path.

Reflections:

In Times Square Red, Delaney makes a clear distinction between the terms “contact” and “networking,” and works hard to prove why “contact” is the superior of the two as a means of interpersonal connection. While he acknowledges that the two aren’t complete opposites and commonalities between the two terms exist, he also defines them in specific ways and provides specific examples of both. While Delaney sees some good in “networking,” he overlooks some of the major overlaps and benefits it has with “contact,” chiefly in his anecdote on page 133 about a young man climbing through his window and into his bed after a social networking event.

Delaney says that the young boy’s “view of what was to be gained by networking was… sadly inflated” (133). The boy’s attempt at networking is described as an example of “the ‘heroic’ extraliterary act,” meaning that he stepped out of the traditional networking space in order to gain attention from someone in a position of power (133). Delaney says that the attempt was ultimately unsuccessful, as ultimately his career was not furthered by the networking; one of the chief reasons he believes contact to be much more beneficial. What Delaney fails to note in this situation is that contact, the kind he so vigorously praises, is entirely present in this “networking” situation.

Delaney said that his “postcoital conversation lasted till dawn” with the young boy (134). He originally describes contact as: “Very importantly, contact is also the intercourse—physical and conversational—that blooms in and as ‘casual sex’” (123). Under this definition, it is clear that his “postcoital conversation” is very much contact. Contact is also very much based upon its pleasantness (183). In this scenario, we assume the sexual encounter is pleasant, and it mirrors many of the other encounters Delaney describes as contact. It is important to note that Delaney acknowledges “networking” as a pleasant experience as well, but in a very different way. The pleasantness present in his sexual encounter with the boy is nowhere to be found in his definition of “networking.” In fact, it goes against it; networking is described as being “safe, monitored, controlled, under surveillance” (193). It is also “heavily dependent on institutions to promote the necessary propinquity… where those with the requisite social skills can maneuver” (129). The sexual encounter described does not occur in an institution, and it is certainly not monitored or controlled. It maneuvers outside of the “safe” typical networking zone. In this way, his “networking” encounter with the boy seems to resemble “contact” even more strongly.

The reason Delaney placed the anecdote under “networking” rather than “contact” was its original premise; the boy’s initial reason for communication, which was one primarily selfish and motive-driven. It was also premeditated, whereas “contact” is primarily random. However, the reason that the contact-like situation came to be seems almost irrelevant when looking at its overall outcome. Although the boy was trying to further his own professional career by “networking,” a pleasurable contact situation arose regardless.

Delaney writes, “Certain benefits from contact, networking simply cannot provide” (173). He proves this to be true in a professional sense; it seems that more careers were furthered through contact than through networking. And yet, in this anecdote, we can see that this statement isn’t entirely true. Networking can provide several benefits that contact provides, until ultimately the line between the two terms is a little more blurred than what Delaney makes them out to be.

Words: 576

Times Square Blue - Samuel Delaney

Story Summary:

Times Square Blue by Samuel Delaney uses personal anecdotes to argue that the former existence of sexually liberating establishments in New York fostered healthy social relationships, and that their disappearance further encourages class separation.

Reflections:

In Times Square Blue, physical appearances are strongly linked to one’s position of power within society. While this statement may seem somewhat self-evident, the relationship between power and beauty is a complex one; it relies upon both how others view a person’s beauty as well as how a person views their own beauty. On the other hand, while possessing physical beauty often puts a person in a position of power, it can also objectify them, as they are viewed as a sexual object rather than a human being.

It is obvious in Times Square Blue that Delaney was not choosy when he selected sexual partners, suggesting that physical attractiveness is not a power factor for a person. However, there is a clear relationship between beauty and power evident throughout his anecdotes. Delaney tells an anecdote about Kevin, a man who was “an exemplar of male beauty that still, in memory, remains powerful for me” (41). Later, Kevin becomes homeless and is seen digging through garbage cans, at which point, “The power was gone… Why this one should be sadder than the other, I’m not sure” (42). The reason Delaney “was not sure about” can be pointed back to the man’s physical beauty and it’s loss; Kevin lost his beauty, and therefore lost his power. It’s no mystery that beauty gives a person power; for example, Arly “was attractive enough—and big enough—that he could afford to be choosy.” (51). Possessing beauty is an asset that can afford a person several benefits the less attractive lack, and yet it also has a downside.

One of the anecdotes early on describes an extraordinarily attractive young man at a pornographic movie theatre. Many men approached him to offer sex, to which he politely turned them away. Here we see power; the man has his choice of partners, but refuses. This is not a new concept. And yet, while the boy is given power, he is also somewhat stripped of it; people in the bathroom made comments such as, “‘That straight kid over there—beating off? He’s gorgeous. Why isn’t anybody doing him?’” (21). These comments objectify the boy; because he is beautiful, he is assumed to be sexually available. This idea is also evident with Arly and his “wife”; Arly says, “She don’t speak no English, but she loves to take care of me… almost as good as you used to. Isn’t she beautiful man?... Isn’t she the most beautiful woman in the world?” (55). Although Arly’s unnamed wife is also described by Delaney as beautiful, Arly believes her to be the “most” beautiful, due to the fact that she caters to his every need and desire. It could be assumed that the girl’s intense beauty would put her in a position of power, and yet she is painted as more of an object than an authoritative and strong woman.

Furthermore, a person who is unaware of their beauty cannot exercise their full amount of power. Hoke tries to hide his hands, “‘Cause they’re so big and ugly,” but Delaney tells him, “I think you have the most beautiful hands I’ve ever seen” (100). While Delaney places Hoke in a position of power, evident by his intimidation of him and fear of rejection, Hoke is oblivious to the power his beauty gives him, and therefore does not capitalize on it. Hoke believes himself to be unattractive, which would strip him of power instead of providing it. This is seen in the anecdote about Ana, who says, “‘Well… I was scared to death!” … “The people weren’t as pretty as I thought’” (30). Similarly to how people with beauty also possess (a form of) power, people who lack beauty not only lack this power, but are seen as frightening, which strips their power down even further. Hoke was an interesting case, because he believed himself to be unattractive, therefore lacking power, but he was perceived as attractive, therefore giving him power.

Words: 658

Giovanni's Room - James Baldwin

Story Summary:

James Baldwin’s novel Giovanni’s Room tells the story of a young man, David, and his struggle with identity, masculinity, and sexuality; David moves to Paris and enters into a confusing relationship with an Italian man, Giovanni, while simultaneously harboring a long distance relationship with Hella, who he intends to marry.

Reflections:

In Giovanni’s Room, the word ‘darkness’ is predominantly accompanied with a very negative concept in which a gleam of light occasionally tries to break through to offer a small amount of hope, however ineffective. When the darkness becomes overwhelming, the characters sometimes attempt to produce their own light to alleviate the pain. David and Giovanni struggle to escape the severe depths of the darkness, despite the small amount of protection it offers them. In the end, David is left struggling to find light and Giovanni ultimately succumbs to the darkness.

Throughout the novel, David often tries to flee the darkness, though it accompanies him wherever he goes. ‘The dark’ often represents sexual encounters he views as shameful, as it is used to describe both polygamous and ‘dirty’ homosexual relationships as well as his short rendezvous with Sue, during which he says, “Then it was over, and the dark, tiny room rushed back. And I wanted only to get out of there” (100). David not only looks for a way to escape the dark, he also tries to ignore it. Jacques points out that embracing the dark would be less shameful than fleeing it, saying, “Think… of the men who have kneeled before you while you thought of something else and pretended that nothing was happening down there in the dark between your legs” (56). For David, the darkness is a representation of all things shameful and discriminatory, and yet, although he tries to escape to artificial light, it offers him a strange sense of protection. Perhaps David’s biggest concern is how he is viewed in the public eye, and what happens in the “dark” protects him from his worst fear. When it was suggested that he drunkenly flirted with another man, David says, “My memory of that night was, happily, very dim” (27). Here, the darkness of his memory acts as a shield, as the darkness shields his ‘shameful’ actions from the public. And yet, although the darkness is a temporary cover-up to the public, David tries to find light to cover up the darkness for himself. He often lights cigarettes in “dark” situations, which creates a tiny amount of light and offers him a small escape from the darkness. After his encounter with Sue, he tells her to keep a candle in the window. David finds a way to create temporary “light and safety,” but is still consistently plagued by the darkness (104).

Giovanni similarly struggles with the dark, and uses David as his own shield. On page 88, David says that, “Though Giovanni smiled his humble, grateful smile and told me in as many ways as he could find how wonderful it was to have me there, how I stood, with my love and my ingenuity, between him and the dark” (88). Similarly to David, Giovanni is afraid of the dark, however, once David is gone, he is unable to create his own light as a replacement shield. On the morning of his death, David reflects, “I suppose they will come for him early in the morning, perhaps just before dawn, so that the last thing Giovanni will ever see will be that grey, lightless sky over Paris” (71). Although he is on the brink of light, Giovanni is unable to escape the darkness. He is killed struggling to flee the darkness after David, his only protection, leaves him without any further light.

Words: 565

Death In Venice - Thomas Mann

Story Summary:

Thomas Mann’s novel Death In Venice tells the story of the writer Gustav von Aschenbach, who travels to Venice as the result of an overwhelming desire for exploration induced by his old age; Ashenbach consequently becomes obsessed with a young boy named Tadzio during his stay in the disease-ridden city, which ultimately leads to his death.

Reflections:

Death in Venice contains many contradictions juxtaposed together; these juxtapositions reveal Aschenbach’s inability to make a rationalized and resolute decision. From beginning to end, Aschenbach consistently contradicts himself in thought, and it is this behavior that ultimately leads to his death at the end of the novel.

While Aschenbach’s inability to decide between two conflicting notions is often fairly obvious and spelled out for the reader, quite a bit of the novel’s diction enforces this idea more subtly. The book is peppered with phrases such as “proud shame,” “agreeably restless,” and “fatal gift” (16, 89, 96). Contradicting ideas are frequently juxtaposed together, causing confusion for the reader that echoes the confusion that Aschenbach experiences. Phrases such as, “surprising yet at the same time self-evident,” and “joy and agony of his soul” further enforce the internal struggle Aschenbach continually encounters when trying to make a resolved decision between two conflicting notions (26, 73).

In addition to the many small phrases used throughout the text, there are several notable overarching contradictions employed as well. Aschenbach’s relationship to Tadzio is perhaps the most troubling contradiction seen throughout the text. For example, Aschenbach generally refers to Tadzio, the boy he loves, as a thing rather than a person. When Aschenbach discovers Tadzio’s name, “He liked the sound of it: he found its euphony appropriate to the object in question” (57). Aschenbach holds Tadzio to a higher esteem than any other human he’s encountered; he loves the sound of his name as much as he loves the boy, and yet he continually refers to him as an “object.” Later, while watching Tadzio, Aschenbach describes him as “the chosen one looking up at his inferior, his servant” (81). Aschenbach refers to Tadzio as both an object, implying inferiority, and as being on the same level as a god, implying that he is the inferior in the situation. In addition, there is a moment where Aschenbach realizes that Tadzio has several physical flaws, implying ill health, and thinks, “He’ll probably not live long. And he made no attempt to account for why he felt satisfied or consoled at the thought” (62). Aschenbach loves Tadzio more than he can express, and yet he is slightly gladdened by the prospect of his death. This theme continues further into the text, and a similar sentiment ultimately leads to Aschenbach’s, and perhaps also Tadzio’s, death.

When Aschenbach learns of the disease raging through Venice, he is “feverish with agitation, triumphant in his possession of the truth, a repulsive taste in his mouth, and fantastic horror in his heart” (124). While he considers telling Tadzio’s family to leave, he passes up the opportunity to save him. He struggles with this decision, and experiences guilt after resolving to keep quiet. Here, the “fantastic horror” is too tantalizing pass up, despite its contradiction within itself. Once again, Aschenbach is plagued by indecision spurred by competing notions. His inability to come to a sound decision backed by logic causes him to stay in Venice, and presumably catch the disease that kills him when it could have been prevented.

The contradictory diction in Death In Venice is representative of the contradictions that consistently plague Aschenbach. These ultimately cause Aschenbach’s death, as his inability to choose between competing notions and make resolute decisions spur him to remain in the dangerous city that eventually kills him.

Words: 558

The Collected Poems - Cavafy (Part 2)

Story Summary:

The Collected Poems is Evangelos Sachperoglou’s translation of C.P. Cavafy’s poetry; Cavafy often uses history as a context for his fictional poems, which frequently comment on overarching themes such as homosexuality, art, and beauty.

Reflections:

Cavafy’s poem “In Despair” on page 141 tells the story of two lovers’ tragic split. It is narrated in third person, with the subject(s) of the poem only named as “He.” By analyzing the diction and syntax used in the poem, the reader can conclude that the relationship in question is homosexual, and more than one man is the subject of the poem. Because the references to “he” and “him” are left ambiguous, we are uncertain which lover is being referred to at which time. In the middle stanza, there is the possibility of a role reversal between the two men and which man is speaking. The first stanza of the poem starts with man A mourning the loss of man B; the last stanza of the poem can be read as man B mourning the loss of man A, with the switch occurring in the middle stanza. Reading the poem in this way indicates that both men truly loved one another, and are unsatisfied with their decision to separate due to social and moral pressures.

The middle stanza of the poem contains the lines, “he wanted to be saved from such a stigmatized, wasteful carnal pleasure, / from such a stigmatized, carnal pleasure of shame. / There was still time—so he said— for him to save himself.” The concurrent lines about “carnal pleasures” indicate a possible switch in speaker—here, the same thought is rephrased in a very similar, but slightly different way. The similarity accounts for the men’s common experience and emotions, but the difference portrays each man’s own account of what happened. This is further supported by how the lines about “carnal pleasures” are accompanied. The first section of the stanza, reads that man B told man A, “he wanted to be saved” (from carnal pleasures). Then the switch occurs—here man A is telling man B that he could “save himself” (from carnal pleasures). “He wanted to be saved,” is a passive statement—man B believes that someone else must do the saving. However, “save himself,” is active—man A takes initiative for this saving. Because “he wanted to be saved,” and “save himself,” are incongruent, the poem indicates a possible switch in subject.

Man A starts off the poem mourning man B; he loves man B and attempts to find someone who he can love in the same way. The middle stanza starts with man B explaining to man A why he cannot be with him (social/moral pressures). Then the switch occurs—man A explains back to man B why he can’t be with him. Their reasons are the same, and we believe that although both men loved one another, they forced a reason to justify their separation. In the last stanza, man B is mourning the loss of man A and has similar thoughts—he too is searching for someone to remind him of his lover in a feeble attempt to relive their forbidden love.

Ultimately, reading the poem with the switch between male subjects indicates that both men truly loved one another in a very similar way. Their lost love is tragic for both parties, not just one of them (as could be assumed upon reading the poem without the switch).

Words: 539

The Collected Poems - Cavafy (Part 1)

Story Summary:

The Collected Poems is Evangelos Sachperoglou’s translation of C.P. Cavafy’s poetry; Cavafy often uses history as a context for his fictional poems, which frequently comment on overarching themes such as homosexuality, art, and beauty.

Reflections:

Although “Satrapy” contains no explicit references to homosexuality, the poem’s content can be read symbolically as a man’s inner struggle with his sexuality. The poem is written to a man who is pressured into leaving his home land to live in a territory ruled by the satrap Artaxerxes. Despite the literal subject of the poem—satrapies—homosexuality is a reasonably inferred theme. The subject of the poem gives up his personal and innate desires in exchange for social acceptance; this concept is easily applied to closeting oneself in order to achieve a presumably “normal” and accepted lifestyle.

Under the “History” section of the introduction, Peter Mackridge writes that, “The ‘poet-historian’ subverts the work of the historian in order to see, by means of sensual intuition, something different in it, something personal, individual, and subjective, and to present an alternative view to the prevailing one” (xxvi). Essentially, it is entirely plausible that Cavafy wrote his historical poems to evoke emotion pertaining to a different, but related, issue. Cavafy uses history in “Satrapy” to tell the story of a man’s struggle with territories and rulers, but the “alternative view” could be the man’s struggle with his own homosexuality—an issue that is “personal, individual, and subjective.” Although “Satrapy” isn’t necessarily about homosexuality, it is reasonable to read it through that lens.

The poem starts off with, “What a misfortune, though you’re made for noble and prodigious deeds, this unjust fate of yours always denies you encouragement and success” (29). The introduction states that Cavafy most likely believed that one is born homosexual (xx). With this context, the first line of “Satrapy” can be read as an indirect comment on this belief; “though you’re made for noble and prodigious deeds” implies that the subject of the poem was indeed born homosexual, and that homosexuality should be celebrated and embraced. The second clause, “this unjust fate of yours always denies you encouragement and success,” describes how homosexuality is viewed by society—as something inherently bad and dooming to a person’s reputation. Through no fault of his own, the subject was born homosexual and condemned for it, which leads him to “give in” to societal pressures and adhere to social norms, i.e. closet himself. The speaker comments on how tragic this is, saying, “what a frightful day when you give in.”

When offered satrapies by Artaxerxes, the subject “accept[s] them in despair, those things [he does] not want.” The speaker continues, telling the subject, “Your soul craves other things.” Here, the subject is scrutinized for his choice to conform to the social norms that go against his very being. The subject “gives up” his innate homosexual lifestyle and hides his desires in order to attain social acceptance. The poem ends with the lines, “How can you get any of these from Artaxerxes? Where in a satrapy can any of these be found; and what a life, without them, will you live?” The speaker frantically questions the subject; implying that if he continues to suppress his desires, his life will be tragic and wasted.

Although “Satrapy” has no explicit reference to homosexuality, Cavafy may have used history in this poem to indirectly comment on the inner struggle for acceptance that homosexuals face. Furthermore, the struggle is not simply pointed out; the speaker urges the subject to accept his innate homosexuality, regardless of social scrutiny. Although history and literal meanings take first precedence in Cavafy’s “Satrapy,” homosexuality can be reasonably deduced as an underlying theme.

Words: 578

The Importance of Being Earnest - Oscar Wilde

Story Summary:

The Importance of Being Earnest is a play by Oscar Wilde about the lives of two young men, Jack and Algernon, and their invented alter-egos, both named Ernest; when pursuing their love interests, the men find themselves caught in their lies as both fake Ernests are revealed.

Reflections:

In The Importance of Being Earnest, the four main characters take great pains to establish themselves as different from the social norm. They each strive to ensure they don’t fall into the category of “typical,” as being typical is boring and unfashionable. Consequently, the characters are drawn to one another and form relationships based upon this common desire.

On page 22, Cecily hopes that a novel being discussed will end tragically, saying, “I hope it didn’t end happily? I don’t like novels that end happily. They depress me so much” (22). This statement defies the social standard in two ways. It can be assumed that the majority of novels written in her time period end happily; Cecily announces her preference for sad endings, because sad endings are less common. Furthermore, Cecily goes against the social norm when she asserts that happy novels “depress” her. Generally, happy endings make a person feel happy, and tragic endings make a person feel sad. Cecily refuses to let herself fall into this standard category, so she decides to reverse the typical emotions evoked from a happy story in order to differentiate herself from mainstream society.

Cecily’s main goal throughout the story is to assert herself as being unique, and she chooses her relationships based upon the same sentiment. Cecily is drawn to Algernon, even before their first interaction, because she idealizes him as being “wicked” and possessing a major disregard for socially sanctioned rules. On page 24, she says, “I have never met any really wicked person before. I feel rather frightened. I am so afraid he will look just like everyone else.” Cecily is not really afraid of Algernon’s “wickedness,” she relishes it because it separates him from conventional society—the biggest disappointment at risk is the possibility that Algernon will be completely normal. Fortunately for Cecily, Algernon defies social standards as well. On page 1 of the novel, he tells Jack, referring to the piano, “I don’t play accurately—anyone can play accurately—but I play with wonderful expression.” Like Cecily, Algernon takes great strides to make sure people know that he’s different from the average citizen and breaks social norms on a regular basis.

Jack and Gwendolyn also establish their desire to escape monotonous social standards. Jack quite blatantly vocalizes this desire several times throughout the play, saying things such as, “For Heaven’s sake, don’t try to be cynical. It’s perfectly easy to be cynical,” and, “I am sick to death of cleverness. Everybody is clever now-a-days” (7 & 16). Jack feels the need to make sure his comrade knows his utmost disdain for the average. Gwendolyn illustrates the same sentiment as well, saying, “I have known several Jacks, and they all, without exception, were more than usually plain. Besides, Jack is a notorious domesticity for John! And I pity any woman who is married to a man called John.” (11) Gwendolyn decides she could never be with a man who has such a common name as “Jack” or “John,” because it’s not fashionable to be like everybody else. In this sense, Jack and Gwendolyn are a perfect match, just as Algernon and Cecily are; each character despises the idea of being “typical,” and seek what is atypical.

Words: 537