"This Mysterious and Migratory Jewelry": Satire and Feminine in Djuna Barnes's "The Terrorists." (Djuna Barnes)

By Schneider, Lissa | The Review of Contemporary Fiction, Fall 1993 | Go to article overview

"This Mysterious and Migratory Jewelry": Satire and Feminine in Djuna Barnes's "The Terrorists." (Djuna Barnes)


Schneider, Lissa, The Review of Contemporary Fiction


Djuna Barnes has said, "We would teach man with a joke."(1) Barnes's "jokes," however, catch everyone in their psychosexual-textual crossfire, leaving no social or psychic position unchallenged. While the humor in her writings often displays an affinity with the broad, physical comedy of vaudeville, a humor keyed to the visual register through stereotypic contrasts in her characters' appearance and behavior, Barnes's satiric didacticism is both complex and unsettling in its ambiguities. Her satire is sharply double-edged. Through both structure and theme, her writings establish self-consciously structured oppositions between male and female, bourgeois and working class, artist and audience, only to parodically collapse or dissolve the bounds of those differences. Thus, that which she would "teach" can be read only in the implied margins of her many "parodic inversions."(2)

Barnes's representations of gender and class structures lie at the heart of her work. Her characters, as others have remarked, "are often types,"(3) representative of a given social or psychic position. Yet these stereotypical positions often prove unstable or illusory when taken to their exaggerated extremes.(4) Her satiric writings thus function to critique rather than support the ideology of difference articulated through the binarisms of Western metaphysical thought. Whether or not the diffuse implications of her parodic inversions were fully considered, her satiric writings intimate what Lacanian-Derridean discourses have identified as the fraudulent workings of the phallocracy through which, nevertheless, our individual - and always gendered - subjectivities are constituted. Reading these sites of rupture or disorder, those places where differences break down and parodic oppositions dissolve - in other words, reading the feminine - provides a broader understanding of the subversive complexities of her satire.

This essay focuses on one of Barnes's satiric newspaper tales of 1913-1919, "The Terrorists," reprinted in the collection Smoke and Other Early Stories (1982). Journalistic writings - perhaps due to associations with sensationalism and quick cash - are notorious for their exclusion from the literary canon, and Barnes's newspaper tales prove no exception. Yet these ambiguous early fictions, written in Barnes's youth for financial remuneration when first on her own in New York City, contain much of interest for those concerned with exploring the gender/genre divide. Indeed, as a marginalized story within a marginalized genre of a marginalized writer, "The Terrorists" serves as a particularly intriguing locus for examining the status of the feminine in patriarchy.

The feminine can be understood as the subjugated second term of any binary opposition in a symbolic system that takes the phallus as its primary signifier. "The Terrorists" satirizes the subjugated status of the feminine through its themes and structuring devices even as its (non) status in the modernist canon repeats this marginalization. "The Terorists" textually apposes Pilaat Korb, a drunken poet and would-be revolutionary, with a nameless woman of bourgeois origins designated simply as "Pilaat's wife."(5) The story employs third-person narration to describe their bohemian life together in Greenwich Village. Korb agitates against middle-class oppression while his wife, who appears to be the sole wage-earner, clears tables at a local cafe for " |the pigs,' the smug and respectable who brought their wives and children to dine" (161).

In this brief and formally sophisticated tale, the two characters superficially adhere to stereotypically discrete masculine and feminine positions, both through a narrative structure that grants Korb first appearance in the text, more and significantly longer speeches, and a proper name, and through a narrative content that consistently represents "Pilaat's wife" as the physical and intellectual diminutive of her husband. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • A full archive of books and articles related to this one
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

"This Mysterious and Migratory Jewelry": Satire and Feminine in Djuna Barnes's "The Terrorists." (Djuna Barnes)
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

    Already a member? Log in now.