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• W2929396454 abstract "ENGLISH STUDIES IN CANADA E S C A c o c T E Volum e 21 Septem ber 1995 N um ber 3 ERRATUM We regret that the following copyright credit line was inadvertently omitted from ESC 21/2, page 227, facing the still photo of Greta Garbo referred to in “Performing the Bent Text: Fascism and the Regulation of Sexualities in Timothy Findley’s The Butterfly Plague by Barbara Gabriel: “QUEEN CHRISTINA”©1933 Turner Entertainment Co. All Rights Reserved. Contents Contributors ii Ba r b a r a g o d a r d In Memoriam Kathleen Martindale 251 c a m e r o n mcPa r l a n e Reading Crusoe Reading Providence 257 s t e w a r t j . c o o k e “Good Heads and Good Hearts” : Sarah Fielding’s Moral Romance 268 paul en d o “Mont Blanc,” Silence, and the Sublime 283 jam es c r a n t o n Pathos-as-Praxis in The Legend of John Hornby 301 d a r len e k elly “Either Way, I Stand Condemned” : A Woman’s Place in Margaret Atwood’s The Edible Woman and Margaret Drabble’s The Waterfall 320 p e t e r sc h w e n g e r Uncanny Reading 333 PERFORMING THE BENT TEXT: FASCISM AND THE REGULATION OF SEXUALITIES IN TIMOTHY FINDLEY’S THE BUTTERFLY PLAGUE BARBARA GABRIEL Carleton University He’d liked her better as Queen Christina, where she’d dressed as a m an.. .. He wondered if it was true that she was a man. They said she was. He’d read that somewhere in a paper. And that was why she had such large feet. If she was a man, then playing that role in Queen Christina was a cheat. But if she was a man, then all the other roles she’d played were marvelous. (Findley, The Butterfly Plague 1986, 191)1 I I n a flagrantly camp sequence in Timothy Findley’s novel, The Butterfly Plague, which interweaves narratives of 1930s Hollywood and the Nazi rise to power in post-Weimar Germany, the young transvestite Octavius fantasizes about Greta Garbo in drag in his favourite haunt of the Alhambra Movie House. It is a moment of mise en abyme that performs the textual work of re-imagining gender that surfaces repeatedly throughout the novel: in figures of theatricality, double-coding, and parody that mark it as camp. On the face of it, the radical destabilization of normative gender and sexuality posed by these clusters of meaning, embedded in the very style of the novel, interrupts the thematics of National Socialism that most critics have seen as central to The Butterfly Plague. Yet how can we explain the fact that central characters, as well as whole narrative threads, have disappeared from readings of this text — along with self-conscious performative moments that call attention to themselves in a “signalizing” mode (Sedgwick 213)? Robert Martin has spoken of the tendency of critics to “straighten Barthes out” (285), to ignore or elide those aspects of his work that mark a gay enunciation. In what follows, I will argue that The Butterfly Plague suffers more than any of Findley’s novels from the failure of readers to engage discourses of gay history as well as gay representational and performative practices. To confront such issues in a reading of Findley’s first novel about Fascism, I want to suggest, is to recover not a straight, but an irretrievably bent text. My title plays on Martin Sherman’s drama Bent (1979), whose 227 sympathetic staging of gay characters in a Nazi concentration camp opened up the subject of homosexuals under Fascism to a wider public for the first time. Sherman had, himself, taken some of his plot material from Heinz Heger’s The Men with the Pink Triangle (1972), a study that provided the earliest full-length report of the concentration camps by a gay inmate (Plant 14). In turn, James Steakley published his important essay, “Homosexuals and the Third Reich,” in the Toronto gay journal The Body Politic (1974). But neither Heger’s work, translated and published in the United States..." @default.
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• W2929396454 date "1995-01-01" @default.
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• W2929396454 title "Performing the Bent Text: Fascism and the Regulation of Sexualities in Timothy Findley’s The Butterfly Plague" @default.
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