Proust in the Tearoom
Transcription
Proust in the Tearoom
Proust in the Tearoom Author(s): Jarrod Hayes Source: PMLA, Vol. 110, No. 5 (Oct., 1995), pp. 992-1005 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/463025 . Accessed: 05/07/2011 17:15 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=mla. . Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to PMLA. http://www.jstor.org JarrodHayes Proust in the JARROD HAYES is finishing his dissertation, "Something Queer about the Nation: Sexual Subversions of National Tearoom tasse n.f ... Urinoirpublic.... On dit parfois tasse a the. Syn.: theiere.... the n.m.... Prendre le the, copuler notammententre homosexuels.... theiere n.f ... Urinoirpublic (frequentepar les homosexuels). Colin and Mevel (613, 618) Identity in Maghrebian Literature of French Expression," at the Graduate Center,City Universityof New York.He teaches Frenchat QueensboroughCommunity College, NY His recent publicationsinclude"Approches de l'homosexualite et de l'homoerotisme chez Boudjedra, Mammeriet Sebbar"(Prdsence francophone, 1993) and "Madonna in Living Color: Race, Color, and Sexuality in Music Videos"(FoundObject, 1992). TH IS MUCH taking of tea in A la recherche du temps the description of Combray, if not the whole Indeed, perdu. novel, is said to result from taking tea with a madeleine. The French expressions in which tea serves as a metaphor or euphemism for homosex in public rest rooms1 assume particular significance when the narrator of La recherche describes the baron de Charlus, Proust's most notorious homosexual, engaging in tearoom sex: ERE Or notre maitre d'hotel, qui croyait que le mot ?pissotiere> .... .tait <pistiere>>,n'entendit jamais dans toute sa vie une seule personne dire <pissotiere>,bien que tres souvent on pronon9atainsi devant lui.... Constamment le maitred'h6tel disait: <<Certainement M. le baronde Charlusa pris une maladie pour rester si longtemps dans une pistiere.Voila ce que c'est que d'etre un vieux coureurde femmes.... A la pistierede la rue de Bourgogne,j'ai vu entrerM. le baron de Charlus.En revenantde Neuilly, bien une heure apres, j'ai vu ses pantalonsjaunes dans la meme pistiere, a la meme place, au mi(3: 694-95) lieu, oi il se met toujourspour qu'on ne le voie pas.>> Now our butler,who thoughtthat the wordpissotiere ... was really pistiere, never once in the whole of his life heard a single person say pissotiere, albeit the word was frequentlypronouncedthus in his hearing.... Constantly the butler would say: "I'm sure M. le Baron de Charlus must have caught a disease to stand about as long as he does in a pistiere. That's what comes of chasing the ladies at his age. ... As I passed the pistiere in the Rue de Bourgogne I saw M. le Baron de Charlus go in. When I came back from Neuilly, a good hour later, I saw his yellow trousers in the same pistiere, in the same place, in the middle stall where he always stands so that people shan't see him."2 (5: 249) 992 993 JarrodHayes This essay examines the possibility of other such tea parties in La recherche. I do not propose yet anotherkey to unlock hidden meanings in Proust's text; instead, I examine the implications of coded or secret languagesas systems of floatingsignifiers whose instabilities threatento disruptrepresentation.The problematicof interpretingor deciphering secret codes is a recurrenttheme in La recherche. What if all the tea partiesProustdescribes are also tea partiesin the sexual sense? In the tearoomoccur many illicit encounters,not only tea parties but also the clash of oppositions such as heterosexual/homosexual,secret/open, ignorance/knowledge, truth/lie, spectacle/spectator, exhibitionist/voyeur, public/private-distinctions the narrator works to understand, explain, and maintain.These distinctionsare destabilizedin the tearoom,even thoughthe economies of representation, of narrative,and even of interpretationmay depend on them. How does the introductionof the tearoomas an actualplace, as a metaphor,and as a possible though never certainkey for decoding secret language out the problematicof interpretation as a dubious affair, filled with uncertaintyand the panic of contagion,in short,as an activity thatmost appropriatelytakes place within tearoomwalls? In examining the tearooms in Proust's text, I argue in the end that the tearoom serves as the site for a de Manian allegory. De Man interprets La recherche as an "allegory of its own reading,"as "thenarrativeof its own deconstruction."Although this characteristicis not unique to Proust,since for de Man "any narrativeis primarilythe allegory of its own reading"(76-77), I concentrateon the tearoom's role in this Proustian allegory of reading and on the implications of this role in La recherche's sexual and interpretiveeconomies. Like the books the narratorreads in the toilet (where he also masturbates)as a child (1: 12; 1: 14), La recherche is a text best suitedfor readingwithinthe epistemological system that governs the tearoom. Monique Wittig describes La rechercheas "a war machine" and traces the "delayed effect" whereby the secret of homosexuality opens up like a "Trojanhorse," spilling out its contagion until the whole novel is infected. By the end of the novel, she argues, "Prousthas succeeded in turning the 'real' world into a homosexual-onlyworld.... Everybodyends up being homosexual"(73-74). The tearoom is an importantpart of this Trojanhorse effect. Once its secret is out, the tearoomspreadsa plague of interpretive uncertainties that contaminates the entire work as well as the body of criticism that attempts to understandit. WhereasWittig describesa contagion of homosexuality, I argue that the tearoom representsa relatedcontagionof doubt(which may also involve the fear of a contagious homosexuality). The possibility thattakingtea is a code for homosex infects not just the most sacredof Proustian passages (the descriptionof the madeleine) but the entire system of Proustianmemory;thus the paradise gainedfromtakingtea might,in fact,be Sodom. Epistemology of the Tearoom In "Tearoomsand Sympathy; or, The Epistemology of the WaterCloset,"Lee Edelmanshows how homosexual panic and anticommunist hysteria make the tearooma source of anxiety.He describes the "magnetizingpull of the dangersthatare seated in that unseen space, that cavity concealed by the toilet stall doorthatleads ... towardanother'country' whose agents are always already operating within-always already operating even, or even especially, within the men's room itself, in which, for heterosexualmen, it is never sufficient for one to be in orderto be, with any certaintyor security, a 'man"' (169). The dangerthat emerges from this particular Trojan horse is epistemological: "the metonymic 'contagion' of epistemological doubt" (165). The tearoomis hauntedby "a particularheterosexual anxiety about the potential inscriptions of homosexual desire and about the possibility of knowing or recognizing whatevermight constitute 'homosexual difference'" (160). How does one know, for example, whether men in a public rest room are doing what they "should" be doing or having a tea party?For Edelman,"theinstitutional men's room constitutesa site at which the zones of public and private cross with a distinctive psychic charge"(158). This crossing occurs when Charlus is seen without being seen, seen performing a secret act without having his secret revealed. The epistemologicalcrisis that accordingto Edelmanis inherent in the tearoom is at work not only in the tearoomCharlusfrequentsbut throughoutthe text. 994 Proustin the Tearoom Edelman's epistemology of the tearoom resembles Eve Sedgwick's epistemology of the closet. Sedgwick's closet is a locus of ignoranceas a form of knowing. Its glass walls, instead of hiding, reveal homosexuality as an open secret, like Charlus's yellow pants,which show beneaththe tearoom walls, which do not hide but display the hidden qua hidden. Sedgwick's analysis in Between Men of the male homosocial-homosexual continuumor more specifically of the barrierthat interrupts this continuum, separating the homosocial from the homosexual-also has importantimplications for the closet and for the tearoom.If that barrieris unstable,if men cannotknow for sure whethertheir male bonding constitutes homosexual or homosocial desire, then the walls of the closet they may or may not be in are not quite as transparentas those of the eponymous closet of Sedgwick's Epistemology. In fact, the effort on the part of straight men to construct or fix that barrier,to prove that they are straight,constitutesthe performanceof heterosexuality JudithButlerdescribes: Insofaras heterosexualgendernormsproduceinapcanbe saidto opproximableideals,heterosexuality eratethroughtheregulatedproductionof hyperbolic versionsof "man"and "woman."These arefor the mostpartcompulsory oneswhichnone performances, of us choose,butwhicheachof us is forcedto negotiate.... Suchnormsarecontinuallyhauntedby their own inefficacy;hence,the anxiouslyrepeatedeffort to installandaugmenttheirjurisdiction. (Bodies ThatMatter237) The hauntinginefficacy of male heterosexual performance,then, is the possibility thatthe performer may fail to make clear thathis performanceof heterosexuality is not the one a closeted homosexual performs.This same anxiety hauntsEdelman'stearoom. On reaching a crisis point, this haunting might also be the homosexual panic described by Sedgwick in Epistemology.Some performancesof heterosexuality may be laughable; others, such as queer bashing, are violent. Queer bashing, as a possible element of male bonding or homosociality, is a violent attemptto separatethe homosocial from the homosexual and to deny the possibility thatthe bashersare in the closet. Charlus'spresumedheterosexuality is affirmed in the eyes of the butler,who believes Charlushas caught the clap from womanizing. Thus the secret of Charlus'shomosexuality is displayed in public and nevertheless remains a secret, as Charlus remains in the closet while having sex in (almost) plain view. Laud Humphreys, in TearoomTrade: Impersonal Sex in Public Places, describes the paradox in which the tearoom, a public facility, guards the secret of those who go there to engage in impersonal sex. So in a sense, public sex in the tearoomremainsprivate,and the tearoomprotects the closet. Thus Charlus'shomosexual behavior is mistakenlydiagnosedas a contagiousvenerealdisease contractedheterosexually. The butler,ignorantof the tearoom'ssecret, cannot pronouncethe tearoom's signifier correctly,as if the sign containedthe essence of the referentso completely (as propernamesoften do for the young narrator)that not knowing one necessarily entails not knowing the other.The tearoom is thus a site associated with the misuse of language.The butler is not the only characterwho makes pronunciation mistakes.The directorof the hotel in Balbec makes them, as does Francoise, a domestic servantof the narrator'sfamily whose propensityfor such errors reminds the narratorof the butler's mispronunciation and elicits the description of Charlus in the tearoom. Like the butler and the angels stationed outside Sodom (3: 32-33; 4: 42-43), Francoiseinterpretshomosexual signs as offering heterosexual meaning and declaresthat if she had a daughterfor Charlusto marry,he would make the perfect husband. When the narrator'smother points out that Frangoise'sdaughteris alreadypromisedto Jupien, the vest maker who becomes Charlus's protege, Franqoisereplies, "Ah!dame, . . c'est encore quelqu'un qui rendraitune femme bien heureuse.I1y a beau avoir des riches et des pauvresmiserables,Ca ne fait rien pourla nature.Le baronet Jupien,c'est bien le meme genre de personnes" 'Ah, yes! ... there's anotherof them that would make a woman very happy. It doesn't matterwhether you're rich or poor, it makes no difference to your nature.The Baronand Jupien,they'rejust the same sort of person' (3: 32; 4: 42). Indeed, in the first pages of Sodome et Gomorrhe, which directly precede Fran- coise's remarks, Charlus and Jupien meet and Jarrod Hayes cruise, and the narrator listens to the sounds of their lovemaking through a wall. In likening Jupien and Charlus, Francoise reveals a secret but remains ignorant, just as the butler remains unaware of the secret the tearoom reveals about Charlus. That Francoise contracts the butler's habit of mispronouncing pissotieres as well suggests that the tearoom's contagion also applies to the tearoom's signifier: "Ses fautes de francais corrompaient le langage de Francoise tout autant que les fautes de sa fille. ... [E]lle ne disait jamais pissotieres, mais-avec une legere concession a la coutumepissetieres" 'And his faulty French was quite as much to blame as that of her daughter for corrupting the language of Francoise .... [S]he never said "urinals" but-with a slight concession to customary usage-"arinals"' (4: 329; 6: 86-87). Francoise catches other mispronunciations from the butler (4: 421; 6: 220-21), but in pissotiere, she catches more than a linguistic mistake, for ignorance of the signifier coincides with ignorance of the signified. Unable to detect the secret of Charlus's homosexuality, Francoise is ignorant of the secret codes that go with it. Whereas the homophobic imaginary often represents homosexuality as a contagious disease, for Francoise, not knowing homosexuality is contagious. Though some characters in La recherche are ignorant of secret homosexual codes, readers need not be. The novel never indicates that the narrator or any other character knows the sexual meaning of theiere, tasse, or prendre le the, but it does negotiate between sexual knowledge and ignorance on the part of characters and readers, playing on differences in how much they know to comment on the function of secret codes in the production of sexual knowledge. In the following passage prendre le the could certainly hide a homosexual secret: [L]'heure faisait souvent que je rencontrais dans la cour, en sortantde chez Mme de Guermantes,M. de Charluset Morel qui allaient prendrele th6 chez ... Jupien, supreme faveur pour le baron! Je ne les croisais pas tous les jours mais ils y allaienttous les jours. II est du reste a remarquerque la constance d'une habitudeest d'ordinaireen rapportavec son absurdite. Les choses 6clatanteson ne les fait generalementque par a-coups. Mais des vies insensees, ou le maniaque 995 se prive lui-meme de tous les plaisirs et s'inflige les plus grands maux, ces vies sont ce qui change le moins. Tous les dix ans, si l'on en avait eu la curiosite, on retrouveraitle malheureuxdormantaux heures ou il pourraitvivre, sortantaux heures ou il n'y a guere rien d'autre a faire qu'a se laisser assassiner dans les rues, buvant glace quandil a chaud, toujoursen train de soignerun rhume.I1suffiraitd'un petit mouvement d'energie, un seul jour, pour changer cela une fois pour toutes. Mais justement ces vies sont habituellement l'apanaged'etres incapablesd'energie.Les vices sont un autreaspect de ces existences monotones que la volonte suffirait a rendre moins atroces. Les deux aspects pouvaient etre egalement consid6ers quand M. de Charlusallait tous les jours avec Morel prendre (3: 553; ellipsis in orig.) le thd chez Jupien. [I]t often happened,because of the hour,that I met in the courtyard as I came away from her door M. de Charlus and Morel on their way to have tea at ... Jupien's, a supreme treat for the Baron! I did not encounterthem every day but they went thereevery day. It may, incidentally,be observed that the regularityof a habit is usually in direct proportionto its absurdity. Really strikingthings we do as a rule only by fits and starts.But senseless lives, of a kind in which a crackpot deprives himself of all pleasure and inflicts the greatest discomforts upon himself, are those that change least. Every ten years, if we had the curiosity to inquire,we should find the poor wretch still asleep at the hours when he might be living his life, going out at the hours when there is nothing to do but get oneself murderedin the streets, sipping iced drinks when he is hot, still trying desperatelyto cure a cold. A slight burst of energy, for a single day, would be sufficientto change these habits for good and all. But the fact is thatlives of this sort are on the whole peculiar to people who are incapable of energy. Vices are anotheraspect of these monotonousexistences which the exercise of will-power would suffice to renderless painful. Both aspects were to be observed simultaneously when M. de Charluscame every day with Morel to have tea at Jupien's. (5: 48-49; ellipsis in orig.) The narrator does not attempt to decode the expression prendre le the', nor is he aware of its multiple significations. The phrase supreme faveur and the discussion of pleasure, vice, and perversion that follows suggest that my reading of Proust's text may be justified. The daily ritual of tea, which brings together three of the novel's most notorious 996 Proustin the Tearoom homosexuals (thoughJupienand especially Morel, a musician and protege of Charlus, may be bisexual), so perplexes the narratorthat he is driven to explain it, even as he attemptsto dismiss his curiosity with the conditional ("si l'on en avait eu la curiosite, on retrouverait"). If prendre le the involves only drinking "une boisson inoffensive et distinguee" 'an inoffensive and distinguishedbeverage' (Colin and Mevel 618), the narratorcannot understand why three homosexuals have turned such a banal activity into a ritual that cannot be missed, why they would find taking tea so thrilling when they must have many exciting sexual things to do-things that the narrator,presumablyheterosexual, can only imagine, observe as a spectator, and compare to the mating rituals of birds, the flight of a bumblebee,or the pollinationof orchids. Charlus'shabit threatensthe narrator'sdismissive characterizationof habitude as an absurdity.Usually, people of such habits are rather dull; sometimes they spice up their dull lives with vice. The narrator,therefore, opposes the supposed dullness of Charlus'stea parties and the excitement of (homosexual) vice, overlooking the possibility that they are the same thing. The ellipsis between chez and Jupienbriefly leaves the object of the preposition in suspense, as if to surprise the reader, as if chez Jupien were the last place on earthone would expect to find a tea party;Mme Verdurin,Mme de Guermantes,and Odettehave elegant salons de the', but who would leave Mme de Guermantes'ssalon for Jupien's? Readers in the know can see that Charlusgets the last laugh by propellingthe narrator, who fails to read a sexual meaning in prendre le the, into interpretive overdrive. The narrator spends much of the novel showing off his theories on and knowledge of homosexuality, but he does not know as much as he thinks he does. Indeed the narratoris attemptingto shift the object or emphasis of unknowing from the supposedly heterosexual self to the homosexual other.Perhapsthis shift masks the narrator'slack of self-knowledge with ignorance of his (homo)sexual other, a failing that is "excusable" because this other is exotic, more like orchids or bees than like people. Charlus,who for the narratoris so much the epitome of a homosexual that his proper name can stand for the more general signifier homosexual (3: 15; 4: 18), can make or breaka salon de the. He creates one for Jupien, a nobody in the highfalutin social scene of La recherche,and threatensto transform Mme Verdurin'ssalon de the into anothersort of tearoom:"Et surtoutplus de tasses a cafe glace! Donnez-les a celle de vos amies dont vous desirez enlaidirla maison.Mais surtoutqu'elle ne les mette pas dans le salon, car on pourraits'oublier et croire qu'on s'est trompede piece puisquece sont exactement des pots de chambre"'No more iced-coffee cups, remember!Give them to one of your friends whose house you wish to disfigure. But warn her not to have them in the drawing-room, or people might think that they had come into the wrong room, the things are so exactly like chamberpots' (3: 773; 5: 356-57). The homosexual as figured by Charlus marks the instabilitybetween the tearoomas salon de the and the tearoom as public rest room. Surely some of Proust's tea parties are tea parties in the literal sense.3But one can never be sure whethertea party signifies literallyor sexually;one can never be sure that the word tea is not hiding somethingelse. According to Jean-PaulColin and Jean-PierreMevel, theiere first appeared in print with a homosexual connotation in 1890, prendre le the'in 1910, and tasse in 1925. Using these senses to read Proust, therefore,is not anachronistic.Several semihistorical works on subcultures contemporaneous with La recherche'scomposition include discussions of tearoom sex. In Paris gay 1925, by Gilles Barbedette and Michel Carassou,when Andredu Dognon is asked whether sexual encounters were easier in 1925 than in 1981, he replies, "Infiniment plus faciles! Elles se faisaient surtoutaux <baies>. Les baies, c'etait <les tasses>. Nous les appelions ainsi car nous avions un langage code.... Et des tasses, il y en avaitpartout,a Paris"'Infinitelyeasier!They mostly happened in the "bays." The bays were tasses. We called them thatbecause we had a coded language. And in Paris, there were tasses everywhere' (58). Brassai, in Le Paris secret des annees 30, writes that despite the dangerof being arrested, "les invertis revenaientfidelement a leurs theieres et a leurs tasses, surnoms des vespasiennes" 'inverts returnedfaithfullyto theirtheieresand tasses, as public rest rooms were nicknamed'to partakein a "balletnocturne"'nocturnalballet' (55): JarrodHayes A la tombeede la nuit,en memetempsqueles reverberes,les vespasienness'allumaient, petiteschapelles sujettesa d'etrangescultes.Autantd'edicules,autant de pointde rassemblement et de fraternisation deshomosexuels,surtoutautourdes urinoirsronds,a trois stalles, dont la dispositioncirculairepermettaitun contactentreles hommes. (54) At nightfall,alongwiththe lanterns,publictoiletslit up like little chapelssubjectedto strangeformsof worship.So manykiosks,so manyplacesfor homosexualsto gatherandfraternize, especiallyaroundthe roundurinalswiththreestalls,whosecircularlayout contactbetweenmen. permitted Brassai describes the tearoomas a chapel, a site of ritualssuch as Charlus'sdaily tea partywith Morel and Jupien. Brassai also identifies the tearoom as partof a subculture,a secret to most of Paris'spopulation. He reveals this secret, along with such activities as the "balsdes homosexuels" 'homosexual balls' (166) represented with photos of male and female transvestites dancing with and embracing more conventionallyattiredsame-sex partners.The photo that accompanies the essay on tearoom sex, however, is merely one of a typical pissotiere seen from a distance (52). Brassai,who was able to penetrateevery other secret site he writes about,could not photograph a tea party. Is what occurs in the tearoom unrepresentable?Perhaps the tearoom is where no heterosexualcan go and still remainheterosexual,the one place homosexualityis safe from becoming entertainmentfor heterosexual spectators. Or perhaps the pissotiere Brassai chooses to represent the tearoom, which could be any Parisian's neighborhood pissotiere, reveals that any pissotiere is a potential tearoom. Brassai's pissotiere thus resembles Edelman's men's room, for any men's room, not just those that double as tearooms,can provokethe epistemologicalcrisis Edelman describes.The tearoom'scontagion can infect any public rest room. As Andre du Dognon's response indicates, the tearoom'sname belongs to a secret language,a system of coded signifiersthatallow public communication to remainprivateand thus protectthe closet. On several occasions, Proust compares homosexuality to a secret society, a freemasonry, whose 997 membersuse codes unintelligibleto nonmembersto communicateand to recognize one another(2: 586, 3: 18-19; 3: 394-95, 4: 23).4Yet for secret codes to work effectively,only those who areintendedto, no one else, should be able to understandthem.Otherwise the secret is out. Proustdemonstratesthat secret codes inevitably escape the intentions of their enunciators,who cannot control who understands the codes. Those in the know and those in the closet (that is, those the enunciators want to have in the know) may be overlapping sets, but they are not coextensive. Proustexplores this problemthrough the expression en etre, which occurs in five passages in La recherche.The expressionprovokes an epistemological crisis that can serve as a model for the crisis that occurs when readers interpret La rechercheby decoding the tearoom. In the firstpassage, when Verdurinsays to Charlus, "Or des les premiers mots que nous avons echanges, j'ai compris que vous en etiez!" 'Now, from the first words we exchanged, I realized that you were one of us!,' Charlus,"qui donn[e] a cette locutionun sens fort different,[a] un haut-le-corps" 'who attache[s] a very different meaning to this expression, [gives] a start.' For Verdurin,en etre means "to belong to an aesthetic elite." But Charlus en est in more ways than one. He has an artistic sensibility in Verdurin'seyes, and he is also a homosexual. Charlus reads (homo)sexual meaning into "ces paroles a double sens" 'these equivocal remarks,'a meaningVerdurindoes not intend, and experiencesa brief panic. In the expressionen etre, the adverbialpronounhides its antecedent-homosexuals, usually-in a sort of linguistic closet. Who can know for sure whetherthe intendedantecedent is not something else? Charlus is afraid of being outed by Verdurin,but once he realizes he is out of danger-out (of danger)being in (the closet)-"il [a] un petit rire qui lui [est] special" 'he [gives] a little laugh that [is] all his own' (3: 332; 4: 463), a queeny laugh, and comes out to readers in the know, familiar with the equivocal expression. If readersare not in the know when readingthis passage, they are by the time they finish La recherche, since the expression is finally defined in the last of the five passages. Mme Verdurinuses the expression on two occasions, once to include Charlus among a group of 998 Proustin the Tearoom friends participating in an excursion and once to include him in the Jockey Club (3: 432-33; 4: 604). The first use awakens Charlus's fears of being outed: "<<Monsieur de Charlus,est-ce que vous en etes?> Le baron,qui n'entendaitque cette phraseet ne savaitpas qu'on parlaitd'une excursiona Arembouville, sursauta: <Etrange question>, murmurat-il d'un ton narquoispar lequel Mme Verdurinse sentit piquee" "'Monsieurde Charlus,are you one of them?"The Baron,who had not heardthe whole speech and did not know that she was talking of an excursion to Harambouville, gave a start: "A strangequestion,"he murmuredin a sardonictone that nettledMme Verdurin'(3: 359; 4: 501). In yet anotherpassage, Saint-Loup, addressing the narrator,uses the expression to refer to closed groups such as the Verdurins'clique: "La question n'est pas comme pour Hamlet d'etre ou de ne pas etre, mais d'en etre ou de ne pas en etre. Tu en es, mon oncle Charlus en est. Que veux-tu? moi je n'ai jamais aime ca, ce n'est pas de ma faute" 'The question is not, as for Hamlet, to be or not to be, but to belong or not to belong. You belong, my uncle Charlus belongs. But I can't help it, I've never gone in for thatsort of thing, it isn't my fault' (3: 410; 4: 572). In this passage, an ambiguoussignifier of homosexualityprovokes not only an epistemological crisis but an ontological one as well. A coded signifier of homosexuality encompasses even the narrator.He is included in the same category of being as Charlusby the same signifier that elsewhere provokes Charlus'sfear of being outed. It is not that the narrator'sheterosexual status is never questionedin La rechercheor in Prouststudies, but as Sedgwick writes,"[t]henovel seems both to prohibit and to extort from its readers such a violence of interpretive uncovering against the narrator[by exposing him as a closeted homosexual], the violence of rendering his closet, in turn, as spectacle"(Epistemology223). Many critics, gay and straight, have attempted such an outing, most by claiming thatLa recherche is a romana clef, thatthe narrator'sloves, Albertine and Gilberte, actually represent some Albert and Gilbertin the author'slife. In more recentattempts, MarkD. Guenettehas assertedthatthe narratoris in love with Saint-Loup,and KajaSilvermanhas proposed that the narrator'slove for Albertineis a les- bian love. The narratorexplicitly allows for reading women charactersas men in drag,andhe marksthis approachas a gay reading:"L'ecrivainne doit pas s'offenser que l'inverti donne a ses heroines un visage masculin.Cette particulariteun peu aberrante permetseule a l'inverti de donnerensuite a ce qu'il lit toute sa generalite"'The writermustnot be indignant if the invert who reads his book gives to his heroines a masculine countenance.For only by the indulgence of this slightly aberrantpeculiaritycan the invertgive to what he is readingits full general import' (4: 489; 6: 321). Guenette and Silverman carrythe possibility, announcedby the narrator,of readingpresumablyheterosexualcharactersas homosexuals to its logical extreme and apply this readingto the narratorhimself. I suggest, however, that La rechercheyields more productiveinterpretationsfor queertheorywhen the narratoris readas an embodiment of the instability of heterosexual identity, as a male subject attempting (with little success) to asserthis heterosexualmasculinity.Outing the narratorconvenientlybrushesunderthe rug the panicky version of heterosexualmasculinityhe embodies and perpetuateswhat Sedgwick calls "the implausible,necessaryillusion thattherecould be a secure version of masculinity(known, presumably, by the coolness of its homophobicenforcement)and a stable,intelligibleway for men to feel aboutother men in modernheterosexualcapitalistpatriarchy," the illusion thatcovers over the "alreadyoff-center, always at fault, endlessly blackmailablemale identity readyto be manipulatedinto any laborof channeled violence" (Epistemology 84). Outing the narratorreduces his masculinity to a bad performance of heterosexuality and implies that "real" heterosexualityis "natural,"that bad performances can be staged only by closet queens. But as Butler suggests, heterosexuality is always such a performance and is often a "bad"one, because it "offers normativesexual positions thatare intrinsicallyimpossible to embody, and the persistent failure to identify fully and without incoherence with these positions reveals heterosexuality itself not only as a compulsorylaw, but as an inevitable comedy" (GenderTrouble122). Vulnerabilityto being outed or blackmailed,such as the narrator'svulnerability to attacksby Proustiancritics, could be said to be a definingcharacteristicof male heterosexualidentity. JarrodHayes An epistemological instability-like that surrounding masculinity, which makes it impossible to know whether the narrator or any other presumably heterosexual man is in the closet-also characterizes the expression en etre. Though the expression casts doubt on the narrator's sexuality in the fourth passage, the object of unknowing shifts in the fifth from presumably heterosexual (narrator) to homosexual (Charlus). Thus, coded expressions can be undecidable even for those who are in the know. Lea, the lesbian actress the narrator later suspects of having an affair with Albertine, uses the expression to describe Morel and provokes the following reaction in Charlus: Le baron etait surtouttrouble par ces mots <<enetre>. Apres 1'avoird'abordignore, il avait enfin, depuis un temps bien long deja, apprisque lui-meme <en 6tait?. Or voici que cette notion qu'il avait acquise se trouvait remise en question.Quandil avait decouvertqu'il <<en etait>, il avait cru par la apprendreque son goit, comme dit Saint-Simon,n'etait pas celui des femmes. Or voici que pour Morel cette expression <<enetre> prenait une extension que M. de Charlus n'avait pas connue, tant et si bien que Morel prouvait, d'apres cette lettre, qu'il ?en etait> en ayant le meme gout que des femmes pour des femmes memes. Des lors la jalousie de M. de Charlusn'avait plus de raison de se bomer aux hommes que Morel connaissait,mais allait s'6tendre aux femmes elles-memes. Ainsi les etres qui <en etaient? n'etaient pas seulement ceux qu'il avait crus, mais toute une immense partie de la planete, composee aussi bien de femmes que d'hommes, d'hommes aimant non seulement les hommes mais les femmes, et le baron, devant la signification nouvelle d'un mot qui lui etait si familier,se sentaittorture par une inquietude de l'intelligence autant que du coeur,devant ce double mystere oi il y avait a la fois de l'agrandissementde sa jalousie et de l'insuffisance soudained'une definition. (3: 720-21) What most disturbed the Baron was the phrase "one of us." Ignorantat firstof its application,he had eventually, now many moons ago, learned that he himself was "one of them."And now this notion that he had acquiredwas thrownback into question.When he had discovered that he was "one of them," he had supposed this to mean thathis tastes,as Saint-Simonsays, did not lie in the direction of women. And here was this expression taking on, for Morel, an extension of 999 meaning of which M. de Charlus was unaware, so much so that Morel gave proof, according to this letter, of being "one of them" by having the same taste as certainwomen for other women. From then on the Baron'sjealousy could no longer confine itself to the men of Morel's acquaintance,but would have to extend to the women also. So, to be "one of them"meant not simply what he had hitherto assumed, but to belong to a whole vast section of the inhabitantsof the planet,consisting of women as well as of men, of men loving not merely men but women also, andthe Baron, in the face of this novel meaning of a phrasethat was so familiarto him, felt himself tormentedby an anxiety of the mind as well as of the heart, born of this twofold mystery which combined an enlargementof the field of his jealousy with the sudden inadequacy of a definition. (5: 280-81) The expression en etre here includes so many categories of being that Charlus loses all epistemological grounding. Charlus's anguish before an undecidable sign with proliferating significations mirrors the male heterosexual's fear that the closet may enclose him, too. For Edelman, this risk of contagion is inherent in the epistemology of the tearoom. No man who ventures there can be sure he is a "real" man, that is, a heterosexual man, and heterosexual men who wander into the tearoom risk catching homosexuality. If the narrator is spared this panic, he is not spared the risk of contagion embodied both in the expression en etre and in the secret language Odette (Swann's wife and Gilberte's mother) uses in the salon de the. Odette uses English in the salon de the so that no one else can understand what she says to the narrator about other customers or about the waiters (1: 535; 2: 161). Her communication strategies fail her, however; though she believes that only the narrator understands her when she speaks English, he is in fact the only one who does not understand. Odette and the narrator's "private" conversation becomes a public mise-en-scene of the private. To use Sedgwick's terminology, Odette's secret is an open secret to all but the narrator, who n 'en est pas in this passage. The epistemological crisis Charlus experiences when he is confronted with the expression en etre occurs here within the salon de the'. All those taking tea en sont (in the sense "are in the know") except the narrator. Although Saint-Loup 1000 Proustin the Tearoom includes the narratoramong those who en sont, the narratormanages to distance himself from those includedin Odette'ssecret tearoomcode. Nonetheless, the risk of the tearoom's contagion remains. After the narratorwanders into the tearoom, he does not emerge unscathed. Sodom Surges from a Cup of Tea The most celebrated passage where the narrator takes tea is the madeleine episode. If in the rest of the novel prendre le the can mean "to have homosex," the madeleine cannot be spared this possibility. Thus, any reader can carry out an act of interpretiveviolence against La rechercheby asking the following questions: What if in eating the madeleine the narratorwere also taking tea in a sexual sense? What if the expressionprendrele the had the same function as en etre and the tearoom and allowed the narratorto announce his sexual activity openly while keeping it a secret? Innocent enough to pass Lagarde et Michard's censors, the madeleine passage, which has been read by millions of French children, could be interpretedas a descriptionof a homosexual act: Maish l'instantmemeoi la gorgeemeleedes miettes du gateautouchamonpalais,je tressaillis,attentifa ce qui se passaitd'extraordinaire en moi.Un plaisir delicieuxm'avaitenvahi,isole, sansla notionde sa cause.II m'avaitaussitotrendules vicissitudesde la vie indiff6rentes, ses desastresinoffensifs,sa brievete illusoire,de la memefaconqu'operel'amour,en me remplissantd'uneessenceprecieuse:ou plut6tcette essencen'etaitpasen moi,elle etaitmoi.J'avaiscesse de me sentirmediocre,contingent,mortel.D'oi avait (1:44) pume venircettepuissante joie? No soonerhadthewarmliquidmixedwiththecrumbs touchedmy palatethana shiverranthroughme andI stopped,intentupontheextraordinary thingthatwas happeningto me. An exquisitepleasurehadinvaded my senses,somethingisolated,detached,withno suggestionof its origin.Andat once the vicissitudesof life hadbecomeindifferentto me, its disastersinnocuous,its brevityillusory-this new sensationhaving hadthe effect, which love has, of filling me with a preciousessence; or ratherthis essence was not in me, it was me. I hadceasedto feel mediocre,contin- gent,mortal.Whencecouldit havecometo me, this (1: 60) joy? all-powerful The pleasureof the madeleineis erotic. Like Charlus's habit of taking tea, the madeleine drives the narratorto understand,to know the source of pleasure. Indeed, some critics have implicated the madeleinein La recherche'ssexual economy.Comparing the shape of the madeleine to that of the vulva and linking the ecstasy of the madeleine with masturbation,Philippe Lejeune associates the madeleine episode with a masturbationscene from ContreSainte-Beuve.In La place de la madeleine, Serge Doubrovsky,inspiredby Lejeune's reading, begins with a definitionfrom Sandryand Carrere's Dictionnaire de l'argot moderne-"BIscuIT(Trem(To per son): Accomplir l'acte charnel" 'COOKIE: dunkone's):To engage in sexual intercourse'(Doubrovsky 8)-to constructan elaboratesexual reading of the "madeleine's place" in La recherche. Since the madeleine generates not only the narration of La recherchebut also the narrator'sidentity as a subject, memory and therefore writing are linked to masturbation,urination,and defecation, which are all situated within an ambiguous relationship with the mother. Doubrovsky goes on to link the madeleine episode with the ChampsElysees rest room: "si la scene de la madeleine (matricede l'ceuvre)est superposablea deux scenes complementaires,-de masturbation,dans [Contre Sainte-Beuve], mais aussi de defecation, dans le texte des <<Champs-Elysees>-,le fantasmeproustien montre,par la superpositiondes modeles, que, s'il s'agit d'un coit dans l'ecriture, c'est d'un coit anal" 'If the madeleine scene (the matrixof the entire work) can be superimposedonto two complementary scenes-one of masturbation,in [Contre Sainte-Beuve], but also one of defecation, in the Champs-Elyseestext-the Proustianfantasyshows, by superimposing models, that if writing is about coitus, it is about anal intercourse' (161-62). In comparingthe sensationsevoked by takingtea and a madeleinewith those the narratorexperiences on enteringa tearoom,Doubrovskycomes dangerously close to makingthe madeleinepartof the tearoom's secret. And if the tearoom infects the madeleine, the entire system of Proustianmemory, which the madeleineexemplifies, is also implicated. JarrodHayes When the narrator visits the public rest room on the Champs-Elysees, he experiences the following sensations: Les murs humides et anciens de l'entree oi je restai a attendreFrangoise degageaient une fraiche odeur de renfermequi, m'allegeant aussit6t des soucis que venaient de faire naitre en moi les paroles de Swann rapporteespar Gilberte, me penetra d'un plaisir non pas de la meme espece que les autres, lesquels nous laissent plus instables,incapablesde les retenir,de les posseder, mais au contraire d'un plaisir consistant auquelje pouvais m'etayer, delicieux, paisible, riche d'une verite durable,inexpliquee et certaine.J'aurais voulu ... essayer de penetrerle charme de cette impression qui m'avait saisi et rester immobile a interroger cette emanationvieillotte qui me proposaitnon de jouir du plaisir qu'elle ne me donnait que par surcroit, mais de descendre dans la realite qu'elle ne m'avait pas devoilee. (1: 483) The old, damp walls of the entrance, where I stood waiting for Fran9oise, emitted a cool, fusty smell which, relieving me at once of the anxieties that Swann's words, as reported by Gilberte, had just awakenedin me, filled me with a pleasureof a different kind from other pleasures, which leave one more unstable, incapable of grasping them, of possessing them, a pleasure that was solid and consistent, on which I could lean for support, delicious, soothing, rich with a truth that was lasting, unexplained and sure. I should have liked ... to endeavorto penetrate the charmof this impressionwhich had seized hold of me, and, remaining there motionless, to explore this antiquatedemanation which invited me not to enjoy the pleasurewhich it was offering me only as a bonus, but to descend into the underlyingreality which it had not yet disclosed to me. (2: 88) Although the pleasure of the "cool, fusty smell" is not explicitly sexual, the insistence on penetration and the presence of the verb jouir sexualize it. The pleasure is stable and certain but, unlike the unnamed others the narrator mentions, unknowable. Perhaps the frustration of his desire to understand, to penetrate-where knowledge and possession the (and therefore power) are inseparable-is source of his pleasure; perhaps the pleasure results from an epistemological desire not meant to be satisfied. It is, in fact, the pleasure that penetrates the 1001 narrator (who thus becomes a passive partner in this encounter) and thereby further problematizes his masculinity. The rest room's erotic charge intensifies as the marquise makes a pass at the narrator,offering him free access to a private stall-or maybe more than that-and leading him to speculate on her taste for boys (1: 484; 2: 88-89). Using the interpretive technique that has become a commonplace in Proustian criticism, one could argue that the marquise is really a man, that Proust is really describing a childhood incident in which he was propositioned when he stumbled on a tearoom instead of an ordinary rest room. The marquise's self-naming with a feminine aristocratic title (another possible example of a secret code) calls to mind both the English use of the word queen and Morel's assimilation of aristocratic women and male homosexuals in his homophobic article, "Les Mesaventures d'une douairiere en us, les vieux jours de la barronne" 'TheMisfortunesof a Dowager ending in -us or the Latter Days of the Baroness,' where he also calls Charlus "Frau van den Bosch" (4: 346-47; 6: 112). The pleasure described by the narrator could then be read as evidence of Proust's sexual titillation on discovering this homosexual secret. Just after his visit to the tearoom, the narrator wrestles with Gilberte and has an orgasm. Jocelyn Brooke claims that this passage represents homosexual play: "It was surely rather unusual for young girls so bien elevees as Gilberte to wrestle with boys in the park; and it seems pretty certain that Marcel's partner was, in reality, of his own sex" (15-16). I do not wish to rule out this possibility, but like Sedgwick, I would argue that this representation of rough play "seems both to prohibit and to extort" such a homosexual interpretation. Yet the passage also offers a description of the tearoom's threat to male heterosexual identity. Reading the narrator as heterosexual, one could argue that as a child needing to relieve himself in a public rest room, the narrator stumbles on a tearoom, the site of epistemological doubt about differences between homosexuality and heterosexuality. He experiences a sexual titillation that he does not understand but that he contrasts with the danger to his heterosexual love for Gilberte represented by Swann's disapproval. Propositioned by the marquise, the 1002 Proustin the Tearoom pas venir une fois prendrea cup of tea, comme disent nos voisins les Anglais; il n'auraitqu'a m'envoyer un 'bleu' le matin"'Couldn'the come to me some day for "a cup of tea," as our friends across the Channelsay? He need only send me a "blue"in the morning?' (1: 77; 1: 107). The readerlater discovers thatAdolphe's mistressis Odette(2: 563; 3: 361). As in the salon de the, Odetteuses English as her own secret language in Adolphe's Paris apartment, this time to signify taking tea. Adolphe's apartmentcan now be considered a salon de the. The incident causes the narrator'sparentsto break with Adolphe. This response seems exaggerated unless the narrator'suncle is also a tante5and "la dame en rose" 'the lady in pink' a man (1: 77; 1: 107). And if what the narratorhappens on is a tea party in the sexual sense, an invitation to take tea would indeed be cause for parental concern. The En entrant,j'apercus,je me rappelaibrusquement public rest room and Adolphe's apartmentsmay l'image, cach6ejusque-lh,dont m'avait approche, have more in common than an odor; they may all sansme la laisservoirni reconnaitre, le frais,sentant be places for takingtea. la du Cette suie, The tearoom serves as a locus of remembrance presque pavillontreillage. image6tait celle de la petitepiecede mononcleAdolphe,a Com- and even provokes remembrancein the same way bray,laquelleexhalaiten effetle memeparfumd'hu- that taking tea with a madeleinedoes. The lost parmidit6.Maisje ne puscomprendre, je remisa plustard adise re-created in this act of Proustian memory de chercherpourquoile rappeld'uneimagesi insigni- has its own associations with past tea parties confiantem'avaitdonneunetellef6licite. (1: 485) cealed by secret language.Revealing the tearoom's secretthus discloses the possibilitythatthe lost parOnmy wayhomeI perceived,I suddenlyrecalledthe adise gained throughremembranceinvolves homoimpression,concealedfromme untilthen,of which, sexual pleasure. In "SodomI ou la naturalisation withoutlettingme distinguish orrecognizeit,thecold de Charlus,"Marcel Muller compares Sodom and andalmostsooty smell of the trellisedpavilionhad with the lost paradiseof Eden:"Sodome Gomorrah remindedme. It wasthatof my uncleAdolphe'slittle et Gomorrhe sont ainsi homologues au ParadisTersitting-roomat Combray,whichhadindeedexhaled et la destruction the sameodourof humidity.But I could not under- restre, par le feu au banissement and I until the later to disd'Adam et Eve. un stand, postponed attempt Apres long divorce, voici que coverwhytherecollectionof so trivialanimpression sont reunies les deux moities du symbolon;le couhadfilledme withsuchhappiness. (2: 91) ple est reconstitue" 'Sodom and Gommorah are thus homologous to Eden, and the destruction by The smells of the rest room recall those of Uncle fire is homologous to the banishmentof Adam and But Proustian Eve. After a long divorce, the two halves of the Adolphe's Combray apartment. connects not similar smells but also memory only symbolonare reunited;the couple is reconstituted' moments-one past, one present-that share a sin(474-75).6 In Proust's version of the destruction essence. What essence could of Sodom and Gomorrah,scattered homosexuals gle Adolphe's apartment share with a public rest room? Arriving for yearn for their lost paradise, and this yearning alan unannounced visit in Paris, the narratorinterlows them to recognize one another.In this Proustan intimate moment between and ian equivalentof "gaydar,"when two homosexuals rupts Adolphe who in nonetheless a mistress, meet, Sodom or Gomorrahis reconstituted.Thus, Adolphe's delights third person's presence: "Est-ce qu'il ne pourrait when the narratorwitnesses desirebetweentwo les- narratorexperiences homosexual panic. He cannot be sure that this titillation was really heterosexual, that it was not caused by the tea party going on in the tearoom.He can, however, attemptto make his heterosexual masculinity more believable. Thus, makingout with Gilbertecan be read as a response to the dangersof the tearoom.If his orgasmoccurs in a heterosexualencounter,then surely he must be heterosexual.But this strategyof heterosexualperformanceis not completelyeffective.The narrator's orgasm occurs quite quickly.What if the titillation of the tearoom served as foreplay for this heterosexual encounter? The strategy also fails because the pleasure the narratorexperiences in the rest room has nothing to do with Gilberte: it marks the beginning of an act of involuntarymemory: JarrodHayes bians and imagines (or sees) an incandescentlight shooting from one to the other,he remarksthatthis light is the fire of the burningGomorrah,rekindled in the meeting of two Gomorreans (3: 244-46; 4: 338-39). Muller also compares this recovery of a paradiselost to the operationof Proustianmemory:"Naissance,occultation,devoilementparlequel s'opere un retoura l'etre originel: le cheminement de l'homosexualite emprunte donc le meme parcours que le souvenir affectif pur associe a la saveur de la madeleine" 'Birth, concealment, unveiling, throughwhich a returnto originalbeing occurs: homosexuality thus proceeds along the same path as the pure affective memory associated with the taste of the madeleine' (475). Proustianmemory, especially involuntary memory, is prompted by an encounter with an object or sensation that contains the essence of a past sensation. That past sensationis instantly,almost mystically,re-created in a sort of epiphany.Proustianmemory is the restitution of a lost paradise, and the best paradise is not the original but the one recovered, "car les vrais paradissont les paradisqu'on a perdus"'the true paradises are the paradises that we have lost' (4: 449; 6: 261).The paradiseregainedby Proustian memory,could thus be Sodom. Just as "toutCombrayet ses environs,toutcela qui prendformeet solidite, [sort],ville et jardins,de [la] tasse de the [du 'the whole of Combrayandits surroundnarrateur]" ings, taking shape and solidity, [springs]into being, town and gardens alike, from [the narrator's]cup of tea' (1: 47; 1: 64), perhapsSodom as well surges from taking tea. The reconstitution of the earthly paradise of Sodom through Proustian memory would then parallel the workings of Wittig's Trojan horse, whereby a seemingly heterosexual-only world becomes wholly homosexual by the novel's end, the same end markedby le temps retrouve. La recherche implicates the relation of past to presentin the relationof homosexual to heterosexual. Resurrected,a homosexual past haunts a heterosexual present. And this haunting effectively questions the narrator'sheterosexual masculinity. Throughoutthe novel, the narratordemonstratesa considerablecuriosity towardmattershomosexual, and this curiosity cannot be separated from the novel's sexual power relations and hierarchies. In his attemptsto understandhomosexuality,the nar- 1003 rator spies on this secret world on various occasions. He hides in the bushes at Montjouvain to watch Mile Vinteuil (the composer Vinteuil's daughter)and her friend making love (1: 157-63; 1: 224-33), conceals himself to observe the first encounterof CharlusandJupien(3: 3-33; 4: 1-44), and througha peephole watches Charlus'sflagellation at Jupien'shotel (4: 388-420; 6: 173-218). In this last episode of voyeurism, the narrator'spowerful desire to know is naturalized as biological need through a comparison to thirst: "J'avais d'autrepartextremementsoif. Il etait probableque je pourraistrouver a boire ici et j'en profitai pour tacher d'assouvir, malgre l'inquietude qui s'y melait, ma curiosite" 'I was now, however, extremely thirsty.I should probablybe able to get something to drink inside and at the same time I might attempt, although I felt nervous at the prospect, to assuage my curiosity' (4: 390; 6: 175). Elsewhere, as the narratorattemptsto uncoverAlbertine'ssexual history, her (possibly) homosexual past comes back to haunt his heterosexual present. When Albertine reveals that she knows Mile Vinteuil, the narratorremembers gazing on Mile Vinteuil and her friend and uses that information for his own practicalends: "contemplerun spectacle curieux et divertissant, comme moi, helas! en cette fin de journmelointaine a Montjouvain,cache derriereun buisson, ou (comme quand j'avais complaisamment ecoute le recit des amoursde Swann)j'avais dangereusementlaiss6 s'elargir en moi la voie funeste et destinee a etre douloureuse du Savoir" 'look[ing] on at a curious and entertainingspectacle, as I, alas, had done on that afternoonlong ago at Montjouvain,concealed behind a bush where (as when I had complacentlylistened to the accountof Swann's love affairs) I had perilously allowed to open up within me the fatal and inevitably painful road of Knowledge' (3: 500; 4: 702). This Foucauldian will to knowledge on the partof the supposedly heterosexualvoyeur is inseparablefrom a will to power-here, a desire to maintaina sexual hierarchywhere the heterosexualstays on top (in a position of power) at the expense of the homosexual, who remainsin a subservientposition. In Orientalism, Edward Said describes a Western will to knowledge of the Orient that parallels colonialism. Such a parallelis at work in Proust et 1004 Proustin the Tearoom les signes, where Gilles Deleuze describes a will to knowledge directedtowardthe beloved by the heterosexual lover driven by jealousy in search of truth:"La Recherche du temps perdu, en fait, est une recherchede la verite"'The quest for lost time, in fact, is a quest for truth' (23). This truth turns out to be a lie spoken by the beloved to conceal a homosexual past: "L'essence, en amour,s'incarne d'aborddans les lois du mensonge, mais en second lieu dans les secrets de l'homosexualite. . . L'ho- mosexualite est la verite de l'amour" 'In love, essence is embodied first in the laws of lying but second in the secrets of homosexuality.... Homosexuality is the truth of love' (99). The narrator consolidateshis heterosexuallove for Albertineby seeking to know her past and, therefore, to gain power over it. This homosexual past is not defined in oppositionto a heterosexualpresent,for the two are inseparable.In this context, heterosexual selfdefinition and identity depend on homosexuality, which is appropriatedthrough a gesture that resembles colonization. The essence or truthof heterosexual love accordingto Deleuze resides in the (homo)sexual other. The narrator,gazing at his other,tries to assert his own identity,but that identity can only be unstable.The relationthatcasts the voyeur as heterosexual, colonizer, and subject (or self) and the spectacle as homosexual, colonized, and object (or other) also includes the binary present/past. This relation between present and past governs the tearoomas well. When the narratorenters the tearoom and takes tea, the past is resurrected; he regains a lost paradise-Sodom-that returnsto disturbthe heterosexualityof the present. The narrator'sact of self-constitutiondependson asserting the self as heterosexual. But this heterosexual self-definition requiresan opposition of the self with a homosexual other. Mastery of the self requiresmastery over the other, which is obtained throughknowledge. Knowing the other, however, entails contagion; if the male heterosexual understandshomosexualitytoo well, he may be suspected of being homosexual.As Sedgwick writes,"Ittakes one to know one" (Epistemology222). The epistemology of the tearoomapplies to the narratoras he gazes at Mlle Vinteuil and her friend and at Charlus, Jupien, and Morel and as he seeks to gain power over Albertineby knowing her past (episte- mological control that correspondsto her physical imprisonment).Furthermore,the language that the self inherits sets its own traps. Everyday expressions like prendre le the and theiere lie in wait for the unwittingspeaker,who risks disseminatinghomosexual meaning without knowing it. The instability of the self constituted through language parallelsthe narrativesreconstructedby the subject on the analyst'scouch.7La rechercheseems to suggest that such narratives of the self are also de Manianallegories of their own deconstruction.The instability of male heterosexual subjectivity, like interpretiveand epistemologicaluncertainty,is thus revealed as an open secret that shows beneath the tearoomwalls, much like Charlus'syellow pants. The Trojan horse releases its forces not only amongLa recherche'scharactersandtheirsupposed real-life referentsbut also among the work's critics and its interpretations.In additionto the characters and their models, which Wittig describes as being infected, Proustianthemes such as love, memory, and even artisticcreationbecome inseparablefrom homosexuality. In the humanist tradition, these themes give Proust universal value; in his reflections on these great philosophical issues, he supposedly transcendshis sexual peculiarities.Yet once these themes enterthe tearoom,they do not emerge unscathed. After all, the madeleine, a communion wafer placed on the tongues of the faithfulin Brassai's "little chapels subjected to strange forms of worship,"is best takenin the tearoom.8 Notes 'Translated literally into English, these dictionary entries would make little sense. They list the French words tasse 'tea cup' and theiere 'teapot' as terms for public rest rooms where men have sex (in English,"tearooms").Prendrele the, the French equivalentof "to have tea,"also means "to have homosex." 2All translationsof Proustare from D. J. Enright'srevision of the translationby C. K. Scott Moncrieff and TerenceKilmartin. All othertranslationsare my own. 3Accordingto EtienneBrunet'sLe vocabulairede Proust, the word the occurs eighty-seven times in La recherche(1407). 4Such codes exist in the history of homosexuality. I cite as one example the use of handkerchiefsto indicate homosexual availability (a practice associated with the 1970s), with various JarrodHayes colors signaling availability for specific acts-black for sadomasochism,darkblue for anal sex, light blue for oral sex, yellow for "water sports"-and position signaling availability for particularroles-the left rear pocket for "tops,"the right rear pocket for "bottoms"(Townsend26-27). 5The Frenchword tante, or "aunt,"also means "queen." 6Proustincludes the angel with the flaming sword in his version of the destruction of Sodom (3: 32; 4: 42-43). Antoine Compagnonpoints out in a note to this passage that "[l]'ange a l'epee flamboyanten'apparaitpas dans la Genese lors de la destruction de Sodome, mais lorsque Adam et Eve sont chasses du paradis.... La confusion seraitainsi entreSodome et l'Eden" 'the angel with a flaming sword appears in Genesis not at the moment of Sodom's destruction but when Adam and Eve are chased out of paradise ... Sodom is therefore confused with Eden' (3: 1290; my trans.). 7Doubrovskywrites, "L'op6rationmentale d6critepar Proust avec une precision clinique est bien l'homologue de l'acte de rem6morationen analyse" 'The mental operationdescribed by Proust with clinical precision is the homologue of the act of rememberingin analysis' (26). 8I would like to thank Nancy K. Miller for her characteristically careful readingsof this essay and for her valuable suggestions. I also thankGina Fisch-Freedman,MarkCalkins,Edward Stein, George McClintock, and Rosette Lamont for their helpful comments. WorksCited Barbedette,Gilles, and Michel Carassou.Paris gay 1925. Paris: Renaissance, 1981. Brassai.Le Paris secret des anndes30. Paris:Gallimard,1976. Brooke, Jocelyn. "Proustand Joyce: The Case for Prosecution." Adam:InternationalReview 297-98 (1961): 5-66. Brunet,Etienne. Le vocabulairede Proust.Vol. 3. Geneva: Slatkine, 1983. 3 vols. Butler,Judith.Bodies ThatMatter: On the Discursive Limits of "Sex."New York:Routledge, 1993. - . GenderTrouble:Feminismand the Subversionof Gender. New York:Routledge, 1990. 1005 Colin, Jean-Paul,and Jean-PierreMevel. Dictionnaire de I'argot. Paris:Larousse, 1990. Deleuze, Gilles. Proust et les signes. Paris:PUF, 1964. de Man, Paul. Allegories of Reading: Figural Language in Rousseau, Nietzsche, Rilke, and Proust. New Haven: Yale UP, 1979. Doubrovsky, Serge. La place de la madeleine: Ecriture etfantasme chez Proust. Paris:Mercurede France, 1974. Edelman, Lee. "Tearoomsand Sympathy; or, The Epistemology of the WaterCloset." Homographesis: Essays in Gay Literaryand CulturalTheory.New York:Routledge, 1994. 148-70. Foucault,Michel. La volonte de savoir. Paris:Gallimard,1976. Vol. 1 of Histoirede la sexualite. 3 vols. 1976-84. Guenette,MarkD. "LeLoup et le Narrateur:The Masking and Unmasking of Homosexuality in Proust's A la recherche du tempsperdu."RomanicReview 80 (1989): 229-46. Humphreys, Laud. TearoomTrade: Impersonal Sex in Public Places. Chicago:Aldine, 1970. Lejeune, Philippe. "Ecriture et sexualite." Europe 502-03 (1971): 113-43. Muller, Marcel. "Sodome I ou la naturalisation de Charlus." Poetique8 (1971): 470-78. Proust, Marcel. A la recherchedu tempsperdu. 4 vols. Bibliotheque de la Pleiade. Paris:Gallimard,1987-89. . In Searchof Lost Time.Trans.C. K. Scott Moncrieffand Terence Kilmartin.Rev. D. J. Enright. 6 vols. New York: Random, 1992-93. Said, EdwardW. Orientalism.New York:Vintage, 1978. Sedgwick, Eve Kosofsky. Between Men: English Literature and Male Homosocial Desire. New York: Columbia UP, 1985. . Epistemology of the Closet. Berkeley: U of California P, 1990. Silverman,Kaja."AWoman'sSoul Enclosed in a Man's Body: Femininity in Male Homosexuality."Male Subjectivityat the Margins.New York:Routledge, 1992. 339-88. Townsend, Larry.The Leatherman'sHandbook II. New York: Modernismo,1972. Wittig, Monique."TheTrojanHorse." "TheStraightMind"and OtherEssays. Boston: Beacon, 1992. 68-75.
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