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"HER LIPS ARE SLIGHTLY PARTED": THE INEFFABILITY OF EROTIC SOCIALITY IN MURIEL SPARK'S "THE DRIVER'S SEAT"
Ist Teil von
Modern fiction studies, 2008-10, Vol.54 (3), p.544-557
Ort / Verlag
Baltimore: The Johns Hopkins University Press for the Department of English, Purdue University
Erscheinungsjahr
2008
Link zum Volltext
Quelle
Project MUSE
Beschreibungen/Notizen
Historicity and Sociality in the Time of AIDS In Muriel Spark's short novel The Driver's Seat-described on the cover as "a metaphysical shocker"-we are presented with the story of a thirty-four-year-old woman, Lise, who, in the throes of a nervous breakdown, disengaged and prone to manic laughter, flies abroad and orchestrates her own brutal murder at the hands of a man who has just emerged from an asylum after six years of treatment for sexually assaulting women. Developed in dialogue with theorists ranging from Luce Irigiray, Julia Kristeva, Gilles Deleuze and Felix Guattari, and David M. Halperin, my reading can be called queer not because it argues for a homoerotic or same-sex desire at work within the text, but because it is pitched against the norm, buckling commonsense notions of the self by excavating all psychology; queer, that is, in that it offers no essence to the self, but rather posits the self as some form of discursive residue devoid of meaning or interpretable content.