Can Wonder Woman Be a Superdick? (Part 2)

So for those who don’t remember…more than a year ago I had written a series of posts about gender in comics. The basic argument is that a character like Superman is a male power fantasy. That fits in with Freud and the Oedipal conflict. Clark Kent can be seen as the “child” who imagines himself supplanting the Father/lawgiver/god. You can also take this one step away from Freud and argue (via the theories of Eve Sedgwick) that what we’re talking about here is not, or not solely, an internal psychological desire, but rather a cultural/social formulation. Men turn away from femininity in order to identify with patriarchal power; or, to see it another way, to be patriarchal requires the denigration or hiding of weakness.

That’s the closet; Clark Kent is living a lie, pretending to be powerful in order to be powerful, when his truth is actually a weak, wimpy child. And, again, the closet is powered by male-male desires and fantasies, making it homoerotic (though, as I argue at some length, it’s actually a straight person’s homoerotic fantasy — we’re talking about how straight men bond or interact with the patriarchy in particular, and arguing that that interaction is structured by ideas about, and within, gayness.)

I then talked about how the early Marvel titles messed with this formula. Characters like Spider-Man and the Thing were much more ambivalent about power; the superdick in them often becomes a devouring ogre (see The Hulk). You also see this in some super-hero satire, like Chris Ware’s Superman character. I argued, though, that the basic binary remains; these stories don’t reject the superdick. Weakness is still sneered at; it’s just that the anxiety around the superdick is greater. You want it but when you have it you don’t want it, and then when you don’t have it you want it again. I also noted that the fascination with power and the denigration of weakness ends up making superhero stories essentially sadistic (as opposed to horror, which works in a more masochistic mode.) This also makes it very difficult for superhero comics to create anti-status quo storylines. However anxiously, the law is always worshipped.

I then went on to talk about the way this relates to Wonder Woman. In particular, I argued that the anxiety and bifurcation of male identity doesn’t really work for Wonder Woman. Female identity is not seen as doubled in the same way; women are not split between patriarchal power and weakness. That’s because female identity is simply identified with weakness. Male writers of Wonder Woman like Kanigher and Martin Pasko tended to create narratives which were about robbing Wonder Woman of her power. There was anxiety around WW’s superdickishness, but much less so around her weakness. As long as she wasn’t in control, everybody was happy. You often got the sense from the books that nobody could figure out what Wonder Woman was doing with superpowers in the first place.

Of course, Wonder Woman had superpowers in the first place because William Marston gave them to her. Which is where we left off, and where I’m going to try and pick up now.
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One of the things I’ve mentioned a number of times in various Wonder Woman posts is that her secret identity doesn’t really work right. It’s a gender problem; superhero identities, as I indicated above, are supposed to be split along the frightened child/superdick Oedipal fissure.

Typically, superhero origins work like this; little Melvin Microbits is toddling along minding his microstuff when suddenly — transformative trauma! He is castrated by a radioactive giant tubular marine mammal! Quickly, miraculously, he grows a thing bigger than his dad ever had and decides to serve the Law as — Walrus-Man!

Or that’s the general idea, anyway. Batman’s maybe the most paradigmatic example (small boy, dad shot, takes dad’s place while still also remaining traumatized child.) It works for Superman too, though (baby, father dies, takes dad’s place while still also remaining puny child). And for Spiderman (young man, father-figure dies, takes dad’s place while still also remaining traumatized child.) There are some variations, like Green Lantern (young man, father-figure dies, takes dad’s place while still remaining asshole); or the Hulk (wimpy guy, traumatized, takes dad’s place while still also remaining wimpy guy.) But the general outlines remain discernible. It’s a meme.

But Wonder Woman’s origin doesn’t work like that. She’s born (or magically fashioned, actually) with super-powers. Her secret identity, Diana Prince, isn’t the “real” trace of the traumatized child she was and remains. It’s just an act.

And it’s an act, moreoever, undertaken to pander to the needs of her man, as we see in Sensation Comics #1.

That’s a deeply odd sequence. Wonder Woman trades places with a nurse who looks exactly like her and has the same name. Moreover, the nurse has the same problem; she needs to find a way to get to the man she loves. The two switch places, but they’re able to do it only because they were already in each other’s places to begin with.

So a couple of points about this.

— In my first essay about WW and superdickery I speculated on the place that female/female relationships had in enforcing femininity. That is, male/male relationships (between, say, Spiderman and Uncle Ben) are often part of Oedipal drama; they’re a spur to becoming more manly, as well as a taunt for not being manly enough.

Female/female relationships, though, often seem much less fraught. In some circumstances — as with the Amazons — sisterhood can be an alternative to, or a challenge to patriarchy. But female bonds can also enforce femininity, and reinforce (subordinate?) relationships with men.

This is basically the argument of Sharon Marcus in her book Between Women. Marcus claims that close, even eroticized friendships between women were seen as an essential part of being a women in the Victorian period. Thus, close female friendships didn’t make women homosexual — it made them more heterosexual.

Marston was significantly more aware of lesbian possibilities than many Victorians were; he had a long-standing polyamorous relationship with two bisexual women. Still, I think Marcus’ analysis perhaps makes it clear why we need this bizarre scene of doubling before WW can have her sort-of-tryst with Steve. Just as male/male relationships for theorist Eve Sedgwick enforce the agonized Oedipal doubling, so female/female relationships for Marston create a stable, domesticated femininity. WW needs Diana to teach her how to be a woman.

— I’ve sort of made this point already, but…the scenario here is not, at first glance, an especially empowering vision. Marston seems to be going out of his way to disempower his heroine from the get-go. Moreover, he’s disempowering her in the name of servitude to men! WW casts off her superpowers so she can wait on Steve hand and foot. As I noted in the first part of the essay, male superheroes are constantly striving and failing to be powerful (men). The feminine, though, doesn’t need to strive; it can just be. And that’s what happens here. WW chucks her goddessness so she can go change her guy’s bedpans. Not much of a feminist message.
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There are maybe other, less invidious ways to look at this though. Here’s comics critic Chris Boesel, with a different take on WW’s decision to become Diana Prince.

First the Why. Why does the god (the teacher) give herself (the eternal, the truth) to be known by the creature (the learner)? It must be for love — not by any necessity, but a free self-giving for the sake of the possibility of the relation itself. And love has a twofold dimension here. It is not only the god’slove for the creature that the god… [gives herself]; it is also for the sake of love, so that the creature might love the god, that the god and the creature might be joined in a relation of “love’s understanding.”

Okay, that’s my little joke. Boesel isn’t a comics critic; he’s a theologian. And despite the serendipitous use of the female pronouns there, he’s not talking about Wonder Woman. He’s talking about Kierkegaard’s ideas about the incarnation of Christ.

The essay is called “The Apophasis of Divine Freedom,” and it appears in a volume edited by Chris Boesel and Catherine Keller called Apophatic Bodies. For those, like me, not familiar with the terminology, apophatic theology means negative theology — the practice of describing God by talking about what he (or she, or ze) is not.

I’m going to quote a little more from Boesel, since it seems apropos to WW’s decision to shuck off her goddesshood for love. Again, Boesel is paraphrasing and sometimes quoting Kierkegaard here.

Second, the How. How is the god to create the “equality,” or “unity,” necessary in order to “make himself understood” without “destroy[ing] that which is different,” that is, the creature as creature? How does the god give herself to be known by the creature in and for love without obliterating the beloved?

Climacus [that’s Kierkegaard’s pen-name] rejects both the possibility of an “ascent,” an exaltation of the beloved creature to the heights of heaven…and of a divine “appearing” in overpowering, sacred splendor,” on the grounds that they would violate the integrity of the creature’s existence, as creature.

The “unity” of “love’s understanding,” then, must be “attempted by a descent.” And a descent, by the god, to the level of “the lowliest” of all…. Therefore, “in love [the god] wants to be the equal of the most lowly of the lowly,” and so comes to the creature “in the form of the servant.” This “form,” however, “is not something put on like the king’s plebian cloak, which just by flapping open would betray the king…but is [the god’s] true form.” The god does not deceive, but in the “omnipotence of love,” remains truly god while fully embodied as a particular human creature, just like any other human, even the lowliest of the low.

The whole analysis by Boesell/Kierkegaard fits WW almost perfectly. As a goddess, WW can’t appear to (be apprehended by?) Steve. For him to love her, and for her to love him, she has to descend and become, not just human, but a servant. She even takes over the form of a “real” human being; her double, both her and not her. The moment when Steve knows her and doesn’t know her:

is emblematic; when she is Diana (which is her real name and also her alias) Steve can recognize and love her. The angel cannot be loved as an angel, but only as a servant. From this perspective, you might argue that gender is irrelevant or secondary. Marston’s not telling a story about what women should be, or how they need to be weak and servile to attract a man. Instead he’s telling a story about the encounter with the divine, and the paradoxical manner in which one, of whatever gender, can only love the transcendent through the particular.

The thing is, though, Marston is obsessed with gender…and especially, one could argue, with the relationship between gender and Godhead. The particular divinity WW is, the transcendence she represents, is female.

Moreover, the embodiment of that transcendence is female as well. Obviously, WW and Diana are both women. But the particular formal representation of that embodiment in the comic is also, I think, coded female. I’m thinking specifically of this passage from Irigary’s essay “The Sex That Is Not One.”

Woman “touches herself” all the time, and moreover no one can forbid her to do so, for her genitals are formed of two lips in continuous contact. Thus, within herself, she is already two — but not divisible into one(s) — that caress each other.

Also this:

Whence the mystery that woman represents in a culture claiming to count everything, to number everything by units, to inventory everything as individualities. She is neither one nor two. rigorously speaking, she cannot be identified either as one person or as two. She resists all adequate definition. Further, she has no ‘proper’ name.

Following Irigary’s formulation, when WW moves from transcendence to immanence, when she becomes embodied she does not merely split — she is not bifurcated within herself into two agonized and irreconcilable halves. Instead, she becomes two who remain one — neither one nor two.

The comic form itself literally embodies the indeterminacy. Comics are built around repetition of the same figure; on a given page, Peter will draw WW over and over again. The panel borders separate these images; each is each, identity in its place. But when WW needs to cast off her transcendence, the panel borders collapse, and suddenly two images of her occupy the same delimited space.

Once they are embodied together, Diana and Diana can touch — a self-caressing which opens the way for love — and not only of one another (or of one as another). Marcus noted that affection between women was seen as aiding, not hindering, love between men and women; similarly, Irigary sees women’s duality as opening into multiplicity.

So woman does not have a sex organ? She has at least two of them, but they are not identifiable as ones. Indeed, she has many more. Her sexuality, always at least double, goes even further: it is plural….woman has sex organs more or less everywhere.

Again, the sequence here embodies the movement from two to many. The duality of Diana and Diana is multiplied on one page as they talk from panel to panel, so that we see, not just the one Diana that is two, but doubled Diana’s multiplying profligately. And then, inevitably, in the sixth panel, the one Diana replaces the other Diana while the other Diana is replaced in the frame by Steve.

A female self-caressing self opening to love for another; that’s a metaphor for motherhood. And indeed, Diana, incarnated as a nurse, treats Steve with matriarchal affection.

“Be a good boy now and keep quiet.” Diana’s love of Steve isn’t (just) romantic love, and isn’t (just) divine love — it’s the love of a mother for a child.

Paradise Island is a matriarchal heaven, and if WW is a Christ figure — and I think she is — then she remains a female Christ figure. And what’s perhaps most interesting about that is how easily it fits into Boesel/Kierkegaard’s formulation. WW does not need to overawe Steve with her transcendent power, challenging him to become a superdick like her. Instead, she lowers herself to him, showing her transcendent power through the servitude of love. The transcendent matriarch becomes human precisely to change bedpans. That’s what divine love is. That’s the point.

In this context, too, Marston’s obsession with loving submission, his conviction that women are superior to men because they know how to submit, and his determination to show WW’s power by tying her up, starts to make more sense.

Submission is godlike, especially submission to Marston’s ultimate authority, Aphrodite, the god of love. Because, as Christ and Nietzsche and lots of superheroes agree, the alternative to worshipping love is worshipping power. Marston’s WW isn’t a bifurcated, tormented child striving for an unattainable transcendent Oedipal Uberfatherness. She is bifurcated, but the way Christ is bifurcated, between human and divine, or the way a mother is split between herself and the child that comes from her. Wonder Woman’s not a superdick, but the super sex-which-is-not-one, which opens like a wound, giving birth to love. She sets aside her power to become a servant of that love, and, as they say in the comics…to save us all!

Can Wonder Woman Be a Superdick? (part 1)

I’ve been doing a series of posts about superheroes and gender. In the most recent I talked about superdickery. Superdickery here refers to the way super-heroes tend to stand in for the uber-patriarch, both as benign law-giver and as evil ogre-father. In the post, I talked especially about how Marvel’s innovation was to shift more explicitly towards the idea of superhero as nightmare ogre-father (the Hulk! the Thing!) Ultimately, though, the ogre-father is still the father; Marvel comics are still about dreams of empowerment, rather than about denigrating or undermining those visions of absolute mastery.

Okay. So…if superheroing is all about superdickery, what happens when you have a female superhero? As the title up there says, can Wonder Woman be a superdick? And, if so, how, if at all, is that dickishness different when it’s attached to a woman?

There have been a couple of gestures at making Wonder Woman dickish. As I mentioned last post, Kate Beaton’s butch WW can be seen as dickish to some extent. And Greg Rucka’s WW in the Hiketeia might be considered superdickish in some sense too.

Overall, though, male writers have seemed distinctly uncomfortable with having Wonder Woman act as a superdick. I’m going to talk about some specific examples in a minute. First though, I want to discuss briefly why the superdickery meme is so hard (as it were) to apply to female characters.

In general, the whole point of the superdick is that you have some non-powered weakling (Bruce Banner, Clark Kent, whoever), and then the superhero acts as empowerment fantasy. Bruce Banner can’t lay down the law — but Hulk can smash. Peter Parker can’t replace Unlce Ben — but Spider-Man can! Bruce Wayne cant’ fight evil in his undies — but Batman will. Etc.

On the one hand, this is a pretty simple formulation. On the other hand, though, it is, I think, plugged into some fairly profound dynamics around male identity. As I discussed in this post, this post, and this post, male identity is built around a central incoherence. This incoherence can be seen as biologically Oedipal (with Freud), or as cultural (with Eve Sedgwick.) Either way, the point is that a male is both identified with patriarchal power (the father) and distanced from that power (the child.) To be identified with patriarchal power is to turn one’s back on femininity, and in some sense on humanity — so that the uberpatriarch is both a monster and, in some sense, unmasculine, since he rejects women (what gender is the Thing under those briefs, exactly?) But, on the other hand, to be a sniveling child outside of patriarchal power is to be feminized.

In short, the engine behind the super-hero split identity is the anxiety of maleness. Peter/Spider-Man is constantly vacillating between two people because neither one is stable. Peter is under pressure to take up the rod of superdickery and become a real man; Spider-Man is under pressure to cast aside the rod of superdickery and pay attention to the girls already so he can become a real man.

Women aren’t implicated in this psychodrama. Female identity isn’t incoherent — or at least, it’s not incoherent in the same way. A commenter on a recent article of mine at Reason put the point succinctly:

girls can think ninjas are cool without any blowback. Any man who likes sparkly emo vampires is probably sorting through some issues.

That’s exactly the point; a girl who likes ninjas doesn’t have her femininity called into question (on the contrary, butch women are often considered especially hot, as I argue here. Men who like romance, on the other hand, open themselves up (as it were) to the charge of not being sufficiently masculine.

So that means women have it easy compared to poor, conflicted men, right? Well, not exactly. It’s true that female identity is in some sense more stable…but there’s a certain amount of coercion which goes into enforcing that stability. Men are always defined by their lack of the phallus, always anxiously scurrying after the unattainable superdick…or dropping it like a hot potato and scurrying away when they get it. Women, on the other hand, aren’t supposed to have the superdick in the first place, so they’re just kind of supposed to sit there and be. Basically, for women, the ideal is more coherent, which means that individual slip ups (watching ninja movies) aren’t necessarily always as important. However, overall, a more coherent ideal can actually be more limiting. Always striving and failing is tiresome, but probably preferable overall to being stuck in prison.

Which brings us back to Wonder Woman.

That’s from Denny O’Neil and Mike Sekowsy’s first issue on WW from 1968. And, as you can see, the creators seem to be of the opinion that WW is a freak. And why is she a freak? Not because she’s actually a monster like the Thing, but simply because she’s got “muscles” and is a woman. And, not coincidentally, in the following issues of their run on the series, O’Neill and Sekowsky actually depowered WW, turning her into a civilian spy — still a crime fighter, but one who wouldn’t necessarily scare the (male) kiddies.

O’Neill and Sekowsky are more blatant than most, but they’re hardly alone in their discomfort with the super-powered WW. Throughout “The Greatest Wonder Woman Stories Ever Told,” there’s a constant, insistent effort to evade the image of Wonder Woman as superdick — to domesticate her, if you will. In Robert Kanigher’s “Top Secret,” Steve Trevor engages in an elaborate plot to get Wonder Woman to marry him. His scheme fails…but it forces WW to create her Diana Prince identity in which (of course) she serves under Steve in the military. In this story, then, Wonder Woman isn’t Diana’s empowerment fantasy; rather, Diana is *Steve’s* empowerment fantasy. WW does get the better of Steve, but only by doing what he wants. She bows to his superdickery and relinquishes her own.

Similarly, in Robert Kanigher’s revealingly titled “Be Wonder Woman…and Die!” the emotional focus of the story is on a terminally ill young actress who impersonates Wonder Woman and then expires beautifully. It’s pretty clearly a Mary Sue story in some sense — a WW fan appears, is lauded by her idol, and then shuffles off the mortal coil to great acclaim. But you do have to wonder — if this is a Mary Sue, whose Mary Sue is it? Who exactly is getting off on a depowered and dead WW clone? Could it be the male writer,by chance?

One final example; Wonder Woman #230, from 1977. (Todd Munson very kindly gave me this issue when I visited his class at Randolph-Macon a few weeks back. ) This issue is by Marty Pasko, and it’s set in the 1940s to tie in with the then-current TV series. It’s also obsessed with doubling. The villain is the Cheetah, who suffers from multiple-personality disorder; normally she’s an everyday socialite (Priscilla Rich), but when she sees Wonder Woman she has a psychotic episode and turns into a supervillain. In this sotry, Priscilla accidentally encounters WW and has her transformation triggered. As the Cheetah she then manages to discover WW’s secret identity, and makes plans to use the information to kill her. However, Cheetah turns back to Priscilla before she can take action. Priscilla then contacts Diana Prince…and hypnotizes her into forgetting she’s Wonder Woman, figuring that if Wonder Woman disappears, Priscilla herself will never change into the Cheetah again.

So along the way here there are several suggestive incidents.

— Early in the issue, Steve Trevor is gushing on and on about Wonder Woman. Diana Prince is clearly quite pissed about this; she’s jealous of her alter ego. Thus, there’s a definite implication that Diana *wants* to get rid of WW, just as Priscilla wants to get rid of the Cheetah.

— There’s an erotic tension between the female antagonists. Priscilla’s repressed emotions are released whenever she sees Wonder Woman; it’s not hard to read a lesbian subtext into that. Moreover, the hypnotic encounter between Priscilla and Diana is framed as seduction; Priscilla even comments (lasciviously?) on how “naive” Diana is.

In breaking the mirror here, Priscilla is banishing both Wonder Woman and the Cheetah. Where agonized male-male tensions tend to lead to heroes hitting villains and hyperbolic violence, the female-female encounter/seduction does the reverse. It doesn’t redouble anxieties around female identity; it eliminates them. Priscilla is ushering Diana back into femininity. (I don’t think it’s a coincidence that in the last panel Diana’s face seems definitely softer and less butch than it does towards the top of the page.)

Priscilla can be seen, in other words, as patrolling the boundaries of femininity. This is actually a fairly common dynamic, I think; women are often harsher on (small) infractions against femininity than men are. My wife pointed out that Patti Smith in the 70s once commented that there’s nothing more disgusting than seeing some woman’s breast hanging over a guitar. The quote is interesting too, because, like this encounter, there’s definitely some not quite dealt with eroticism there; Smith is perceiving female guitarists as sexual beings; there’s a same-sex frisson. I haven’t quite worked this through, but it seems like there’s a parallel here with Eve Sedgwick’s ideas about male homosociality. That is, men form homosocial bonds (and repress explicit homosexual ones) as a way of cementing patriarchal power. Women might be seen as forming homosocial bonds (and repressing explicit homosexual ones) as a way of policing or reaffirming femininity — which again essentially has the effect of cementing patriarchal power. That seems like a good description of what Priscilla is doing here, certainly — she seduces/explains the error of her ways to Diana in order to prevent Diana from becoming a superdick, and so leading Priscilla herself into superdickery.

On the one hand this ends up being a false consciousness argument (women reinforcing the patriarchal order out of a mistaken fear of their own power/acceptance of their natural role.) On the other hand, it might also be seen as a not unrational risk assessment. Priscilla is worried that Wonder Woman’s escape from femininity will bring reprisals against Priscilla herself (she’ll become the cheetah, get herself in trouble, and end up being punished.) Similarly, Patti Smith, as a female rockstar, could be seen as covering her own ass — too many female rockstars might cause trouble.

I don’t know; not sure that that’s all thought through as well as I might like. But I think there is definitely a sense in which bonds between women are used to patrol femininity just as bonds between men are used to patrol masculinity. And the obsessively doubled relationship between Priscilla/Cheetah and Diana/Wonder Woman seems to get at that.

Though at the same time, of course, there’s a tradition of feminist sisterhood which is about confronting or challenging patriarchy. It’s interesting in that regard how, even though this is set in the 40s when the Marston /Peter stories took place, there are just a lot less women here than in Marston’s writing. The only woman who’s around is Priscilla, which is obviously an antagonistic relationship….

— Because WW has disappeared, Steve has to take her spot in a video. (The director comments “I’d rather shoot a war hero than some broad in a silly get-up anyway!”) The Cheetah has booby-trapped the camera, though. Priscilla doesn’t want to kill anyone…so she figures she has to remind Diana of who she was. She leads Diana off to the side (which looks again very much like femme/butch seduction)

and this time the female/female encounter brings WW and the Cheetah both back.

Because we see this entirely from Priscilla’s perspective, though, this comes across more as sad necessity than triumphant victory. The return of female superpowers may be necessary, but it’s not ideal or normal. And, moreover, it really does result in bad news for Priscilla; she gets beaten up, captured, and sent off to Paradise Island for reeducation (where presumably she’ll be reintegrated back into femininity.)

—Soon after WW reappears we get this panel:

The reappearance of WW seems to humorously undermine Steve’s maleness. When a woman wields the superdick, men are less male. Not only can’t Steve take WW’s place, but even in wanting to he becomes ridiculous; less of a man.

— The comic ends with WW back in Diana Prince identity, talking to Steve. Steve is worrying about the possibility of WW disappearing again — and Diana suggests that if WW does disappear Steve should spend more time looking for her. There’s certainly a hint here that Diana would like WW to go away— she wants Steve to recognize, or respond, to Diana instead. Like Priscilla, Diana seems to in part want to lose her super-powers and her super-identity.

This isn’t that unusual a trope — as I mentioned in the last post, Spider-Man often wants to lost his powers, as does Bruce Banner, and so forth. The difference here is, perhaps, that when Diana is just Diana, there’s no indication that she wants to be anything else. She doesn’t wish she had her powers back, or think about WW. Instead, Priscilla has to remind her who she was. When Peter Parker, or whoever, is depowered, his identity remains incoherent; he still wants the superdick. But for Diana, the only tension is when she’s Wonder Woman. A feminized Diana, sans superdick, is perfectly happy — just as, presumably, a Priscilla without the Cheetah would be perfectly happy. There isn’t the attraction/repulsion for patriarchal authority that you tend to feel in male super-hero narratives. Instead, the energy of the story seems to push pretty firmly towards just turning superfemales into ordinary women and being done with it. Of course, it can’t end up there because, you know, Wonder Woman’s name is on the cover of the comic, and you need more stories with her. But that isn’t Marty Pasko’s fault. He didn’t create the character.

And next time we’ll talk about the guy who did create the character and how he felt about superdickery. Hopefully we’ll get to that next week.

In the meantime…this is actually part of a long series of posts on latter-day Wonder Woman iterations. You can read the whole series here.

The Superdick in the Closet

A couple of weeks ago I posted a series of discussions about the way in which super-hero comics tend to be structured around homosocial desire and the closet. You can read the whole series here.

Just to resummarize quickly: the basic argument is that a character like Superman is a male power fantasy. That fits in with Freud and the Oedipal conflict. Clark Kent can be seen as the “child” who imagines himself supplanting the Father/lawgiver/god. You can also take this one step away from Freud and argue (via the theories of Eve Sedgwick) that what we’re talking about here is not, or not solely, an internal psychological desire, but rather a cultural/social formulation. Men turn away from femininity in order to identify with patriarchal power; or, to see it another way, to be patriarchal requires the denigration or hiding of weakness. That’s the closet; Clark Kent is living a lie, pretending to be powerful in order to be powerful, when his truth is actually a weak, wimpy child. And, again, the closet is powered by male-male desires and fantasies, making it homoerotic (though, as I argue at some length, it’s actually a straight person’s homoerotic fantasy — we’re talking about how straight men bond or interact with the patriarchy in particular, and arguing that that interaction is structured by ideas about, and within, gayness.)

Okay, so that’s basically where we left things. In the last few posts, I was mostly interested in pointing out similarities in the way this basic blueprint was used across different kinds of comics, from Superman and Batman through Spider-Man and Hulk and on to the work of folks like Chris Ware and Dave Sim. But, of course, there are differences too from case to case, and it’s interesting to look at some of those, and how they work.

So first, I’ve been thinking a little about the differences between some of the early heroes of the 30s and 40s and the later iconic Marvel heroes. Generally, I think, the argument is that Marvel heroes were different because they were more realistic; they faced everyday problems, made mistakes and so forth.

I wonder how true that is exactly, though. The fact is, none of the Marvel characters are all that realistic. Peter has girl troubles, sure, and he gets bullied — but Clark Kent had girl troubles, and he got bullied too. And Peter’s a genius inventor. And he’s drawn to look like he’s 40 even though he’s only like — what? 16?

Anyway, the point is, I don’t think the change had all that much to do with verisimilitude. We’re still in the world of preposterous fantasy, after all, with cosmic rays and gamma rays and super strength and defeating your enemies by punching them in the face. The difference, it seems to me, has more to do with anxiety. The Oedipal split is always somewhat agonized and anxious; the superfather for Freud is also the super-castrating ogre. And in those early Superman stories, Clark is despised and castrated; there’s a definite feeling of loathing.

However, the loathing is in these directed mostly towards the castrated, not the castrator. The problem, the thing to be ridiculed, is powerlessness, not power.

Over time, though, the faith in that image of absolute power started to waver. In the 50s and 60s there was a lot of more-or-less playful experimentation with the idea of superman as evil father. Thus, the aptly (and Freudianly) named Superman is a Dick website.

Here’s a particularly apropos picture:

I don’t know that I can really add anything to that.

Of course, the stories here always resolved by showing that Superman was acting for everyone’s good; he may have looked like the evil father, but he’s still really the good father; patriarchy is still to be trusted, power is still great, and all the boys still want that super dick.

Marvel’s innovation was not that it gave us stories that were different in kind from Superman’s kid, Jimmy Olsen. Rather, the difference was that it was able to take exactly this story and treat it as tragedy rather than farce. The problems most Marvel super-heroes face is precisely that of the superdick. That is, they aren’t beset by normal, everyday problems — they’re beset by the Thing — the monster phallus itself. Peter Parker’s mega-problems (the death of his uncle in particular) stem from being Spider-Man; which is why, when he loses his powers, he’s acutely relieved. The early Marvel comics loved to portray super-powers as a crippling curse, a disaster. The Hulk is maybe the purest example; the uber-masculine ogre who hates and wants to destroy his weaker self. You couldn’t really come up with a more lurid Oedipal castration fantasy.

The Marvel stories, then, are about mistrust of patriarchal authority; they insistently question whether the great gay bargain — exchanging individual weakness for patriarchal strength at the cost of always hiding your weakness — is really worth it. In this, they’re not unlike exploitation films, which are from roughly the same time period and which were also obsessed, in various ways, with authority and changing ideas about masculinity and femininity.

But where exploitation films could, and did, revel in the perverse pleasures of fucking with authority, Marvel comics never (for various reasons) went there. As with Superman as Superdick, the stories always ultimately ended up affirming the worth of power as power. Peter Parker is relieved to lose his powers…but then his Aunt and girlfriend are captured, and he realizes how much he Needs to Be a Man and grasp the superdick in order to save them. And even though he’s an ogre, The Hulk, somehow, always ends up being a force for good (and eventually became childlike himself, neatly undercutting the evil-ogre-father aspect of the character, which was much more prominent in the first issues.) Moreover, Stan was hardly above indulging in some Superman style superdickery himself; Professor X and other father figures are always running the X-Men through this or that idiotic test for their own good. “Yes, my X-Men, I gutted Ice Man and used his bloody remains to lubricate the gears of my Cerebro computer, then let you think he was dead for weeks. But! The experience has made you stronger as a team! And Cerebro is working really well now! And besides, before I brutally murdered him, I created a perfect robot duplicate, whose powers work better and who doesn’t engage in annoying pranks. Say hello to you new teammate: Ice-Bot!”

Having just written that super-hero parody, I have to say…it’s interesting how much super-hero parody revolves around superdickery. Chris Ware’s Superman, for example, is essentially a brutal sadist destroying everyone who contradicts him; Johnny Ryan has a superman/god character who works in a similar way. And then there’s Kate Beaton’s bad-ass Wonder Woman. And a lot of the humor in Mini-Marvels is based on the kid heroes behaving like megaomaniacal uber-fathers (Reed Richards cheerfully sending the Hulk off into space for example.) And, of course, that’s the whole point of Marvel Zombies too, with the heroes turned into evil ogres and at last wholeheartedly embracing their inner superdickery.

In fact, the genius of the early Marvel comics is not that they undercut (as it were) the superdick, but rather that they reconsecrate it by more fully acknowledging its dickishness. Males (and especially adolescent males, the ones reading these comics) are always ambivalent about sadism and patriarchal power, both because the sadism and patriarchal power is likely as not to be directed against them (“go to your room!” go off to war!”) and because, you know, who wants to be always about to become the ogre raping and murdering their own loved ones? That very guilt and fear, however, function as a lever and a spur. Peter Parker kills his father….and his life is thereafter defined by the guilt that demands he himself become a monster/father to take Uncle Ben’s place. The Hulk, in his later incarnations, is not just the destructive phallus, but the wounded child as destructive phallus; the fantasy, both terrifying and fascinating, is to become the ogre-father while still an infant, eternally both torturing oneself and satisfyingly wreaking instant vengeance, on oneself and others, for the torture. Marvel figured out that you don’t need to deny the anxiety and guilt attendant upon the power fantasy; rather, you can harness them to make the green monster grow.

So a couple more comments about this.

— I think that, as others have pointed out, power fantasies (or superdickery) is really central to the super-hero genre. And I think that what that means in part is that the super-hero genre is — not always, or everywhere, but quite centrally nonetheless — sadistic. It’s about identifying with power — either for good, or for ill. It’s about being the beneficent god or the evil ogre father, or both at once. To the extent that you do identify with weakness, it’s generally as a prelude to releasing your inner hulk, or going out to websling, or whatever.

—This is a big part of why superheroics and horror (as opposed to goth) don’t mix especially well. You can certainly have gore in something like Blackest Night, because gore and violence fit perfectly well with sadism; you can be the ravening ogre father chomping on bones, hooray! And, yes, sadism does have a place in horror too — thus torture-porn — and to that extent it does make some sense to think of Blackest Night or Marvel Zombies as some kind of horror crossover. But the central mode of horror really is not sadism; it’s masochism. It’s about being the devoured child, not the devouring father — in horror, while you may cheer for the ogre at various points, you never actually are the ogre; you’re the victim, which is where the fear comes from. The whole point of Shivers or the Thing or the Living Dead movies is that the characters are consumed; they are destroyed, and then eaten up or filled up by the Other (which is pretty explicitly the phallus, in Shivers and the Thing, especially.)

But super-hero comics never do that; even when the super-heroes are evil, they have a recognizable personality, and are the stars with which you (more or less) identify. The two genres, super-heroes and horror, are simply diametrically opposed; they are committed to opposite goals. Super-hero comics are fun because they empower; horror is fun because it disempowers. You can’t do both at once. (Alan Moore’s Swamp Thing is an exception that tests the rule, perhaps…I found the Swamp Thing vampire story at least fairly scary. But Moore accomplished that by keeping Swamp Thing himself off screen for most of the story while various civilians are terrorized and slaughtered. When Swamp Thing did show up to do battle with a giant frog/lizard/vampire thing, the horror quickly dissipated.)

—Masochism is central to the way that exploitation films, such as horror, express their distrust of the status quo. Not that horror films are actually revolutionary, per se, or that I Spit on Your Grave is going to overthrow the patriarchy or anything. But, effectual or not, a film like Last House on the Left really expresses a visceral distaste for patriarchal authority. It sneers at good dads and bad dads alike, and at the war they perpetrated, and at the whole concept of justice and truth. And again, it does this through masochism — through identifying with victims and getting pleasure/excitement/terror through fantasies of disempowerment rather than through fantasies of empowerment.

Super-hero comics on the other hand, have a lot of trouble making that kind of perverse identification with the disempowered. This is the case even with parodies like Marvel Zombies or Ted Rall’s Fantabulaman or even Chris Ware’s Superman/Jimmy Corrigan strips, where there’s generally a kind of contempt for Jimmy’s weakness which echoes the distaste for Clark Kent or Peter Parker. In all these parodies, the focus is largely on the evil father doing the ogrish evil; the victims are much less personified or even visualized. Even if you have your tongue in your cheek while admiring the superdick, you’re still kind of admiring the superdick.

Grant Morrison’s mainstream work provides an even clearer example. In his Justice League and X-Men runs, he often has his villains launch fairly damning critiques of the heroes as egotistical, self-satisfied, godlike assholes. But then he always kind of takes it back; the heroes waltz on and show that they’re noble and good and they save the world and you’re supposed to be all enthusiastic, I guess. Obviously, Morrison identifies with the critique to some extent, but there isn’t any way in a super-hero comic to let it have the last word, or to have it be the point (as it is, to some extent at least, in the Invisibles.)

Another example is Greg Rucka’s Hiketeia. Rucka puts a certain amount of effort into making the story masochistic. The cover features Wonder Woman stepping on Batman’s head, and the plot is a rape-revenge, in which a young girl slaughters her sister’s killers, taking the knife to patriarchal notions of justice and fairness. Men get beat down by storng women. However…in the first place, this is a Wonder Woman comic, and a lot of the emotional oomph comes from watching her beat the tar out of Batman — you identify with her, which is sadistic rather than masochistic. Secondly, the story ends up being not about the girl and her revenge at all, but instead about the tragic rift that the girl’s rape-revenge creates between Wonder Woman and Batman; a rift the girl, rather inexplicably, sacrifices herself to heal. It’s like she hears all the genre rules yelling at her that she’s supposed to be the one getting castrated, not doing the castrating, and she finally acquiesces — perhaps just because she can’t stand being written by Greg Rucka any longer.

Again, Watchmen is perhaps an exception of sorts here, where the role of all-powerful father is both questioned and in various ways deflated. But it took Moore a number of false starts before he got there (Miracleman and V for Vendetta try to mount an anti-establishment critique via super-hero, but ultimately, I’d argue, end up defeated by the genre conventions.)

The point here isn’t that stories supporting status quo are necessarily bad. Dark Knight is pretty unabashed in its worship of the superdick, and it’s great. And, as the Dark Knight kind of suggests, the status quo has numerous benefits (stable currency and revolutionaries not stringing up me and mine from flagpoles = good.) It is interesting, though, the extent to which the superhero genre’s bias towards and fascination with the superdick makes it difficult for authors to tell certain kinds of stories (horror, anti-status-quo) even when they’re clearly trying to do so.
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Well, that was about twice as long as I thought it would be. I still want to discuss the question of whether Wonder Woman can be the superdick…but I think we’ll have to leave that for another day.

Comics In The Closet, Part 3

Last week I posted a lecture I gave on the importance of, and suppression of, male-male bonding and obsessions in comics. (Part One, Part Two.)

Some interesting comments and criticisms were brought up in the comments to those posts, particularly questions about Freud and why on earth I thought writing about this sort of thing was a good idea. I’m going to try to address some of those questions here. The result is going to be a bit rambling, but hopefully not completely uninteresting. So with that endorsement — off we go.

To do a quick recap of the argument: my basic point was that Western comics are obsessed with male-male relationships and heterosexual identity. That obsession is structured by homosexuality and the closet; maleness is always furtively in danger of splitting into a hypermasculinized overman (and hypermasculinity equates with gay) and into a feminized underman (which again, can be equated with gayness.) The fraught, agonized tension of of male-male desire becomes both the emotive force and the excuse for self-pity, and ultimately for violence, directed at women (who are despicably feminine and constantly interfering in all the male-male bonding) and towards other men (as objects of desire who can only be furtively embraced through physical chastisement.) Homophobia, misogyny, and violence, in other words, are motivated by a crisis in heterosexual male identity — a fear of an inescapable homosexuality, which becomes more inescapable the more (or less) male one becomes. I argued that this dynamic was present in classic super-hero comics like Superman, Batman, and Spider-man, and that it also existed in more well-respected indie comics like Cerebus and Jimmy Corrigan. Finally, I suggested that shojo manga dealt with gayness and emotional bonds in rather different ways. (Many of these ideas are adapted from Eve Sedgwick, who I’ll discuss some in this post as well.)

So that basically bring us up to date. The essay provoked a certain amount of skepticism, most notably from Pallas, a frequent commenter. He eventually asked a series of perceptive questions, among which were these:

What “erotic” means?

Is there such a thing as platonic friendship, or only “erotic” friendship?

Is the appreciation of a parent towards a child inherently “erotic”? (Hey, you brought up the Batman surrogate father examples, not me!)

Is it possible to appreciate aesthetic qualities without that appreciation being “erotic”?

I think, as Pallas suggests, these questions are central to my argument. They’re also, though, rather more broadly important; they’re essentially questions about how human beings interact with each other, whether as lovers or family or political actors.

I do have a couple answers for Pallas, I think. To start at the beginning:

“[Explain] What erotic means.}

I think “erotic” in this context means touched by, or having to do with, desire. So, for example, Clark Kent’s relationship with Superman can be seen as erotic, in that Superman can be seen fairly easily as a power fantasy; Clark desires to be Superman. That’s erotic — and since they’re both men, it can be read as homoerotic (and when I say “can be read” I mean it can be read that way not just by me but by Clark and to some extent by his creators.) Similarly, Lois desires to humiliate Clark — that’s erotic. Superman desires to humiliate Lois — again, that’s erotic — and, obviously, sado-masochistic. Or, as another for instance, Joker desires to destroy Batman; Jimmy Corrigan desires to become powerful like Superman; Cerebus desires to remain continent. Desires are erotic — and desire, in one form or another, exists in all human relationships. Thus, to answer Pallas’ second question, there is no clean “platonic” friendship, because all friendship is involved with desire.

This isn’t an original insight; most obviously, it’s associated with Freud, who argued that all human relationships, even the most sacrosanct (as, for example, those between mother and son) were charged with erotism and desire. He was roundly hooted for being a dirty old quack — and the scientific certainty he brings to his more outlandish theories is, I have to admit, kind of hard to take. When Freud insists “all human beings are bisexual…Psychoanalysis has established this fact as firmly as chemistry has established the presence of oxygen, hydrogen, carbon and other elements in all organic bodies,” it’s hard not to respond with a heartfelt, “You wish psychology was chemistry, Ziggy.”

I think the scientific foderol can obscure the fact, though, that when he argued that desire was central to human existence, Freud wasn’t just making shit up; he was restating a very old truth. Desire is, I think, a fairly good shorthand, secular definition of sin — a fairly important concept before the Enlightenment declared we were all clean, rational, democratic automatons. Freud was a benighted heir of the Enlightenment too, in his own way — thus his insistence that he was doing science instead of theology. But I think there’s a fairly strong argument to be made that he was a theologian in spite of himself; that, in focusing on desire and eroticism, he was simply (or not so simply) reintroducing sin as a motivating force in the affairs (variously defined) of human beings. Freud says this himself, when, for example, he points out that “prohibited impulses are present alike in the criminal and in the avenging community. In this, psycho-analysis is no more than confirming the habitual pronouncements of the pious; we are all miserable sinners.”

In short, the statement “all people are bisexual” is not a scientific truth. But that doesn’t make it false — and, in fact, since desire is part of all human relationships, I, at least, think that the statement “all people are bisexual” is, in fact, true.

So on to Pallas’ next question:

“Is the appreciation of a parent towards a child inherently “erotic”?”

…which lands us neatly in the Oedipal complex. Both Freud and Christianity, I believe, would answer Pallas’ question with an affirmative; the love of parent and child is erotic; it is charged with (selfish) desire, just like every other human relationship since the Fall.

Freud would illustrate this with the Oedipus drama. But comics fans don’t need to go so far afield. Consider, for example, Spider-Man. Peter Parker is, like all super-heroes, surely a power fantasy; he’s a nerdy, nebbishy, feminized nothing who, though the miraculous oral intervention of an insect, is transformed into a paragon of masculinity, able to beat up professional wrestlers and earn money with a single upgraded chromosome. He changes, in short, from pitiful son to masterful father. In doing so, he also, inevitably, kills his own father (“Uncle” Ben)— and all the guilty emoting can’t quite erase the fact that the death of the father is not the end of the fantasy, but a continuation of it. To be a man is not just to have great power, but great responibility (for protecting the womenfolk, among other things); Peter can’t take his father’s place as protector of the weak (i.e., the women) if his father is still there.

(I googled Spider-Man and Oedipal conflict, incidentally,and was kind of startled not to immediately discover, like, 50 people making the same points above. Despite my failed googling, though, I am sure as sure can be that I am Not The First Person to Think of This — it’s pretty blatant after all. I’d imagine it at least occurred to Lee and Ditko themselves, for that matter.)

Or, to put it in less psychoanalytic and more Christian terms — children and parents envy and compete with each other; their love for each other is stained with desire. Even Peter’s noblest impulses (his desire to take responsibility and do good) are in part a selfish desire to be perceived as being as powerful as and as good as his father; to set himself up as an idol and take the place of God. (Probably the basic sin of the super-hero genre in general.)

Another way to look at this dynamic is through the work of Eve Sedgwick. I talked about Sedgwick a good bit in my original posts; she was a feminist and queer theorist, who (like a lot of feminist theorists) took Freud’s scientific/psychological ideas and recast them in a social/cultural context. In comments, Eric B (also known as “my brother”) provided a good summary:

Sedgwick’s point (derived partially from Claude Levi-Strauss’ account of kinship systems) is that we live in a patriarchal culture, where men have the power and are interested in maintaining that power. One of the ways in which this done is in the “trading” of women. Marriage serves a central function in cementing bonds between two families, consolidating patriarchal power, by joining two or more men in “homosocial” bonds. Women traditionally had no power in marriage (obviously this changes post 19th century) and so become “objects of exchange.” So…marriage itself is a weird structure–less about sex than about power and perpetuating bonds between families “ruled” by men. So…women become mediators of “relationships” between men. This reverses some old second-wave feminist accounts of “feminism is the theory, lesbianism is the practice.” Instead, its “patriarchy is the theory, homo- bonds is the practice.” This is how she links homophobia with misogyny. Women are treated as object in this model…but necessary objects. Without marriage (and therefore love and heterosexuality), you have no consolidation of power. Because of this “necessity” (just a structure–no “natural” reason why its necessary other than reproduction, which doesn’t require marriage, just sex)–homophobia develops as a part of patriarchal culture. Once marriage becomes important to power/economic structures, it must be maintained by powers-that-be and one of the ways that happens is a discouragement of same-sex relationships. So…misogyny and homophobia are linked…but they are also linked to homoeroticism (which isn’t always erotic, but often is), since the system requires (yes) the repression of homosexual sex, but also requires close bonds “between men.” It’s convincing to me more because of the links to Levi-Strauss account of kinship…an anthropological theory that is fairly widely accepted as helping to explain various “taboos” against certain kinds of marriage in a variety of different cultures/societies. I think there is some reliance on Freud, but the “repression” is less internal/psychological and more “socially necessary” to perpetuate a certain kind of culture. We don’t repress homosexual desires because of an overactive superego–but because we know society frowns on it and we can be gay-bashed for it, etc.

From Sedgwick’s perspective, then, the Oedipus story, and the Spider-Man origin, can be read (without too much of a shift from Freud’s version) as a fantasy, not about the infant’s love/hatred of his father, but about a man’s love/hatred for patriarchal power. Aunt May ends up as a chit in the power exchange between Uncle Ben and Peter. Peter’s feelings for his father — the patriarchal bonds of affection — are dangerous and inexpressible. Thus, Ben gets put out of the way, so that Peter can express his power fantasies (taking his father’s place in the patriarchy) through the safer medium of loving Aunt May on his dead father’s behalf. (Obviously, Peter isn’t marrying May — though it’s interesting that MJ is introduced to Peter by May. And it’s also interesting how important evil fathers are in those early stories; Norman Osborne, obviously, but also Doc Ock, who engages in an odd courtship with May.)

In any case, the Spider-Man story also shows pretty clearly how the Oedipal conflict, especially as interpreted by Sedgwick, ends up being structured by closeted homosexuality. Peter’s desire, his libido in Freud’s terms, is directed towards male power — the story is a power fantasy. As such, Peter is split in two; on the one hand, he’s the uber-father, with hyper-masculine powers, taking on the patriarchal father. On the other hand, he’s still a weak, helpless kid. This is what Sedgwick means, I think, when she talks about bifurcated identities — masculinity is always split like this, between absolute patriarchal power (which can perhaps be embodied momentarily, but is never absolutely attainable) and the individual self, (which always falls short of patriarchal ideals/responsibility/power.) It’s Spider-Man who takes the place of Uncle Ben…Spider-Man’s who signals that Peter has taken on the power and responsibility of the patriarch, or the father. But though he’s a man, Peter’s still also a frightened child.

So Peter is split. Oedipally, one part of him identifies with the powerless child, one part with the all-powerful (all-responsible) father. That split is charged with homoerotic desire; Peter desires the power of Spider-Man, which is also the power of his father, or of the patriarchy. I think too, contradictorily, Spider-Man desires the powerlessness of (ahem) Peter — the lack of responsibility. The Peter Parker/Spider-Man relationship is homoerotic — it’s about men’s desire for certain kinds of maleness.

At the same time, this relationship (and not coincidentally) is structured around the closet. The closet is about repressing male-male desires; presenting a united patriarchal front of power and responsibility to the world while concealing potentially dangerous emotions. The Spider-Man/Peter relationship is gay, and that gayness — or that feminization — has to be concealed. Spider-Man wears a mask because masculinity has no face; it’s an anonymous power. Beneath that mask is the face of someone who is not a man — a child — but the mask erases the child’s face. To become the patriarch is the desire and also the fear — the strength of the patriarch is also the strength of a monster: Thing, Hulk, Spider. The mingled desire and fear is why these relationships are agonized — to take on great power and great responsibility, you must be split. I discussed this in the context of the Friday the 13th films here.

All of which is to say, you can’t undermine masculinity by cutting it apart, or by pointing out that this or that person doesn’t measure up. Jason isn’t less of a man because he’s actually a child — or rather, he is less of a man, which is what masculinity is all about. Masculinity is always already bifurcated. On the one hand you have the Law — pitiless, perfect, unattainable. On the other hand, you have the implementer of the Law, the person the Law inhabits. That person is inevitably stunted, powerless, pitiful — feminized. The Law uses imperfect bodies, but that doesn’t make it less perfect. On the contrary, it merely emphasizes its disembodied perfection.

Again, you can see this in a Christian context as well — where too, obviously, father-son dynamics are fairly important. In some ways, Christianity is an effort to get out from under the Law; to replace the law with platonic love. Humans aren’t capable of platonic love, though. Instead, such love as humans are capable of (like Peter’s love for his father-figure) leads, via desire, back to a wish for power and thus to the law. That’s why Jesus has some harsh things to say about treating family bonds as more important than salvation, and why, ultimately, you need grace. (It’s interesting in this context that Spider-Man, Superman, et. al. were created by Jewish creators — “with great power comes great responsibility” is not exactly a Christian sentiment.)

Anyway, on to Pallas’ next:

“Is it possible to appreciate aesthetic qualities without that appreciation being “erotic”?”

If “erotic” is seen as meaning “desire”, I think the answer is no. Art is tied up in desire — the desire of the creators and the desire of the audience. This isn’t surpsing, since art is a human product meant to communicate with human beings,

The irony, of course, is that a lot of aesthetic criticism is tied to determining whether a given piece of art is free of desire, or pure, in particular ways. Art that seems clearly intended to make money, for example, is often denigrated as being inauthentic or impure. Similarly, art that caters to observers’ prurient interests (which is clearly erotic, in other words) is often downgraded.

Nonetheless, I don’t see how you separate aesthetics and desire. You identify with a character because you like something about him or her, and affections are (for humans) tied to desire. Even if you’re talking about abstractions, you’re talking about beauty, which is certainly linked to desire. There’s almost always, too, something compulsive about art — collecting, viewing, knowing, discussing — which seems inextricable from the mechanics of desire.

I think to me this is a big part of why art is worthwhile, or interesting. Desire — according to Christianity, according to Buddhism, according to Freud, according to innumerable pop songs — is at the heart of the human experience. If art isn’t erotic — if Spider-Man doesn’t satisfy and address desires — what would be the point, exactly?

Gene Philips correctly points out that there are types of desire other than homosexual or homosocial which can be dealt with through art, and, sure, I don’t have any problem with that (I talk at great length about bondage on this site for instance.) But relationships between men — tinged as all relationships are with desire — seem to me to be especially important, inasmuch as men, even now, play a disproportionate role in running the world.

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Update: More on this topic here.

Comics in the Closet, Part 2

This is the second part of a lecture I delivered last year. In the first part here I argue that super-hero comics are built around homsexual panic and repressed male bonding. In this second bit I’m extending that argument. (Be warned; there are some explicit images below.)

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What’s really revealing, though, is the extent to which the nexus of sentiment/self-pity/troubled maleness transfers so seamlessly from these old, easily dismissed super-hero titles to much more intellectually and culturally validated efforts. For instance, there’s Cerebus, Dave Sim’s extremely successful self-published black-and-white 80s mega-series in about a gazillion volumes about a sword-fighting aardvark and the meaning of the universe, not necessarily in that order. Cerebus is one of the most influential and respected English-language comics of the last thirty years or so. And in it, Sim goes out of his way to make fun of the whole idea of manly adventure narratives in general, and, at various points, of super-heroes in particular. Yet, despite its ironic distancing, Cerebus is in fact engaged and even obsessed with the same kind of conflicted masculinity that we’ve been discussing.

From its beginning, Cerebus is a parody of a particularly overblown masculinity. In fact, the central, ongoing joke of the series is that Cerebus behaves like Conan and yet, he’s clearly not Conan. In other words, Cerebus is in part a funny character because he has all the attributes of hyper-masculinity (temper, violence, a certain kind of competence, emotional distance, etc.) even though he is essentially a (feminine-associated) plush toy. The joke is heightened by the fact that the other characters in the story are, for the most part, oblivious. Cerebus is treated as if he had all the privileges of masulinity — women try to seduce him, for example, and he is treated as a political threat. Or, to put it another way, Cerebus successfully passes as a traditional (heterosexual) man.

And here’s just two pictures of women throwing themselves at Cerebus — a Red Sonja like barbarian maid from the first volume:

And a high-powered sophisticated political operator from High Society, the second volume.

Part of the pleasure of the story, especially on the early outings, is the reader’s awareness of this open secret — a secret everyone in the book knows, and yet which is only rarely alluded to. Cerebus himself doesn’t talk about it, or even seem to notice it for the most part. And yet, even as the story becomes more intricate and the formative Conan meme fades into the background, the fact of Cerebus’ difference, and its relation to his masculinity, remains of central importance. The second volume of the series, High Society can, it seems to me, be read as a story about Cerebus’ masculinity — his efforts to eschew femininity, and lay hold of a manhood which he obviously doesn’t really possess. Ironically, most of these efforts to resist the feminine involve precisely turning down offers of sex and/or close relationships with women (as you can see, in the picture above, Cerebus is engaged in loud protestations of continence.) So is this (not always successful) imperviousness to female attention a sign of Cerebus’ true status as a manly-man? Or is it a sign that he is something other than a man, after all — another species perhaps? Or maybe it’s both?

In any case, the emotional climax of High Society is very near the end. Cerebus is saying his farewell to the super-feminine elf maiden, with whom he has a somewhat prickly friendship. And, as they’re parting, Cerebus breaks down and cries.

Of course, Cerebus is claiming to have something in his eye because he’s too manly to admit to giving in to sentiment. But that refusal is itself more sentimental — the tears are heightened in impact and importance because Cerebus is the sort of guy, or whatever, who is unwilling to cry. Emotional coldness and imperviousness is the romanticized soul of gloppy sentiment.

Dave Sim, the author and artist here, actually has a very strange history; sometime after he wrote these comics, he experienced a kind of religious awakening, which led him to conclude, among other things, that women aren’t human, that feminism is a great conspiracy against all that is good and right, and that homosexuality is despicable. He also became a rabid believer in his own pure rationality, and in the unbearably flawed otherness of all things emotional. Here’s a fairly typical quote from his later days:

Emotion, whatever the Female Void would have you believe, is not a more Exalted State than is Thought. In point of fact, I think Emotion is animalistic, serpent-brain stuff. Animals do not Think, but I am reasonably certain that they have Emotions. ‘Eating this makes me Happy.’ ‘When my fur is all wet and I am cold, it makes me Sad.” “Ooo! Puppies!’ ‘It makes me Excited to Chase the Ball!’ Reason, as any husband can tell you, doesn’t stand a chance in an argument with Emotion… this was the fundamental reason, I believe, that women were denied the vote for so long.

I like especially the way he randomly capitalizes various words, like “Female Void”‘ “Exalted State”, “Emotion” etc. And when he talks about the female void, it’s not nearly as metaphoric as you might think; he’s got pretty bizarre cosmological ideas.

Anyway, later volumes of Cerebus deal more explicitly with gayness — or so I’m told. I actually found the second volume a chore to wade through, in large part because of the hamfisted way gender is handled, and since I know it only gets worse from there, I haven’t been inspired to go on. But, obviously, there’s a continuity between the conflicted and romanticized comic-booky take on masculinity here, and his rejection of all things feminine later in his life.

Not that it’s just right-wing whackos who are attracted to masculine sentiment. Conflicted male-bonding is at the center of Art Spiegelman’s indisputably liberal Maus, for example, in which all the father-son angst actually manages to overshadow the Holocaust. And lots of male autobiographical comics by folks like Jeff Brown or David Heatley or Ivan Brunetti are basically about guys feeling sorry for themselves. (If you haven’t read any of those folks, well…don’t.) Dan Clowes does a lot of work in this vein as well; the title character of David Boring has unresolved fetishes and sexual issues more or less linked to his absent father, who, we learn, was an illustrator of super-hero comics.

And then there’s Chris Ware’s best known comic, Jimmy Corrigan. Corrigan is basically a realistic story; no gargantuan semi-clothed behemoths switching brains as a prelude to uber-violence; no diminutive semi-clothed aardvark barbarians turning down sexual advances as a prelude to swordplay. But nonetheless, it’s vision of maleness is oddly familiar.

First of all, like Batman and Superman and Spider-Man, Jimmy Corrigan loses his father early in his life (though in his case it’s through divorce rather than death). And, like his costumed predecessors, this lack of a father is figured as the defining emotional fact of his life. Surely it’s his wounding and his loss which makes the utterly repulsive (racist, emotionally inaccessible) Corrigan at all palatable, just as Bruce Wayne’s nocturnal nuttiness is made coherent by his tragedy.

Here’s one page form Ware’s Jimmy Corrigan.

The top part is a quick and unexplained flashback, showing Jimmy in a failed one-night stand. The woman has gotten cold feet, so Jimmy leaves her with the sensitive exit line, “Well, my dear, I for one have better things to do than waste my time with some cocktease whore.” The bottom sequence shows Jimmy awkwardly interacting with his father, whom he has just met. The parallel paths here are, I think, supposed to be emotionally linked, and maybe even causal. Jimmy’s failed relationship with his father on the bottom of the page is supposed to explain his overweening but incompetent heterosexuality. Or, to put it another way, beneath the icky heterosexual interaction is an icky male-male interaction of greater importance.

Ware, in other words, relies for his emotional effects on the exact same dynamic as Batman, Stan Lee, and all those old pulpy super-hero comics did. It’s all about men ostentatiously refusing to cry about their lack of manhood, mourning their failure to be heterosexual icons. Ware himself makes the connection quite explicit. A recurring character in Ware’s comics is a super-hero named Superman. This Superman isn’t quite like the one you’re familiar with. The costume’s different for one thing. For another, though he’s billed as a hero, he tends to behave more as a sadistic super-powered bully. In my favorite of Ware’s comics, Superman strands Jimmy Corrigan on an island for years, occasionally visiting him to break his arm, mock him, or masturbate to dirty films starring Jimmy’s mother.

Here’s a picture of Superman abusing a young Jimmy Corrigan.

In this sequence, Ware is, I think, critiquing the kind of conflicted masculinity we’re discussing. Superman is an ogre of empowered masculinity, but his violence, as always in these situations, seems linked to self-doubt and self-justification. He drops Jimmy on the island because Jimmy dislikes his new stepfather. Superman reacts to this seemingly minor threat to patriarchal and adult authority with hyperbolic violence. Control and arbitrary power are built on a masculinity absorbed in eternally mourning its own potential failure. The fear and pity of failing to be a man justifies anything.

Unfortunately, when he collected his Jimmy Corrigan strips into a complete work, Ware decided to leave this material out. Superman is still present as a character of sorts, but he’s not “real.” On the one hand, he’s just some guy dressed up in a super suit who sleeps with Jimmy’s mom. On the other hand, he’s a metaphor floating about at the edges of the narrative. The frightening authoritarian masculinity that Ware created in the early strips is carefully bifurcated, and what we end up with is a figure ripe for enabling sentiment. Instead of critiquing comic-book maleness and its compulsive dynamic of pity and violence, Ware embraces it. Superman becomes a symbol for the elegaic sadness of insufficiently heterosexual nerds everywhere.

For instance, here’s another page from Jimmy Corrigan; that’s Jimmy Corrigan and his father erupting from Jimmy’s stylized mouth in an explosion of agonized and bifurcated male self-birth. In the background you see Jimmy sitting on the toilet wearing a Superman shirt.

And this is the last image of the comic; Superman flying amidst the falling snow. It’s similar to the final melancholy transcendence in James Joyce’s “The Dead” — except here the nostalgic swoon is prompted not by mortality or doomed lovers, but by the iconic super-hero father-figure.

Ware’s move here in turning comics themselves, as a cultural artifact, into signifiers of beautifully failed maleness, is actually a more and more popular move for thoughtful intellectuals. To the limited extent that I was able to force myself to read it, it seemed to be what Michael Chabon was doing in *Kavalier and Clay* for example. That novel is about the friendship between two Jewish comic-book creators set in the early twentieth century, and, it mostly deals with nostalgic atmosphere and male-bonding, both tied explicitly to super-hero fantasies. Fiction writer Jonathan Lethem gets at something similar when he muses that:

“This is a closed circuit, me and the comics which I read and which read me, and the reading of which by one another, me and the comics, I am now attempting to read, or reread. The fact is I’m dealing with a realm of masturbation, of personal arcana. Stan Lee’s rhetoric of community was a weird vibrant lie: every single true believer, every single member of the Make Mine Marvel society or whatever the fuck we were meant to be called, received the comics as a private communion with our own obscure and shameful yearnings, and it was miraculous and pornographic to so much as breathe of it to another boy, let alone be initiated by one more knowing.”

An all-male community tied together by “obscure and shameful yearnings,” in which it is “pornographic” to be “inititated by one more knowing” — could there be a clearer description of the closet? Comics are every man’s shameful truth; the sign that he is not really or fully a man. But, and in the same way, they serve as his apotheosis; he is special, because he understands comics. His otherness is his tragedy and his sentimental validation. The secret identity is simply lover of comics — the love that, on the one hand, dare not speak its name, and, on the other, won’t cease sentimentally snivelling about it.

In her book, Eve Sedgwick talks a lot about the dangers of labeling something “sentimental.” As she points out, the tendency is to use “sentimental” as a feminizing insult. I’ve perhaps been guilty of that here. But my problem with the sentimentality of American comics isn’t so much the sentiment itself as the kind of sentiment expressed and where it seems to point. So as a point of comparison, I want to turn briefly to another comics tradition.

Japanese comics, or manga, have developed very differently from comics in America. Most importantly for our purposes, manga isn’t predominantly male, the way American comics is. On the contrary, there’s a whole genre of manga, called shojo, directed at, and mostly created by, women. I’ve been arguing that American comics are furtively and anxiously gay; shojo, on the other hand, is openly, enthusiastically flamboyant. In shojo books, men turn into women, women turn into men, and characters fall in love with a delirious unconcern for boundaries of age, station, or gender.

For example, here’s a scene from Rumiko Takahashi’s, Ranma 1/2, where Ranma turns into a girl. Note that Ranma isn’t technically a shojo title — it was first serialized in a shonen magazine for boys. However, it was hugely popular, so both boys and girls read it, and it’s fairly clearly in a shojo tradition in a number of ways, even if it isn’t “really shojo.” (Just wanted to make that clear in case there are manga addicts out there waiting to trip me up.)

And below is a very explicit panel from Fumi Yoshinaga’s “Gerard and Jacques” depicting a homosexual, intergenerational quasi-rape.

This is actually an example of a subgenre of shojo called yaoi. Yaoi like all shojo, is mostly by and for women, but it features homosexual relationships between men. Often these relationships, as here, are very explicit. Yaoi is very popular in Japan, and is catching on here as well. Since it’s not a genre native to the U.S., lots of people sort of look at it strangely and say, basically “What? Women want to read stories about gay men having sex? What’s with that?” I have some answers to that, but here I just want to point out that the gender politics in American comics are *at least* as bizarre and homoerotic as those in Japanese ones.

So shojo has a lot of gender bending, and a lot of openly gay content. This isn’t to say that shojo repudiates the closet. On the contrary, sexual secrets are extremely important in the genre, and those secrets are productive, as they tend to be, of tons of melodrama and even more gushy sentiment. As an example, take the series Cardcaptor Sakura, written by a female collective which goes by the name of CLAMP. The series is about an elementary-school-girl named Sakura who must collect a series of magical cards while wearing a succession of excessively girly outfits.

And here’s a couple of those outfits from just the first volume:

The improbable plot, and even the improbable fashion statements, are both much less important than character interactions — basically, everyone has a crush on everyone else, and the narrative momentum happily effervesces into a haze of unrequited sighs, longing looks, pregnant silences, and moments of ecstatic embarrassment.

So, for example, here’s one character blushing as his secret crush is revealed.

Despite all this extended teasing, the title does manage to reach a climactic moment, when, having collected all the cards, Sakura is confronted with a final magical trial. In a super-hero comic, this would be the moment in which the villain threatens to blow up the city, or the world, or the multiverse. CLAMP, though, refuses to go there — they explicitly state that if Sakura fails, “The Evil that is released…isn’t something…that will destroy the world or move Heaven and Earth.” Instead, if the evil triumphs, all of the main characters will simply forget the person “they care for most.” Everybody’s secret crush will be erased.

Here’s Sakura learning that she will forget the person she cares for the most.

My first reaction on reading this was, “oh, come on.” I mean, how preposterous, not to mention sappy, can you get? But the more I thought about it, the more it seemed exactly right. In Cardcaptor Sakura, and in shojo in general, the stories are held together by relationships. Many of those relationships are unrequited or unspoken…but that doesn’t make them less important. The love you don’t say can be the point of your life; secret love is meaning. Without it, Cardcaptor Sakura’s narrative, its world, would come apart. In Cardcaptor Sakura, the closet exists, but it opens outward. And what you find inside is love, which invisibly binds together the world in a web of affection and sentiment.

In contrast, the American comics I’ve been discussing look suspiciously like the emotionally empty world which Sakura struggles to avert. What happens when your crush disappears? Does sentiment vanish? Or does there remain the sense of a secret without content; an empty closet in which emotion rots and festers, slowly poisoning itself? Batman and Cerebus and Jimmy Corrigan all hide the fact that they have nothing to hide. The inside of their closets contain, not love, but love’s absence — an incoherent dream of an identity that never was. And if love produces life, this vapor creates only a simulacrum — an empty image of an empty self.

That simulacrum of a dream is masculinity — the non-face you get if you fold and spindle your entire comics collection like one of those old Mad magazine Al Jaffee fold-ins. In America, comic books are men, men are comic books, and the two drop, one from the other in an endless series of immaculately tedious births. Manliness isn’t so much a secret identity as it is a repetitive compulsion. That’s why, whether radioactive high school student, anthropomorphic animal, or literary darling, American comics characters always seem to be putting on the same damn mask.

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Update: Another post with some similar related thoughts here.

Comics In the Closet, Part 1

I thought I’d reproduce here a talk I gave at Florida Atlantic University about a year ago. A shortened version ran in the Comics Journal, but this is the whole thing, pretty much as I presented it. It’s over 5000 words, so I’ve split it into two parts. I’ll run the second bit tomorrow. (Be warned; there are some explicit images below.)
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Comics in the Closet

I thought I’d start by reading a short, short story I wrote. This is called “Alpha Male in…Don’t Be Gay!”

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Alpha-Male was bitten by a radioactive penis and gained the proportional speed, strength, and emotional maturity of a penis. He lived happily out of touch with his feelings until suddenly his dick-sense tingles and, wham! The Gay Utopia arrives. A bunny offers him a flower from its anus; a burlesque troop of Hello Kitty dolls sings about bodies and pleasures; he is almost buried in pastel-colored anti-America flyers. Luckily, even the most playful subversion can’t daunt Alpha-Male! Fueled by his Alpha-testosterone, he tears several butterflies asunder and rapes a bunch of queer video projects. But for how long can our hero keep it up in a world without big box retail? Plus he can’t buy any meat so his farts don’t smell right. That’s why it’s time for the ultimate Alpha-power: mind-over-ejaculate! Desperately, courageously, he thinks of Hugh Hefner and achieves one final orgasm . Then he makes his cum take the shape of a direct-market comic store. Inside are a bunch of dudes like Frank Miller and R. Crumb making manly comics with boring layouts about fighting evil and getting laid. He decides to live there the rest of his life. Fuck the Gay Utopia! The End.
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And here’s a couple of illustrations done for the story by Johnny Ryan, a very talented indie cartoonist who kindly collaborated with me on this:

There’s alpha male being bitten by a radioactive penis;

1and there’s alpha male using his power of mind over ejaculate to create a direct-market comic book store in which he can live out the rest of his life.

So what we’ve got in this story is a pretty clear binary, right? On the one hand, you have the gay utopia, which is feminine, frilly, and touchy feely. Then, on the other hand, you have Alpha Male, who is masculine, not frilly, and emotionally inaccessible. Most importantly, the gay utopia is gay, and Alpha Male is not.

Except that, as you can see, like all super-heroes, Alpha Male is dressed in flamboyant tights. And he’s escaping from the gay utopia into an all-male environment that is extremely sexualized. What are he and Frank Miller and R. Crumb going to do for the rest of their lives in that direct comic book store? Are they really just going to be making comics about getting laid?

So is Alpha-Male straight? Is he gay? In Epistemology of the Closet, Eve Sedgwick argues

…that many of the major nodes of thought and knowledge in twentieth century Western culture as a whole are structured — indeed fractured — by a chronic, now endemic crisis of homo/heterosexual definition, indicatively male, dating from the end of the nineteenth century.

In other words, male heterosexual identity is incoherent, built upon a binary definition of homosexual identity which is essentially untenable. Though it’s taking a few liberties with Sedgwick’s formulation, I tend to think of it like this: Heterosexual men are men who like women. But if you like women too much, then you’re feminine, and so gay. But if you don’t like women, you like men and then you’re gay. Does not compute…does not compute…boom, you blow up like one of those robots out-witted by the very manly Captain Kirk and his close, close buddy, Mr. Spock.

American comics have long been written by, aimed at, and consumed primarily by, guys. They’re basically male genre literature, like Westerns or spy thrillers, devoted to visions of mysteriously manly men performing manly deeds —flexing, fighting, rescuing damsels in distress, and so forth. Super-hero comics provide a vision of fairly stereotypical masculinity — a man is a man when he has big muscles and fights for what is right.

As a for instance, here’s a picture of Batman behaving in a typical manly fashion.

So masculinity in super-hero comics is almost laughably straightforward. And yet, at the same time, it isn’t straight at all. Instead, it’s bifurcated, incoherent and, in a lot of ways, really gay. To begin with, super-heroes generally have a secret life, a “secret identity”, that they can’t talk about even to their closest friends and relations. In other words, they are all closeted. And what’s in that closet?. A hypermasculine, muscle-bound body, swathed in day-glo tights; an uber-manly man whose physical tussles with the bad guys preclude any meaningful relationship with the leading lady. Out of costume, on the other hand, the hero is a feminized sissy-boy, whose painful secret prevents him from having any meaningful relationship with the leading lady. Either way, what looked like iconic maleness starts to look, from up close, rather queer. And that’s not even getting into the whole boy sidekick thing.

Several pictures to illustrate what we’re talking about here:

First, here’s Superman in an ambiguously compromising tussle with a bad guy.

Second here’s the Joker goosing Batman. Incidentally, this is by Grant Morrison, who is quite aware of the homosexuality of super-heroes. Alan Moore also touches on it at several points in Watchmen. I’m far from the first person to discuss this sort of thing, in other words.

Anyway, to move on: here’s Peter Parker, aka Spider-Man, canceling a date with Liz Armstrong so he can go have a secret rendezvous with the Sandman. Notice that studly Flash Thompson takes the opportunity to point out that Peter is effeminate, or as he says “Lucky for you, Liz! Now you can go out with a real man — namely me!”

I also wanted to point out here, just as an aside, that the nebbishy alter-egos like Peter Parker and Clark Kent are sometimes associated with Jewishness; most of the creators were Jewish, and you can see it as a metaphor for assimilation. This interpretation doesn’t clash with the one I’m using, I don’t think — Jewish maleness and gayness are often associated with one another, both being grouped together as unmanly. Sedgwick I think would argue that the heterosexual/homosexual binary shapes the way we deal with issues like ethnicity and assimilation, which is why we have the stereotype of the Jewish nebbish in the first place.

Anyway, on to boy sidekicks: here’s Bruce Wayne (Batman) in bed with his youthful ward, Dick Grayson. Apparently when the unhealthy sexuality of comics was being condemned in the 50s, this panel served as an important case in point.

And here’s a multiple boy sidekick panel; Bucky, who’s Captain America’s partner, is grinning lasciviously and saying “Did you see the way Robin kept looking at me, Cap? I guess he knows who’s got the better partner…and the more exciting life!”

And one more boy sidekick image, because I couldn’t help myself.

Sedgwick incidentally points out that one of the main uses of the closet, perhaps for those inside, but definitely for those outside, is the way it allows one to feel smart and knowledgeable. You look at these images in this context and you say, hey, I know something here that most people, maybe even the creators, don’t. In this case, though, knowledge isn’t so much power as it is participation in mechanisms of pleasure. Enjoying your knowledge is one of the ways that the closet has power over you, not the other way around.

So, besides a desire to feel that I’m especially clever, why point this stuff out? Well, one reason is that the fractured masculinity we’re talking about here has some important effects on the way men are presented in these comics. In her books, Sedgwick argues that anxiety about homosexuality, or homosexual panic, is a trait *not* of gay men, but of *straight* men. If you’re gay and all the way out, you don’t need to worry about the closet, because you don’t have to worry whether people think you’re masculine enough. Straight men, on the other hand, have to always keep one hand on their masculinity (so to speak.) This can be expressed very dramatically, thorough, for example, homophobia or gay bashing. But it can work in more subtle ways as well.

One of the things Sedgwick talks about in this context is the idea of sentimentality. She points out that the sentimental is typically defined in terms of insincerity and femininity. It tends to be connected to genre fiction for women (romance novels, Hollywood romantic comedies) or else to a camp aesthetic associated with gayness (musicals, Joan Crawford melodramas.)

However, the fact is that sentimentality is just as much a male mode as a female one. It’s just that, where sentimentality in romance tends to be focused on tragic relationships, in male genres the sentimentality is tied up with the crisis of masculine identity which we’ve been talking about. Specifically, men are figured as stoic, and anti-sentimental. The male sentimental mode is all about men’s lack of sentimentality —the tragedy of the man who would cry, but will not, or cannot.

Sedgwick links this cultural fact to “an extraordinarily high level of self-pity in non-gay men” in the U.S., and argues that such “straight male self-pity is…associated with, or appealed to in justification of acts of violence, especially against women.” This is one typical justification for domestic abuse, for example — the idea that the woman emasculated, or made the man feel bad about himself, and therefore he is tragically driven to beat her up. You also see this in murder ballads, where the protagonist, as Hendrix puts it, is always “going to shoot my old lady/caught her messin’ round with another man.”

This link between maleness, self-pity, and violence, is readily apparent in American comics. Though on the surface super-hero stories seem to deal with very masculine subjects like law-and-order and fist fights, when you look a little deeper its clear that comic-books are sodden with masculine self-pity and sentimentality. This soppy maleness is, in fact, the main tool of identification, of plot, and of character development. Superman, Batman, and Spider-Man, the three most iconic examples of the genre, are orphans, and it is their status as such which impels, justifies, and lubricates their masculine physiques, skin-tight attire, and repetitive fisticuffs.

As a particularly clear example, of what I’m talking about, here’s a page from an early 80s Daredevil story, in which they’re retelling his origin. Daredevil’s Dad, Jack Murdock, is a prizefighter, and he’s being threatened if he doesn’t throw the fight. But inspired by his love for his son, and, one suspects, by his investment in his own masculinity, he refuses to lie down, and in an orgasmic surge of violence and sentiment, defeats his opponent.

For not throwing the fight, Jack is killed, which, naturally, inspires his son Matt Murdock, not to cry, but to don yellow tights and unleash an orgy of violence of his own.

And here’s Daredevil, not crying, but threatening.

As you can see, love between men is expressed not through tears or affection, but through bellowing and bashing.

Other characters of the Marvel stable have their bifurcated difference as the cause of their sentimental histrionics; their status as closeted or outed other is their tragedy, and, again, their excuse. This is the case for the Hulk, a semi-nude, muscle-bound id who gets to express his emotions by bashing everything in sight — but it’s all morally okay because when he turns back into snivelling, skinny Bruce Banner, he whines about it. The Thing works in a similar way. My son is currently obsessed with this one old cartoon where the Thing changes into human form and decides to go get married; before he can, though, he’s changed back into his orange rocky self by Dr. Doom — and this provides the occasion, not for tears, but for him to go on a murderous rampage in which he almost kills the bad guy. And then there’s the storyline in which the Thing and the Hulk switch bodies. Here’s a picture of the Thing trussed up and willing, as the shirtless and oddly ripped Bruce Banner explains the pseudo-science whereby their intimate attachment is going to save both of them from their hyper-masculine selves.

I don’t know if you can read the text here, but The Thing tells Banner, “Ya ain’t got any idea how long I’ve been waitin’ for somebody ta say that. If I didn’t think ya’d get the wrong idea, I could kiss ya!”

Of course, they don’t actually kiss each other; instead the experiment goes wrong, the two switch minds, and then they spend the rest of the comic working off the repressed sentiment by assiduously whacking at each other.
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Part 2 tomorrow, where we extend the argument to Cerebus, Jimmy Corrigan, and shojo.

Update: Part 2 is here.