Category: Contexts

AIDS in Teen Subculture

In looking at the theme of Contagion in Angels in America, perhaps we can be aided by also looking at this same theme in pop culture. The first movie that came to mind for me when I thought about the AIDS epidemic was Kids by Larry Clark (1995). In its day, this movie rose to infamy due to its graphic nature and the age of its cast/subjects, most of whom were young skaters hanging around Washington Square Park. The movie was also Harmony Korine’s screenwriting debut, an opportunity created after Clark asked Korine, a 19-year-old skater, to capture the crazy haphazard modern life of teens in New York City.

The story of the movie revolves a few 16 and 17-year-old characters, namely Telly, Caspar, Jennie, and Ruby. Telly, obsessed with having sex with virginal girls sometimes as young as 12 and 13, is infected with HIV but doesn’t know it. The summer before, he had sex with Jennie, and Jennie finds out she is also infected (by Telly) after she goes into the clinic for STD testing. Throughout the movie, Jennie tries to stop Telly from infecting his next victim, who is, in this case, Darcy, a 13- year-old virgin and younger sister of a friend.

(src)

Darcy and Telly at the swimming pool.

(points to lesion) “What’s that?”

“That’s my triple nipple.”

They giggle.

Earlier in the movie, the attitude towards the disease can be seen in a speech from a boy in Telly’s gang. In this scene, they’re all sitting around, getting high, and bragging about their sexual conquests and proving their superior knowledge about women. When they get onto the topic of condoms, the boy starts ranting,

“That’s the whole thing though, you know what I’m saying?  All you hear about is disease this and disease that. Fucking everyone’s dying and shit. Yo, fucking, that shit is made up. I don’t know no kids with AIDS. Y’no what I’m saying. Ain’t no one I know that died from that shit. It’s like some weird make-believe story that the whole world believes.

Very ironic. He’s going to have a lot of dead friends soon. After the speech, the boys at the roundtable yell out in delight that they don’t care about condoms, they just want to “fuck.” The attitude towards AIDS is drastically different from Angels in America in one aspect. No human in AIA dares to laugh in the face of the disease. Some deny it, some run away from it, some fight it with all their might, but no one tries to provoke it.

This film is placed and was shot in the 90s, a decade or so after Angels in America. America is far gone from Reagan and at this time under President Bill Clinton from the Democratic Party. In New York City, a group of teenagers are unruly and ruling this turf, where we may have, a decade ago, seen Joe and Louis talking together on a bench and Harper camping out with her insanity as company. Kids, like Angels in America, also brings under scrutiny the moral situation and degradation of the United States, the theme of contagion and how one deals with death, and the life and struggles of a subculture. When it comes down to how they all deal with the disease, the film does not give much insight into their lives. Throughout the entire movie, Telly never realizes he has AIDS and continues to have sex with other people.  Jennie’s identity as a HIV-infected individual is never really shared with many people other than the audience and the doctor. Caspar unknowingly infects himself. Perhaps the entire film can be encapsulated in the last four words of the film.

“Jesus Christ, what happened?”

Kushner resources

Hi, all. Welcome back from spring break. I’m repeating a post from Contagion 2012 about resources for thinking about Kushner. You can also look at the conveners’ post from 2012. First let me give you a clip I plan to discuss during our first session on Angels.

 

In the several years Cyrus Patell and I taught our Writing New York course on the Square, we amassed a pretty substantial number of blog posts about Kushner and Angels. They may prove useful as you continue to wrap your heads around the play in a short amount of time this week. Here are a few of the highlights:

I typically deliver two lectures on the play, one situating it in a discussion of time/history/imagination (and thoughts on the play as a period piece set in the Reagan era), very similar to the one we had in class today, and one that highlights some of the cultural building blocks Kushner recycles in the play (Mormonism, Judaism, Marxism) by way of a discussion of the play’s several angels and angelic precedents. We’ll get into some of that as we go. On the WNY course site, I’ve offered my thoughts about the play’s conclusion, in which Prior breaks the fourth wall and blesses his audience, and earlier I’d written about the ways in which the play recycles a number of stories and symbols, Central Park’s Bethesda Fountain among them. (Because that post has some links that are now dead, I had to post again on the prior use of Bethesda in Godspell.) Several years ago, a highlight of our course was a guided tour of Central Park at sunset (or a tour of the sunset with Central Park as a backdrop) with our favorite ex-NYC tour guide, Speed Levitch. I provided a more detailed account of that afternoon elsewhere. It’s only indirectly related to Kushner’s play, but still important if you want to think about the ways in which Central Park has long been contested public space, something Kushner’s certainly aware of when he selects Bethesda as the setting for his final scene. Here are a few links re: his use of Roy Cohn as a character. And here are some thoughts on the play’s place in the history of Broadway theater.

Cyrus has also offered thoughts on the play, which he teaches at NYUAD in his Cosmopolitan Imagination course. One year he supplemented my lectures with a few additional thoughts on Kushner’s use of New York City as a setting. But he’s written most extensively on the play’s engagement with cosmopolitanism (see this one, too, and this one).

If you’re really interested, here’s the archive of a live-tweet one of our TAs ran as I lectured in 2011, the last time we taught this course together.

Part 1:

  • Getting ready for today’s #wny11 part I of Kushner’s ANGELS IN AMERICA. Thinking abt community, identity, history, legacies of immigration. #
  • A guide to some of the Kushner-related material from our blog: http://bit.ly/atyPKY #wny11 #
  • @_waterman lecturing on Angels in America today #wny11 #
  • @lwarr because @cpatell is in Abu Dhabi today; @pwhny in good hands. #wny11 #
  • Transitioning from 70s to the 80s via Patti Smith–>Grace Jones for our lecture prelude #wny11 #
  • Prior: Not a conventional woman. Belize: Grace Jones? #angels #wny11 #
  • This a pretty good history of gays in New York for anyone who’s interested http://t.co/c4QlqMI #wny11 #
  • Randy Shilts’ And the Band Played On is also a pretty good history of AIDS in New York and SF #wny11 #
  • Theatricality of everyday life: How do we understand performance? #wny11 #
  • Performance is also interesting when you think about tension between out and closeted gay characters. What is Roy Cohn performing? #wny11 #
  • AIDS epidemic is perfect dystopian moment for Kushner’s play. Confluence of personal and political choices and consequences #wny11 #
  • Play is also conscious of the rise political correctness and its relationship to identity #wny11 #
  • Ginsberg as a prophet figure for “Angels.” He needs to be the crazy poet yet wants to participate #wny11 #
  • What is the role of theater in mediating themes like history, identity, and community? #wny11 #
  • Watching HBO ‘Angels’ “Drag is a drag” dream sequence #wny11 #
  • Pay attention to the way Prior is always “performing:” drag, prophet, lines from movies. #wny11 #
  • “Imagination can’t create anything new, can it?” Can it? #wny11 #
  • Think about how “contamination” works in ‘Angels’ as something toxic, inexorable, and revelatory #wny11 #
  • @ultramaricon True #wny11 #
  • Feather floating represents possibility in writing for creation of new stories #wny11 #
  • New York pre-dates San Francisco as a “gay city.” See previous tweet about “Gay Metropolis” #wny11 #
  • Appiah on Contamination: “conversations that occur across cultural boundaries” #wny11 #
  • ‘Angels’ as an Early 90s period piece that reflects a post-Reagan-Bush I anxiety #wny11 #
  • Reagan’s silence on AIDS lead to people referring to the epidemic as “Reagan’s Disease” in some circles #wny11 #
  • What would Olmsted have thought of Central Park as a site for anti-nuclear bomb activism? #wny11 #
  • Reagan’s “Star Wars” looks like the cheesiest video game ever #wny11 #
  • It’s easy to laugh at Reagan’s conflation of fantasy and reality, but Kushner does some interesting things by blurring that line #wny11 #
  • Reagan as performing masculinity in ‘Angels’ in the eyes of Joe and Roy Cohn #wny11 #
  • Relationship between gay activism and gay theater in the 1960s-1970s #wny11 #
  • Think about ‘Angels’ and the history of political theater (O’Neill) and meta-theatricality (Tyler and Doctorow) #wny11 #
  • RT @lwarr: @pwhny Mondale won my kindergarten class’s mock election in 1984. I cried when Reagan won the real election #wny11 #babynerd #
  • From the Reagan doc I used in #wny11 today: NYC as a set of symbols to be mobilized by all sides: http://www.youtube.com/watch?v=Z5wLsUl3vfk #
  • @ultramaricon Which is one reason I found the @NYTOpinionator piece on “Am Fam” to be puzzling. http://nyti.ms/hC9nS2 cc @epicharmus #wny11 #
  • RT @lwarr: @pwhny Part 1 of this Frontline series on AIDS documents the 80s and Reagan’s role in the disease http://to.pbs.org/gReEKS #wny11 #
  • @FlyingHubcap We certainly still live with its effects. #
  • @ThirteenNY @PBS Weds 10 pm RT @cityroom Documentary Celebrates Olmsted, a Creator of Central Park http://nyti.ms/gDdGTG #wny11 #
  • #wny07 #wny11 RT @CitySnapshots ANGELS IN AMERICA. SEE IT. http://tonicruthirds.com/2011/04/20/angels-in-america-must-see/ #
  • Just a NY conversation rattling round my head. RT @cire_e New York Style http://www.pbs.org/speak/seatosea/americanvarieties/newyorkcity/ #
  • The full American Experience doc on Reagan: http://www.pbs.org/wgbh/amex/presidents/video/reagan_01_wm.html#v129 #wny11 #

Part 2:

  • Wrapping up ANGELS IN AMERICA in #wny11 today. #
  • @_waterman on Kushner’s ANGELS IN AMERICA: PERESTROIKA today. #wny11 #
  • Opening music: Talking Heads, 1978-79 “Thank you for Sending Me an Angel,” “Cities,” and “Heaven.” #wny11 #
  • @_waterman starting off with Linda Hutcheon’s idea of “historiographic metafiction.” #wny11 #
  • Kushner’s play asking: “Do we make history or are we made by it”? How are we conditioned by the stories we tell about the past? #wny11 #
  • Hutcheon’s book: A POETICS OF POSTMODERNISM http://amzn.to/gcgiYe #wny11 #
  • Showing clip from Mike Nichols’s adaptation: Roy, Joe, and Ethel. MILLENNIUM APPROACHES, Act 3, Scene 5. #wny11 #
  • @_waterman on pre- (building Zion) and post-millennialism (apocalypse). Play’s Harper is caught between the two. #wny11 #
  • Interesting account of post-millennialism by Stephanie Hendricks: http://amzn.to/hAs34y #wny11 #
  • @waterman on 4 differrent angels invoked by play. 1st: Angel of History from Walter Benjamin, “Theses on the Philosophy of History.” #wny11 #
  • See W. Benjamin, ILLUMINATIONS. http://amzn.to/e5nfqC Kushner has acknowledged his indebtedness to Benjamin. #wny11 #
  • 2nd Angel: Paul Klee, “Angelus Novus” – http://en.wikipedia.org/wiki/Angelus_Novus #wny11 #
  • Benjamin on Klee: “The storm irresistibly propels him into the future to which his back is turned …. ” #wny11 #
  • “… while the pile of debris before him grows skyward. This storm is what we call progress.” Benjamin’s idea of “messianic time.” #wny11 #
  • @_waterman Stonewall and AIDS in light of Benjamin: catastrophic moments, one liberating, the other …? #wny11 #
  • Kushner’s play struggles with Marxist teleology, because it wants (like its character Belize) liberal progress. #wny11 #
  • Actually Benjamin and Klee’s angels are counting as 1. Second is angel who wrestles with Jacob, who then receives new name. #wny11 #
  • Jacob’s wrestling: renaming, rebirth. For Joe, also a sign of painful progress, plus he finds it erotic. #wny11 #
  • @_waterman showing this version of the picture: http://bit.ly/if4WrH #wny11 #
  • Motif of shedding skin throughout ANGELS. #wny11 #
  • Question of Joe’s fate. Why is he excluded from cosmopolitan redemption at end? Has he committed some kind of “sin”? #wny11 #
  • NY Mag interview with Kushner from 2008: http://bit.ly/f3Ca91 #wny11 #
  • Play’s Third Angel: Kushner stitching together bits and pieces form America’s past – Angel Moroni from Mormonism. #wny11 #
  • @_waterman show this image of Angel Moroni appearing to Joseph Smith : http://bit.ly/g7DUdc #wny11 #
  • Mormon story as a rewriting of Christianity and also Judaism: a new Exodus. #wny11 #
  • @_waterman showing clip from HBO Angels of Harper in Mormon Center with diorama coming alive. Harper: “The magic of theater.” #wny11 #
  • Kushner and fallibilism: in what ways is ANGELS trying to learn from American traditions with which it disagrees? #wny11 #
  • 4th Angel: Bethesda Fountain. http://bit.ly/fUNynh #wny11 #
  • @_waterman showing the final scene from the HBO version. Lucky, the film exists, because now he doesn’t have to read the scene … #wny11 #
  • @_waterman Because the last time he read it in class, he broke into tears, remembering his reaction to seeing the scene on stage. #wny11 #
  • @_waterman Exit Music: Louis Armstrong and Ella Fitzgerald, “Cheek to Cheek.” Over and out. #wny11 #

A Feast During the Plague as a global text

When thinking about the relationship between Pushkin’s A Feast During the Plague and Wilson’s The City of the Plague, from which it was adapted, we are on the wrong track if we are preoccupied with labeling it as a “translation” or an “adaptation” or something else entirely. The set of questions we should be asking is related to the effects it has as a work of world literature and the language used to transport it across time and cultures.

David Damrosch, a scholar of Comparative Literature and a researcher in the field of world literature, writes in his book What is World Literature? (2003) that it is “not an infinite, ungraspable canon of works but rather a mode of circulation and of reading” (5) “encompass[ing] all literary works that circulate beyond their culture of origin, either in translation or in their original language” (4). The key means of enabling a text’s circulation is translation, which Damrosch does not renounce as a destroyer of meaning but sees as a tool to help a work of world literature gain additional meanings. In another book, How to Read World Literature (2008), Damrosch describes translation as “an expansive transformation of the original, a concrete manifestation of cultural exchange and a new stage in a work’s life as it moves from its first home out into the world” (66), focusing less on specific cultures in which the texts of world literature originate and more on the ideas they communicate. It is therefore important to read in translation and be critically aware of the translators’ choices, both linguistic and social.

The subtitle in English (“From Wilson’s Tragedy The City of the Plague“) is a word-for-word translation of the original (“Из Вильсоновой трагедии: The City of the Plague”), where the word “from” or “из” does not shed any light on how Pushkin saw his play against Wilson’s. When thinking about translation and the use of language, it is noteworthy that we are reading a Russian adaptation of an English play – in English. What is even more interesting is how Pushkin’s translation choices (intended or not) used language as well as the element of language to alter the meanings constructed in his play. Nancy K. Anderson points out in her critical essay Survival and Memory that in Wilson’s play the driver is the one who mutters in an unknown language while in Pushkin’s it is the dead; according to Anderson, this “inspired misunderstanding,” as she sees it, helps reaffirm the disconnect between two separate communities, the living and the dead. Perhaps this was a conscious decision on Pushkin’s part to convey a specific cultural message through the use of the motif of language, a metafictional device referring to the reality where translation loses some of the original meanings, but at the same time gains new ones.

Damrosch also discusses the idea that literature has expanded beyond its fundamental meaning of “written with letters” to include a wide range of cultural productions, from oral texts to movies as works of cinematic narrative. There is no doubt Wilson’s The City of the Plague entered into world literature. One of its occurrences is Pushkin’s A Feast During the Plague, but plenty more iterations of Pushkin’s play have appeared since its publishing: including but not limited to several translations into other languages, Russian stagings of the play (Пир во время чумы, see parts 1 and 2), numerous English renditions (see here and here), a 1990 Russian opera Feast in Time of Plague by César Cui (Anatoly Moksyakov’s performance of the Chairman’s Hymn to the Plague is available here) etc. A Russian rock band took its name and inspiration from the title of the Pushkin’s play, and a Russian stand-up comedian Mikhail Nikolayevich Zadornov used the title for one of his books as well as played a pun on it in one of his performances.

Without looking further into the constellation of themes and messages revealed to us through a close reading and focusing only on the abovementioned aspects of it, A Feast During the Plague already proves to be a global text, migrating not only through different cultures and languages but across the domains of literature and art as well.

An epidemic of rumors, or rumors of an epidemic: The making of a rumor

Last class we talked in depth about the paragraph at the end of Chapter 13:

Such was the tale, distorted and diversified a thousand ways by the credulity and exaggeration of the tellers. At first I listened to the story with indifference or mirth. Methought it was confuted by its own extravagance. The enormity and variety of such an evil made it unworthy to be believed. I expected that every new day would detect the absurdity and fallacy of such representations. Every new day, however, added to the number of witnesses and the consistency of the tale, till, at length, it was not possible to withhold my faith.

In this passage, Arthur ponders the nature of rumors, which blur the line between the appearance and reality in the book. Both Defoe and Brown present rumors as a mean of spreading information about the respective epidemics. The amount of rumors skyrockets at a time of plague as illustrated in both Arthur Mervyn and The Journal. However, rumors are present in society most of the time.

In 2002, a French author T. Meyssan published a hoax book with a false claim ‘No plane did crash on the Pentagon on September 11.’ Meyssan sold more than 100,000 copies. His claims became an urban legend that propagated through France, until a public denouncement of the book by many prominent newspapers. The paper “Modelling Rumors: The No Plane Pentagon French Hoax Case” tries to answer the question of how did these rumors spread. Although the paper’s case study is not about contagion, its framework can help us understand why and how rumors spread in the context of epidemics as well.

The paper proposes two conditions necessary for a rumor to propagate: a group of people of a size beyond a certain threshold must initiate a rumor, and the rumor must be consistent with a wider collective paradigm. In in the case of an epidemic, some areas may be hit more severely than others by the disease. I find it easy to imagine that people from such areas, with a dramatic experience not necessarily consistent with the wider effects of the epidemic, may spread an exaggerated tale of the plague.

Rumors of epidemics satisfy the second condition as well. Due to public information and private experience, people at a time of an epidemic have some information about a spread of the contagion. The awareness and acceptance of the existence of the disease is the social paradigm that provides a fertile ground for rumors. As we see in Brown’s book, although people in the countryside have some awareness of the presence of yellow fever, the information is incomplete. In this context, gruesome stories provide “a tincture of pleasing,” and become accepted by many.

Now, we can start to see how rumors propagate. The question remaining is: How can we gauge their veracity? Are rumors a valuable source of information when the official channels of communication break down during a crisis? Or do they inevitably breed panic and slow down the official response?

Kachina cameo

I’m still thinking about the appearance of Native American kachina dolls late in Black Hole. This morning I ventured a few thoughts off the cuff about how they invoke several relevant issues: ritual, rites of passage, community, parent/child relations, and perhaps a healing counterpoint to the fragmented Kewpie dolls strung up in the trees around The Pit/Planet Xeno in the woods.

Here are some notes I use when I lecture on Zuni origin myth in my typical American Literature survey. This is a summary of a text called “Talk of the First Beginning.” Its basic outline is shared by other Pueblo tribes’ origin stories:

Sun Father passes on his daily journey. He’s lonely. So he sends two sons, the warrior twins, to find someone to pray to him and keep him company. They go into the fourth womb of the earth. (Consider how literal this description of “Mother Earth” is.) What do they find? A group of amphibian-like people, living in utter chaos and darkness. They’re not pleasant: one of the warrior brothers lights a fire, sees an ugly fellow, and says “Poor thing! Put out the light.” The rest of the narrative is spent trying to get these creatures to the earth’s surface so they can worship Sun Father, followed by their journey to “the middle” place, which is called Zuni or Itiwana. It turns out that these creatures, which in some contexts are referred to as “raw” will eventually become the Zuni people, once they’ve become “cooked” by their exposure to the sun. So this text contains a movement from disorder and chaos—mudheads shitting and pissing on themselves in the dark—to order and ritual.

What happens next? Eventually the people move upward through three subterranean worlds or wombs, each associated with different colors, minerals, animals, plants, etc., before some—but not all—of the people finally emerge through a cavern into the sunlight and begin their journey toward a homeland.

What happens when they come into the sun? They have to confront their appearances and lack of identities. They encounter Spider Woman, who is the mother of Sun Father. She designates the first sun priest, the old man of the Dogwood clan, to guide the people.

Various things happen on their journey to the middle place, most of which help establish order, the rules by which their culture will operate: Coyote, who is always a trickster figure, gives them corn in exchange for mortality. An unnamed boy and his sister violate the incest taboo and revert to their slimy primordial state. Some of the children who fall in a magical river sink to the bottom and become kachinas. There’s a murder scenario that seeks to establish the rules of taking human life. They play a ball game as part of a contest for daylight and to establish the length of days. The warrior twins battle a giant and lead the people past ghosts. They divide into different clans and encounter other tribes. A water bug helps them establish the horizon, and finally they arrive at Itiwana, the middle, which translates as “The Middle Ant-Hill of the World.”

 
What I find useful here is the way in which this origin story is also a journey (which may echo the passage of Native Americans’ ancestors across the Bering Strait and down into what is now the American southwest) and also a series of transitions by which the people (uncooked mudheads) become the People (the Zuni). That movement may be paralleled by Keith and Eliza’s journey south toward Monument Valley and toward adulthood. We’ve already commented on their resemblance to other origin stories, namely Adam and Eve.

As I mentioned this morning, the kachina also invoke a process of disenchantment associated, especially in Hopi culture (another Pueblo tribe), with adolescents’ entry into the Kachina Society and, thereby, into a mature tribal membership. Is there a similar movement in Black Hole? Or does the lack of any meaningful adult relations with these teenagers preclude it? The account of the Hopi disenchantment ritual I gave this morning relied heavily on an essay I read when I was your age that has stuck with me lo these many years. I dug around a little this afternoon and found a scan of it online. Don’t feel pressured to read it for class, but if you’re interested in this tangent, here you go:

 Gill Disenchantment