THE DISPLACEMENT OF IDENTITIES BY A KISS IN PUIG’S SPIDER WOMAN
By Leslie Marie G. Bayona, EN12 R17
Argumentative Research Paper No. 1, February 9, 2009
Manuel Puig showcases the dialogical
1 conflict between Molina’s sexual tensions and Valentin’s political desires in
Kiss of the Spider Woman
to reflect the brutality of Argentine military regimes in that era in
light of questions regarding homosexuality and the stand between
individualism and the state.
The intrusion of films into Molina and Valentin’s conversations
permeates through various literary levels. Firstly, it reflects Manuel
Puig’s style of writing—he liberally sprinkles his plays with profuse
references to mass entertainment products: these symbolize Molina’s
obsession with fiction; his means of escaping the boredom of reality.
Throughout the play, Molina shares his fantasy by narrating to Valentin
the movie plots and describing the characters. In the process of doing
so, his imagination flows freely, making up some of the details while
adding his own characters. As they discuss the film, Molina envisions
himself as the heroine in one of those cinemas and Valentin as his love
interest. Aside from attracting attention to the effects of media on the
middle and lower class society, Manuel Puig as the plot maker, uses
this opportunity to create some sort of unifying force for the two
otherwise disparate characters. Through their constructive conversation
on films, Valentin and Molina have found a connection even though they
experience different realities and express different views on it.
1 dialogical—of relating to, or characterized by dialogue (Merriam-Webster).
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To set the story straight, both characters are born with a complete
set of male anatomical parts. Luis Molina is a middle-aged homosexual
who is jailed for sexually corrupting a minor. Valentin Arregui, on the
other hand, is a young activist who is jailed for publicly demonstrating
his opposition on the current government of Argentina. Aside from
individual public (or private) denouncement of male ego and lack
thereof, both characters also have different worldly views. Molina is
the male homosexual who feels he is a woman and along with that feeling
comes a need for self-expression through his favorite films. Valentin is
the heterosexual leftist who expresses himself in rhetoric of Marxist
ideology. Meanwhile, Puig used the prison cell as the setting for
Kiss of the Spider Woman because
it reflects the oppression in Argentine culture and the duo’s
powerlessness against it (Tuss 3). The moment Molina and Valentin were
confined in this tiny cell, they are isolated from the other inmates and
from the prying eyes of social scrutiny.
Puig develops the idea of the Hollywood films as a metaphorical
displacement for Valentin and Molina as they identify or reject
themselves with the film’s characters. In a way, the retelling of the
movies has become a medium for exposing
2 somnambulism—an abnormal condition of sleep in which motor acts (as walking) are performed (Merriam-Webster).
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their selves to each other. To note, revealing their innermost
feelings is something they would not do otherwise if they were not in
that situation of isolation from the rest of the world. With this,
Molina is seen as the heroine and Valentin as the male love interest.
This identification process is mainly regarded through the readers’
point of view depending on the reader’s own identity. Barbara P. Fulks
in
the Reference Guide to World Literature (3rd Edition)
accepts this notion and generalizes that the reader only sympathizes
with the character he can understand clearly or someone whom he can
relate to. Furthermore, that character elicits the reader’s sympathy
mostly because of his or her gender and the reader’s ideology. But what
if the reader is neither homosexual like Molina, nor heterosexual like
Valentin? Would the reader still sympathize with any of the characters?
The fact that Puig used a pair from the list of marginalized dichotomies
as his protagonists creates the flaw in Fulks’ generalization.
On Puig’s Style and Structure
Robert Coover finds the way the novel is accomplished “not very
innovative.” (Coover 15) Although the novel touches on the themes of
repression and liberation, beauty versus goodness, strange or unusual
women, somnambulism
2, heroism, love, fear, change and “desire
for Hollywood endings,” according to Coover, the homosexual is simply
an old movie buff and that there is not much substance other than the
film synopsis of Molina’s telling. Coover also criticizes the novel’s
translation into English by Thomas Colchie. He finds the rendition
fairly adequate yet seems stiff and hasty and, therefore, calls for a
more relaxed revision seeing as Puig’s translated work fails to capture
the author’s easy colloquial flow and the voices of the two very
different protagonists are not distinguished. But based on a personal
approach, Robert Coover is disagreeable on two accounts. The first is
his denouncement of Puig’s employment of film in his subplots as “not
very innovative.” The use of movies as a motif for his novels has become
his trademark style and the very core of his fiction. Therefore the
implementation of movies as the general theme is clearly distinct and
something original. In the first chapter
Coming Attractions,
Jonathan Tittler analyzes how Puig changes his writing style from the
traditional narrative of modern issues. Unlike Coover, he finds the use
of mass-entertainment products as “innovative” since it eliminates the
hierarchy of the narrative. This way, it also attacks the society and
its power structures. Also, in chapter four titled
Odd Coupling, Tittler
contrasts homosexuality as a social practice and revolution as a
political activity while film as a culture and writing itself.
Dialogism in Manuel Puig’s Kiss of the Spider Woman analyzes
the use of text and ideas in the novel. Here Michael Dunne defines the
basic plot situation as “undeniably dialogic” while highlighting the
symbolism of seemingly ordinary objects in the novel (Dunne 1). In doing
so, he reveals the literal and figurative meanings of the materials to
promote the overall thematic of Manuel Puig’s drama. In light of
Holquist’s remarks, the author Puig can be seen to dialogically engage
in political power like his characters (qtd. in Dunne 1). The main
stylistic strategies of the novel consist of: overcoming boundaries of
both the socio-political and aesthetic, meeting the other person as
subjectivity equal to one’s own.
In a school review, Teresa Ana San Pedro of Montclair State College
comments that Puig’s style allows his readers to respond in an
intellectual and creative manner (San Pedro 74). This comment is not
efficient since the level of response in readers vary indelibly. How the
audiences react to the play is dependent on their capacity to take in
what the characters talk about. For instance, if the readers cannot
relate to the subject matter because their exposure to such is limited,
their reactions toward the play cannot be considered intellectual or
creative in nature. Furthermore, there might not be room for an
intellectual or creative response (as San Pedro puts it) to take place
since Puig’s manner of writing seems confusing to begin with.
Indeed Puig is a master of narrative craftsmanship, but Clara Claiborne Park reiterates that
Kiss of the Spider Woman
is no mere concoction. She points out that there is no exposition at
all and that the dialogue must work hard not only to develop the
characters but also to tell the story. On the overall plot of the story,
Park concludes that “The relationship which has made Valentin more of a
woman has made Molina more of a man, and we recognize both these
changes as a gain” (Park 576). True, there is no exposition but Puig
makes up for the details of an exposition by interweaving fabrics of
Molina’s and Valentin’s identities into their conversations. The
dialogue is efficient yet somewhat confusing still, especially if the
reader is not familiar with the films that Molina mentions. This may be
what Park refers to as she stresses that the dialogue needs improvement.
Michael Wood shares that
Kiss of the Spider Woman is an
example of Latin American fiction with a new stance, angle, tone, twist,
and mode of narrative. “Movies are not true to its dreams of glamour it
is usually associated with but to the emptiness and solitude the dreams
are supposed to disguise” (Wood 43). Mr. Wood finds it a slightly more
cheerful work compared to The
Buenos Aires Affair because it
concentrates more on the hidden truths rather than the acts of hiding
that the main character in the other novel did. Puig is especially
interested in the notion that homosexuals imitate the defects of
heterosexuality. On another note, the plots are actually deeper than
what they appear to be. As Valentin begins to appreciate the stories of
the heroines and villains in the movies that Molina fabricate, he finds
himself not only enjoying them as Molina does he gradually comes to see
the rags of humanity in these tales—something that his extremist Marxism
could not have taught him. In the end, after Molina and Valentin shares
the kiss, Puig manages to reel away the story from becoming one of
Molina’s romantic movies. The author avoids too much sentimentality by
concocting something unpredictable and ends it that way.
On Novel Content
Raymond Williams finds a connection between Kiss
of the Spider Woman and Manuel Puig’s other novel,
Pubis Angelical,
which is in both cases his characters deal with the sexuality of
politics and the politics of sex (Williams 70). William Herrick exploits
that Manuel Puig is a Marxist as he is Freudian: “Young people who
embrace Marxism often find within it their means to deny the necessity
for any further exploration of their psyche” (Herrick 1). The values
that Valentin has learned in Marxist ideology have somewhat encapsulated
his thoughts. Puig is an artist, though, and his portrait of two men
grappling with their suffering is “exceedingly moving” and “brilliantly
done”.
In a review Allen Josephs finds that
Kiss of the Spider Woman
as in the previous experiments that Manuel Puig made in his other
novels, things are not as simple as they first seem. The mutual
fantasies and dreams begin to create a subconscious bridge between the
unlikely psychic castaways Mr. Ramirez and Larry in Puig’s
Eternal Curse on the Reader of These Pages. This ability to connect polar personalities with a mutual means is also seen in
Kiss of the Spider Woman.
Josephs adds that Puig’s characteristic ‘virtuosity’ has not failed him
and because of this, devotees of psychological fiction will no doubt
appreciate his work (Josephs 9). However, the novels reliance on
psychology and too much dialogue are more reminiscent of the theater of
the absurd than of his earlier passionately Latin ones. Like the
characters in
Eternal Curse on the Reader of These Pages, the fates that Valentin and Molina eventually met reveal the sad truth about life in Argentina.
As Gilbert Sorrentino views it,
Kiss of the Spider Woman is developed almost entirely as a splintered colloquy
3
between two unlikely companions. It is also a “structural failure,”
very much like his previous novel, and pretty much for the same reason:
the conclusion comments on and ‘explains’ the otherwise mysterious text.
In doing, Sorrentino believes that Manuel Puig has sabotaged the richly
ambivalent nature that the author has strung up until that point
altogether dispersing the aura of distinction that had stirred up in the
dialogical plot. It is as if, as Sorrentino puts it, Puig had lost his
nerve and decided to serve his general audience what they have had
before. In this case, he gives them a book that “before it is read by
anyone…been read by everyone” (Sorrentino 1). This critique also admits
that “it’s too bad” since Puig does have something to show and tell from
his wonderful sense that the essential element of life is its serious
“things.” But most of these are already considered as impartial
ingredients of the daily forms of drama such as soap opera, sitcoms, and
B-movies. Thus, his novels fail because Puig holds his content or the
core substance of his stories simply as it were, a set of ideas.
Eroticism and its Environment
In
A Last Interview with Manuel Puig, Ronald Christ
assimilates one of the main topics of the novel which is: “Can people
change their eroticism after a certain age?” Manuel Puig believes it is
impossible, saying “those sexual fantasies have crystallized during our
adolescence and imprison you forever.” (Christ 850). In that cell, there
are two men but Christ finds that it “is just a plaque on the surface.”
What the characters are, therefore, are two men and two women. Quoting
Theodore Roszack, “the woman most desperately in need of liberation is
the woman every man has locked up in the dungeons of his own psyche.”
This applies greatly to the stoic Valentin who at first does not feel
comfortable with the idea of a discourse on his sexual identity. Molina,
on the other hand, uses the melodramatic possibilities offered to him
by the new times. He takes the opportunity to become the underground
heroine in real life. Molina’s homosexuality is a product of the
revolutionary. It is during this new age that everything feels more
liberated but still confined, though subtly, within social norms and
expectations.
The general regard on sexuality is greatly influenced by social
gender than biological sex. The first one is viewed as the way people
see it as a daily norm that guides how males and females should
particularly act or behave as opposed to the latter where they are just
given what they are naturally born with. In other words a man is a man
because he acts like one and not that he is born with a physical anatomy
of a man. But gender is not simply the natural consequence of anatomy
as nature planned. It is a large social construction of patterns “we
adopt, scripts we read, movie roles we imitate” (Zimmerman 3). Shari
Zimmerman shares that Kiss of the Spider Woman is something that invites
us to imagine identity in a new perspective, to ‘escape the web of
gender.’
Great Latin American literature enlists Manuel Puig along the pages
with José Donoso, Carlos Fuentes, Severo Sarduy, Mario Vargas Llosa, and
Gabriel Garcia Marquez. Although Puig’s fiction is greatly simulated by
political and social tensions in Latin America, he and his
contemporaries show commonalities: experimentation with the literary
form, concern with unconscious and irrational forces of human life and
lastly, portraying the lower classes of Latin America. Manuel Puig’s
works are mostly narrative but some of his contemporary works reveal a
dialogic medium. This tactic allows individuals to supplant emotions
with their film counterparts, providing the room for readers to relate
with the characters in retail fiction. However bold his ideas are,
Puig’s plots (as in
Kiss of the Spider Woman) cannot help but
resemble clichéd serials and detective stories. On one hand, most
critics do find Puig’s treatment of complex issues like politics, sexual
power, homosexuality, and violence as superficial. But generally, his
works are regarded as insightful and moving (CLC: Vol. XXVIII 369).
Character Dichotomies
Kiss of the Spider Woman creatively illustrates the
ways in which the customs of authority and the socially-induced modes
of thinking shape and inhibit individual experiences. In this novel, the
author Puig focuses on the restricted psychosexual identities of the
two men. Shari Zimmerman of Hofstra University incorporates the scripted
piece as a means through which the two men, Molina and Valentin, “read
each other, reveal themselves, become friends, and finally lovers.”
(Zimmerman 3) Aside from this, Zimmerman considers the work as an
exploration of traditional male behavior and customs. The novel also
provides a critique of male and female patterns that challenge
biological sex and gender issues.
Critics David Bost and Jonathan Tittler concluded that Puig’s purpose in creating his most famous work
Kiss of the Spider Woman
is to give voice and mainstream for the acceptance of the previously
marginalized groups (Drozdo 1). Despite the fact that Manuel Puig
particularly chose a homosexual and a political revolutionary as his
main protagonists, his goal is much more universal. Puig simply uses the
two as representatives of the other unprivileged groups. The most
prevalent dichotomies of Western civilization: man/woman, good/evil,
heterosexual/homosexual etc. One half of the dichotomy necessarily
relies in the other for its definition. According to Derrida, “they are
distinguished simply as the two faces of one and the same leaf.”
Therefore, there is no difference between the signified and the
signifier (Derrida 23).
According to critics Maria Mercedes Velasco, Elias Miguel Muñoz, and
Fernando Reati, there is a strong binary system incorporated in Kiss
of the Spider Woman
(Drozdo 1). Both characters, Molina and Valentin, have different
ideologies that they developed individually. With this in mind, Maria
Mercedes Velasco argues that the characters of Molina and Valentin show a
“projection of Marianism and masculinity” (Velasco) by directing their
identities through stereotyping Woman. She proposes the existence of a
dichotomy of man and woman within the novel. She believes that the
acceptance of this binary system, wherein masculinity and femininity is
defined and entwined, provides a sense of wholeness or completeness
within the novel.
Meanwhile, Elias Miguel Muñoz proposes that Manuel Puig entertains
the idea of dual-centered ideology: “by the end of the novel, Valentin
has liberated the ‘woman’ whom he carries inside of him.” This ideology
presents the possibility of Puig’s Utopian liberation wherein the
possibility of a new sexual being is entertained. However, Steffany
Drozdo disagrees with these two critics saying, “it is precisely these
two binary ideological structures that Puig destroys in
Kiss of the Spider Woman.”
The two critics say that Puig uses the dichotomies to create a
totality that harmonizes, incorporates, and equalizes both parties.
However, in
Deconstruction of Binary Ideological Structures in Manuel Puig’s Kiss of the Spider Woman, Steffany Drozdo argues that it is precisely this structure that Puig destroys in his novel.
In
Kiss of the Spider Woman, both Molina and Valentin accept
the ‘inadequate’ meaning of the other’s ideology. Valentin, a
heterosexual, enters into a homosexual union with Molina without
‘becoming’ a homosexual. Molina, although uninterested in political
subversion, agrees to take part in Valentin’s political activity without
actually subscribing to his particular ideology. This is one ambiguity
present with regard to all violent hierarchies: the actions of both men
contradict their personal identities and beliefs. (Drozdo 6)
Homosexuality and heterosexuality, being a popular and prevalent
dichotomy in society, both depend on each other for their definition.
Generally, one is defined by using the other. This is similar to the
character Valentin as he reveals his inner self in order present a
sexual identity that contrasts that of Molina’s. In a sense, it is by
defining Molina’s homosexuality that Valentin’s heterosexuality is
contrasted and then revealed. The analysis of social dichotomies is
where the aforementioned Freudian views on sexuality are blurred. In a
sense, the characterization of man defines the woman and consequently,
the homosexual to the heterosexual.
Puig did not implement a specific date for the setting of
Kiss of the Spider Woman
because this way allows the reader to expound on the “universality” of
the novel—that it can happen anywhere or any time since it also reflects
similar events and situations worldwide. It also creates an atmosphere
of a possibility of it happening to people outside Argentina (Drozdo 4).
“In fact, the ultimate coupling of Molina and Valentin and the
aftermath of their union symbolically destroy each of these dichotomies”
(Drozdo 4). Their unity and oneness in the end is the catalyst that
Puig used in order to “destroy” the limitations conditioned by each of
their social norms. This very act of defiance is the main basis that
Steffany Drozdo expounded on for her argument in
Deconstruction of Binary Ideological Structures.
Valentin and Molina represent different hierarchies that their
individual environments have formed them to take part in. Ultimately,
their union is an act of defiance to the society that shaped what they
were before the aftermath of the kiss. “In the end it is impossible to
discern not only that which is homosexual or heterosexual, but also that
which is masculine and feminine, as gender becomes confused and as the
merger of Molina and Marta (the woman) creates a new sexual being”
(Drozdo 6). This is very much connected to the aforementioned thesis
statement: the Freudian view on sexuality is so roughly described that
no definition can fully capture the essence of the new sexuality that
has merged. ) Furthermore, reality and fantasy become so intertwined
that it becomes impossible to delineate and, consequently, define either
one. The film or movie aspect that Puig implemented in his writing
style resurfaces in the ending as Valentin had a dream of Molina
carrying Marta inside him (qtd. in World Literature 798).
“Puig proposes that the irrational state is a closer approximation of
reality than the rational state, because binary systems falsely
perpetuate oppressive dichotomies. Ambiguity…enables the reader to find
and consider a new dialectic” (Drozdo 7). It is not by placing one half
of the dichotomy to a position of superiority and the other half below
it, rather by deconstructing each of the elements of the dichotomy. In
doing so, Puig dissects the inner substance of an unprivileged,
marginalized group to help the reader redefine the group. Consequently,
the identity that the group has taken place is not affiliated with the
dichotomy it is arranged with as Velasco argues.
Norman Lavers (1988) attests that Puig’s greatest artistic
achievement in Kiss of the Spider Woman is shown in the structure of the
novel and that the conversations between the two protagonists contain
much of the bulk of the narrative (Tuss 1). The vagueness of the stand
on homosexuality contributes to the inability of most to define and
differentiate it with other sexes. Furthermore, the lovemaking scene is
the part where they “exchange” selves. The scene also paves the way for
the characters’ transcendence into what Valentin describes as an
“existence without oppression” (qtd. in World Literature 775). This
becomes another act of social defiance to achieve liberation from their
individual identity.
In a sense, to fully understand the multi-faceted characters in Manuel Puig’s
Kiss of the Spider Woman,
one must involve in a deconstruction of their identities. Essentially,
Manuel Puig has a desire to deconstruct the culture that enforces its
conceptions on everything from political dissent to sexual conduct to
conventional gender roles. In doing so, he manages to displace the
identities of his characters rather than ratify them in the binary
system of dichotomies that the critic Velasco presents. Finally, this
desire was accomplished with the aid of his writing styles in a
non-narrative form with dialogical content and the allegorical reference
to Hollywood movies into his plot—a stratagem which he ultimately
sealed with a
kiss.
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