Note on the series: This started off as one post, but it’d be fiendishly long if I did that. I’m now considering doing it in three, this introduction and comparison to homosexual criticism, then a post linking to various worthwhile pieces of asexual criticism, then a conclusion on what asexual literary criticism might look like. I could take this series down another aromantic, non-binary route, but I’m going to try my absolute hardest to drag it back to standard, possibly romantic, asexiness. Which basically means screeching the blog to a halt and turning it back the other way again, but these things have to be done.
Note on homosexual literary theory: I don’t actually dislike it. It’s because I respect it that I am especially disappointed when it descends to laughableness. I did a whole essay on the homoerotic themes in Hamlet last year. Along with one about the stagnancy of traditional romantic models in Brideshead Revisited, and another about the heteronormativity of WWI literature. Looking back, I wonder what my teachers made of me.
This is based on the summary of literary criticism in my English textbook, and, more specifically;
What lesbian/gay critics do:
[points summarised in brief]
1. Identify lesbian/gay authors
2. Identify lesbian/gay pairings in mainstream work, and then discuss them as such, as opposed to reading same-sex pairings in non-specific ways
3.Set up an extended, metaphorical sense of ‘lesbian/gay’, so that it connotes a moment of crossing a boundary.
4. Expose the ‘homophobia’ of mainstream literature and criticism.
5. Foreground homosexual aspects in literature which have been glossed over.
6. Foreground literary genres which influenced ideas of masculinity and femininity.
To which a queer friend responded: “Not all of us!” (by which they meant, ‘Some of us just read and criticise literature while also being gay.’)
Maybe you can see my criticisms of this section of criticism. For a start, it’s trying too hard, mugging the book in favour of the critic’s obscure and unobjective approach (so, in #3, for example, practically any sort of conflict could be seen as ‘gay’. And since conflict is at the heart of literature, the kids at school were entirely right when they told you reading was ‘gay’). From a more asexual point of view, #2 is downright disrespectful- why must you read a relationship as being gay when it is actually a close friendship? That just a) denigrates further the already impotent power of friendship, b) allows no possibility of an asexual reading, c) makes it harder for two people of the same gender to be allowed to be friends without someone reading into it.
And it occurred to me that we already have the basis of an asexual literary criticism (PHD material? That would be kinda cool). A lot of what we do is ‘literary’ criticism (see Ily and Shockrave), Doctor Who, Sherlock Holmes, Sheldon Cooper, Dexter (wow, writing the names of all those aliens/psychopaths/sociopaths all together made me feel kinda sad).
And notice we’re fighting already against homosexual criticism, gay people and asexuals both laying contradictory claim to Doctor Who, Sherlock Holmes, even Spongebob Squarepants. We are never given heroes. We must find those we like the best, and then fight like hell to make sure no-one stronger takes them.
And this is part of where homosexual criticism invisibilises us. It’s not just stealing our characters, it’s actually writing us out of existence. In the frantic desire to analyse what isn’t necessarily there, gay critics, hungry for evidence, revert to the following formula:
Absence of heterosexuality = Homosexuality
Gee, doesn’t that look familiar. Where have I seen that before? How about, oh, everywhere?