The Queer Case of Barry Jeans (aka The Menace)

One of the most charismatic - and yet also least vital - characters in literature is Barry Jeans, aka The Menace: Daphne du Maurier's movie heart-throb: "someone with wide shoulders and no hips" who, like most tough guys, doesn't say much or betray any hint of emotion. Women around the world adored the little scar on the side of his temple "that suggested a brush with a rhino or a knife thrown in a Shanghai joint [...] But above all it was the mouth, firm and decisive above that square jaw with the cleft in the chin, which maddened millions".

Commentators often discuss his apparent asexuality: the fact that he felt no interest in making love to women - including his wife - and would never dream of making a pass at a beautiful broad. This becomes starkly evident when Barry is taken by his all-male entourage, known as the boys, to Poncho beach, in order to revive his libido. Unfortunately, not even a parade of naked teens or the young lovelies at the Silver Slipper can do the trick; all Barry can think about is having his porridge. 

But what many readers of the tale fail to pick up on is the reason for Barry's lack of interest in conventional pleasures of the flesh: the fact that he prefers to direct his tenderness towards objects rather than human beings, with a special fascination for cars and sail-boats. In other words, The Menace is an objectum sexual and once one has discovered the seductive charm of inanimate objects, then, as du Maurier writes: "It makes ordinary romance seem so trivial." 

Thus, it's not his lost love Pinkie and her rice puddling that rekindles Barry's fire and gets his Force rating up from a G to an A, it's the fact that, knowing his erotic penchant for furnishings as well as modes of transport, she takes him back to her apartment and "made him lie down on the settee in the living room and take his ease" [my italics].   

I'm reading this idiomatic expression as a euphemism for masturbate and I think the piece of newspaper she gives him "so that he did not spoil the new covers" is not intended to go under his feet. While she made him some breakfast in the kitchen, Barry stretched out his long legs and "settled himself more comfortably on the cushions".

Yes, he enjoys looking at Pinkie's photos of her family and reminiscing about the past. But it's the opportunity to romance the settee with her blessing (and perhaps even with her watching) that really moves and excites him: "'I can't tell you, Pinkie,' he said, 'what this has meant to me.'" Before leaving and giving her a perfunctory kiss goodbye, Barry washes (the semen off) his hands.

Obviously, this is a speculative and rather queer reading of the tale by du Maurier. But it's not, as we have seen, one without some textual support - and nor is it one I feel she'd be shocked by or unhappy with. 

Note: the image, by Chester Gould, is of Dick Tracy, but it's how I imagine The Menace would also look from du Maurier's description of him. 

See: Daphne du Maurier, 'The Menace', in The Breaking Point, (Virago Press, 2009), pp. 200-39. All lines quoted are from this edition. 

I have written several recent posts on tales from The Breaking Point - click here and here, for example. I have also written previously on objectum sexuality and encourage readers interested in this topic to click on the appropriate label.    

His Bowels Did Yearn Upon His Brother (Notes on Ganymede, by Daphne du Maurier)

Zeus küsst Ganymed (1758)

Fresco by Anton Raphael Mengs and Giovanni Casanova.*

(Palazzo Corsini, Galleria Nazionale d'Arte Antica, Rome.)

I. 

One of the distinguishing traits of the true pervert is that they have a very active imagination, one that is often informed as much by classical scholarship as by their sexual proclivities. They never quite see the world as it is, or the people in it - including themselves - as they are. They have what Lawrence terms glimpses. That is to say, they see in the faces and forms of young adolescents something divine as well as erotically fascinating:

[...] when lads and girls are not thinking,

when they are pure, which means when they are quite clean from self-consciousness,

either in anger or tenderness, or desire or sadness or wonder or mere stillness,

you may see glimpses of the gods in them.    

- D. H. Lawrence, 'All sorts of gods'

Thus it is that when the fastidious academic who is the narrator of Daphne du Maurier's third tale in her astonishing collection The Breaking Point (1959) goes on holiday to Italy, he quickly finds himself besotted with a youth and in a whole heap of trouble ...

II.

Arriving in Venice, our anonymous protagonist immediately feels as if he has entered an extratemporal space "outside the rest of Europe and even the world". This was Venice as an electrifying inner experience rather than actual location on a map. One that existed, magically, for him and for others who shared his tastes and were susceptible to the same secret enchantment. 

His excitement as he strolls the streets was "intense, almost unbearable", but it's as nothing compared to the moment when he first sees a young waiter, aged "about fifteen, not more", working at a café on the piazza:

"I told you I was a classical scholar. Therefore you will understand - you should understand - that was happened in that second was transformation. The electricity that had charged me all evening focused on a single point in my brain to the exclusion of all else; the rest of me was jelly. I could sense the man at my table raise his hand and summon the lad in the white coat carrying a tray [...] and this self who was non-existent knew with every nerve fibre, every brain-cell, every blood corpuscle that he was indeed Zeus, the giver of life and death, the immortal one, the lover; and that the boy who came towards him was his own beloved, his cup-bearer, his slave, Ganymede. I was  poised, not in the body, not in the world, and I summoned him. He knew me, and he came. 

      Then it was all over. The tears were pouring down my face and I heard a voice saying, 'Is anything wrong, signore?'"

It's significant how quickly he persuades himself that the blue-eyed boy is fully aware of the strange scene unfolding between them; how when the latter gives a smile and a little bow after the bill has been paid, the former takes this as a sign of Ganymede's knowing complicity.

The next night, he returns to the café and this time the glimpse goes beyond the first instantaneous flash:

"I could feel the chair of gold, and the clouds above my head, and the boy was kneeling beside me, and the cup he offered me was gold as well. His humility was not the shamed humility of a slave, but the reverence of a loved one to his master, to his god." 

The pursuit - the grooming - of Ganymede continues, despite an early premonition of danger; indeed, doesn't danger merely add spice to the game for an illicit lover? Of course, the affair quickly turns sour as reality begins to intrude: Ganymede is actually a very ordinary boy, of whom one could not expect too much, more interested in the latest rock 'n' roll records than he is in Shakespearean sonnets.

Just as well then, since he was bound to disappoint, that Ganymede is killed in a water-skiing accident. He may have been "beautiful as an angel from heaven", but he would soon have grown fat, grown ugly, grown old.

Besides, whilst the accident had been terrible - "a mass of churning water, of tangled rope, of sudden, splintering wood", and the young body of Ganymede drawn into the suction of the speedboat's propeller blades, turning the sea crimson with his blood - the horror soon passes and one comes to accept even the unfortunate consequences of such an affair, such as being forced to resign from one's job.   

At least that's true for du Maurier's cultured paedophile in this tragic tale. Having lost his old life and old friends and colleagues, having moved to a different part of town (the area near Paddington known as Little Venice), he happily adapts to a new regime of existence. At seven o'clock each evening, for example, he goes to his favourite local restaurant:

"The fact is, the boy who is training there as a waiter celebrates his fifteenth birthday this evening, and I have a little present for him. Nothing very much, you understand - I don't believe in spoiling these lads - but it seems there is a singer called Perry Como much in favour amongst the young. I have the latest record here. He likes bright colours, too - I rather thought this blue and gold cravat might catch his eye ..."  

Notes

D. H. Lawrence, 'All sorts of gods', The Poems, Vol. I., ed. Christopher Pollnitz, (Cambridge University Press, 2013), p. 579. 

Daphne du Maurier, 'Ganymede', The Breaking Point, (Virago Press, 2009), pp. 83-123. All lines quoted and paraphrased above are from this edition. 

*Amusingly, the work was an imitation of an ancient Roman fresco, created to fool the famous archaeologist and art historian Johann Joachim Winckelmann, well-known for his interest in pederasty.

For a sister post to this one on du Maurier's tale 'The Blue Lenses', also in The Breaking Point, click here. 

On Miracles and Absolute Contingency in the Work of Daphne du Maurier and Quentin Meillassoux

I.

The opening tale of Daphne du Maurier's astonishing and disturbing collection of short stories entitled The Breaking Point (1959), is not so much a whodunnit as a who did what and reveals what she describes as "the lovely duplicity of a secret life" [22] and it's potential for tragedy.

But, whilst the latter is a fascinating notion - explored at length by Oscar Wilde in The Picture of Dorian Gray - what really caught my interest is the moment of revelation at the very beginning of the story when James Fenton realises that miracles can happen at any moment and dramatically mark the end of one's old life. This liberating thought had never come to him before:

"It was as though something had clicked in his brain [...] time had ceased [...] everything had changed [...] he had stepped out of bondage into a new dimension." [2-3]

What's more, Fenton feels himself strangely empowered, as if he had become a miracle-worker himself; i.e., an instrument of fate capable of altering the lives of strangers with a single gesture, be it a random act of kindness, or one of sadistic cruelty.


II.

In some ways, it's nice to know that miracles, far from being rare or unusual, are actually the natural unfolding of things and events and can not only happen at any time, but are, in fact, happening all of the time. For one thing, it releases us from the grip of absolute necessity or what's known within philosophical circles as the principle of sufficient reason (i.e., the metaphysical insistence that the world is at is with good cause and could only be as it is).  

To think in terms of miracles, the unfolding of fate, and what Quentin Meillassoux terms unreason, is to enter a world of absolute contingency in which there is no reason for anything to be as it is or to remain so; everything - including the laws that govern the world - could be otherwise:

"Everything could actually collapse: from trees to stars, from stars to laws, from physical laws to logical laws; and this not by virtue of some superior law whereby everything is destined to perish, but by virtue of the absence of any superior law capable of preserving anything, no matter what, from perishing." [53]

For Meillassoux, this is the only absolute: a kind of hyper-chaos that du Maurier, at the point of breakdown - when reality must be faced - discovered for herself. Thus, when her protagonists suddenly step outside the gate, what they encounter is:

"a rather menacing power - something insensible, and capable of destroying both things and worlds, of bringing forth monstrous absurdities, yet also of never doing anything, of realizing every dream, but also every nightmare, of engendering random and frenetic transformations, or conversely, of producing a universe that remains motionless down to its ultimate recesses [...] a power with neither goodness nor wisdom, ill-disposed to reassure thought about the veracity of its distinct ideas." [64]

Further, whilst conventional time ceases, they observe something akin to it - an uncanny form of time that is:

"inconceivable for physics, since it is capable of destroying without cause or reason, every physical law, just as it is inconceivable for metaphysics, since it is capable of destroying every determinate entity [...] even God. This is not a Heraclitean time, since it is not the eternal law of becoming, but rather the eternal and lawless possible becoming of every law. It is a time capable of destroying even becoming itself by bringing forth, perhaps forever, fixity, stasis, and death.” [64]

Notes

Daphne du Maurier, 'The Alibi', in The Breaking Point, (Virago Press, 2009).

Quentin Meillassoux, After Infinity, trans. Ray Brassier, (Continuum, 2009).

For a semi-related post to this one on miracles understood from a Deleuzean perspective in terms of the fold, click here.

To See More Clearly Than Ever Before (Notes on The Blue Lenses, by Daphne du Maurier)

"There comes a moment in the life of every individual 

when reality must be faced." 

I.

They say that dog owners gradually begin to resemble their pets, and people smile at the idea.

But what if everyone were to suddenly lose their human features and be seen with the head of the creature that best expresses their inhuman qualities; not so much their true nature, as what might be termed their molecular animality - would we still find this gently amusing?

I suspect not: in all likelihood, initial astonishment would quickly give way to horror, as the writer Daphne du Maurier brilliantly demonstrates in her extraordinary short story 'The Blue Lenses' (1959) ... 

II. 

Marda West is recovering in a nursing-home, following an operation on her eyes. The day has finally arrived for the bandages to be removed and for a pair of blue lenses to be fitted. Her surgeon reassures her that she will see more clearly than ever before.

As someone who has also undergone restorative eye-surgery, I can vouch for Marda's anxious anticipation; the hope that patience would be rewarded at last; the fear that the anonymity of darkness will continue. To see again, is to be born again. To rediscover the wonder of the world in all its glamourous objecthood: a wardrobe, a chair, a wash-basin, a window, a vase full of flowers ...             

"The dim light caused by the blue lenses enhanced the charm, the softness of all she saw. It seemed to her, rejoicing in form and shape, that colour would never matter."

What does concern Mrs. West, however, is the fact that her nurse, has the head of a cow! The head of a cow - with wide horns, large eyes, and broad nostrils - atop the uniformed body of a woman, carrying a tray with a glass of milk.

She thinks at first that Nurse Brand must be wearing an animal mask - but, no, she isn't. And nor is her surgeon wearing a mask when he comes into the room with a dog's head, ears pricked, and looking as if he might at any moment begin to yap and wag his tail. Marda begins to laugh at the absurdity of the situation.

However, when she looks down the corridor leading from her room and sees that everyone is in on the deception (as she believes it to be) - including a weasel-headed maid and a pig-headed porter - then "the first sharp prick of fear came to Marda West."

Bovine Nurse Brand leads her back to bed and gives her a sedative. But when she wakes up, things remain just as queer. She finds reassurance in the fact that the inanimate objects of her room have remained what they were: the chair is still a chair, not a mushroom; the table is still a table, not a haystack; and there is nothing false about the carnations, as fragrant and as graceful as always.

But the people have all become-animal: Nurse Sweeting is a kitten; Matron is mutton-headed in every sense of the term. "Why was it only people had changed? What was so wrong with people?"   

Marda decides that, either she has gone insane, or it's the lenses that must be to blame; they were faulty in some way and creating an optical illusion. Or magical, and bestowing upon her some kind of hypervision. And yet why then had her own face remained unchanged in the mirror? They had to be wearing masks; masks designed by some genius mask-maker "that merged with the body, blending fabric to skin" - for there was no obvious join to be seen.    

She awaited the arrival of her favourite nurse, Nurse Ansel, the bewitching night-nurse. She trusted Nurse Ansel above all others; Nurse Ansel wouldn't lie to her. It was quite a shock then when Nurse Ansel entered her room and slid slowly into view - with the head of a snake on a long, twisting neck: "Marda West felt sickness rise in her stomach, choking her ..." 

And she knew that what she saw was real: but it was real with the reality of evil. Thus, it's not coincidental that Deleuze and Guattari speak of man's becoming-animal as a demonic process that challenges the idea of human being as something essential. Nurse Ansel didn't resemble a snake and she wasn't identifying as a one; she was a viper.

However we choose to describe it, du Maurier's tale is not simply an imaginative fantasy and she, like D. H. Lawrence, is "another of the writers who leave us troubled and filled with admiration" precisely because she was able to tie her work to "real and unheard of becomings". Hers is a genuinely black art.*      

Marda awaits her husband. Naively, she thinks he will save her from the waking nightmare in which she finds herself. But husband Jim, for all his familiar trappings - umbrella and bowler hat - now has the unmistakable head of a vulture:" The brooding eye, the blood-tipped beak, the flabby folds of flesh." Seeing the vulture and the serpent-nurse in conversation together, she knows that they are intimate and in collusion against her: "The two communicated in silence, sympathy between them."

In a fabulous passage, du Maurier reveals Marda West's fears of what horror is yet to come: would the bodies begin to change too, "hands and feet becoming wings, claws, hoofs, paws, with no touch of humanity left to the people about her"? And what about Jim's steady and reassuring voice? "When the human voice went, there would be no hope." Then she would be all alone, surrounded by the savage cruelty of beasts on all sides, making their jungle noises and cries.  

Marda decides she has to escape. And so she creeps out of the nursing-home in the middle of the night, passed the fish-faced night-porter, and out on to familiar streets of central London. But alas, there is no escape for the woman with the blue lenses:   

"When she came to Oxford Street she paused, wondering of a sudden where she should go, whom she could ask for refuge. And it came to her once again that there was no one at all [...] No one was human, no one was safe [...] Down Oxford Street she ran [...] the night all darkness and shadow, the light no longer with her, alone in an animal world."

This is the breaking point for Marda West: the moment when the link between emotion and reason is stretched to the point beyond endurance, and something snaps. Of course, this isn't as rare as people think - and you don't need to see the people around you suddenly transformed into beasts.

Indeed, as F. Scott Fitzgerald wrote twenty years earlier: All life is a process of breaking down ... One that combines big sudden blows that come, or seem to come, from outside with blows from within that you don't feel until it's too late (i.e., until you realise with finality that in some regard you'll never be the same person again).**

Having evidently collapsed in the street, Marda wakes up back in the nursing-home. The porter, she's told, had luckily decided to follow her and was there when she needed him.

The blue lenses had been removed and replaced with another pair that enable her not only to see the world in colour, but as it was - as it should be - fully human and free from animal-headed monsters. The doctors reassure her all will now be well; they talk about a trapped optical nerve or some such thing as having caused her terrible ordeal.

Nurse Ansel was there to hold her hand and to smile at her with understanding. Marda admires her hazel eyes, clear olive skin, and beautiful dark hair: "How could she have seen Nurse Ansel as a snake!" She was so pretty, so gentle - a woman whose very presence promised friendship and loyalty.

All, then, was well, as the sun came "streaming through the window, throwing light on the roses, the lilies, the tall-stemmed iris". Even the hum of traffic outside sounded friendly. "Instead of darkness, light. Instead of negation, life."

But of course, this being a horror story - which is to say, true to the transparence du mal that shines through the moment you rub the surface of the world too hard, in a vain attempt to make it ever-more ideal - it doesn't end here ...   

Marda West decides to apply her face-cream and powder and to paint her lips; to dab some scent behind her ears:

"The fragrance filtered, becoming part of the warm, bright day. She lifted the hand-mirror and looked into it. Nothing changed in the room, the street noises penetrated from outside, and presently the little maid who had seemed a weasel yesterday came in to dust the room.She said, 'Good morning', but the patient did not answer. Perhaps she was tired. The maid dusted, and went her way.
      Then Marda West took up the mirror and looked into it once more. No, she had not been mistaken. The eyes that stared back at her were doe's eyes, wary before sacrifice, and the timid deer's head was meek, already bowed."

And that, gentle readers, is just about the most perfect ending to a near-perfect short story that you could ever ask for.

Notes

Daphne du Maurier, 'The Blue Lenses', The Breaking Point, (Virago Press, 2009), pp. 44-82. All lines quoted and paraphrased above are from this edition.  

* Deleuze and Guattari, A Thousand Plateaus, trans. Brian Massumi, (The Athlone Press, 1996), p. 244. 

** F. Scott Fitzgerald, 'The Crack-Up', in The Crack-Up with Other Pieces and Stories, (Penguin Books, 1965), p. 39.