Narrative Form, Unheimlich, and the Queer Subject in Jessica Hagedorn's Dogeaters
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This paper reveals that the disjunctive and cinematic narrative form of Jessica Hagedorn's Dogeaters organically carves a politico- literal space for its two principal narrators to show how they cope with the feeling of homelessness. The novel's peripatetic narrative consists of first-person narrations, third-person narration, newspaper articles, president's speech, quotes from a book, and an adapted version of prayer script. As Hagedorn reveals in the very beginning of the book, these accounts are neither entirely fictional nor factual. Dogeaters presents a space of quasi-reality that traverses the literal, political, and historical. For Rio Gonzaga, this space becomes a narratival space in which Rio re-arranges, edits, and re-formulates her memories of living in Manila to come to terms with her identity as a transnational migratory subject. During this process, Rio deliberately forgets or belies certain memories. It is Joey Sands who registers the sense of homelessness that Rio strenuously tries to eject. While Joey thinks that he may have found home in the material comforts afforded by performing his queerness, his body tells a different story. His body works as a medium through which Joey's personal trauma and the Philippines's national trauma settle in. Rio's reconstructive and revisional storytelling needs Joey's visceral body as a site of abjection where Rio's unheimlich is textually discharged.
Abstract
This paper reveals that the disjunctive and cinematic narrative form of Jessica Hagedorn's Dogeaters organically carves a politico- literal space for its two principal narrators to show how they cope with the feeling of homelessness. The novel's peripatetic narrative consists of first-person narrations, third-person narration, newspaper articles, president's speech, quotes from a book, and an adapted version of prayer script. As Hagedorn reveals in the very beginning of the book, these accounts are neither entirely fictional nor factual. Dogeaters presents a space of quasi-reality that traverses the literal, political, and historical. For Rio Gonzaga, this space becomes a narratival space in which Rio re-arranges, edits, and re-formulates her memories of living in Manila to come to terms with her identity as a transnational migratory subject. During this process, Rio deliberately forgets or belies certain memories. It is Joey Sands who registers the sense of homelessness that Rio strenuously tries to eject. While Joey thinks that he may have found home in the material comforts afforded by performing his queerness, his body tells a different story. His body works as a medium through which Joey's personal trauma and the Philippines's national trauma settle in. Rio's reconstructive and revisional storytelling needs Joey's visceral body as a site of abjection where Rio's unheimlich is textually discharged.
참고문헌 (21)
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