The Argonauts

by Maggie Nelson

  Not long ago, a friend came over to our house and pulled down a mug for coffee, a mug that was a gift from my mother. It’s one of those mugs you can purchase online from Snapfish, with the photo of your choice emblazoned on it. I was horrified when I received it, but it’s the biggest mug we own, so we keep it around, in case someone’s in the mood for a trough of warm milk or something.

  Wow, my friend said, filling it up. I’ve never seen anything so heteronormative in all my life.

  The photo on the mug depicts my family and me, all dressed up to go to the Nutcracker at Christmastime—a ritual that was important to my mother when I was a little girl, and that we have revived with her now that there are children in my life. In the photo I’m seven months pregnant with what will become Iggy, wearing a high ponytail and leopard print dress; Harry and his son are wearing matching dark suits, looking dashing. We’re standing in front of the mantel at my mother’s house, which has monogrammed stockings hanging from it. We look happy.

  But what about it is the essence of heteronormativity? That my mother made a mug on a boojie service like Snapfish? That we’re clearly participating, or acquiescing into participating, in a long tradition of families being photographed at holiday time in their holiday best? That my mother made me the mug, in part to indicate that she recognizes and accepts my tribe as family? What about my pregnancy—is that inherently heteronormative? Or is the presumed opposition of queerness and procreation (or, to put a finer edge on it, maternity) more a reactionary embrace of how things have shaken down for queers than the mark of some ontological truth? As more queers have kids, will the presumed opposition simply wither away? Will you miss it?

  Is there something inherently queer about pregnancy itself, insofar as it profoundly alters one’s “normal” state, and occasions a radical intimacy with—and radical alienation from—one’s body? How can an experience so profoundly strange and wild and transformative also symbolize or enact the ultimate conformity? Or is this just another disqualification of anything tied too closely to the female animal from the privileged term (in this case, nonconformity, or radicality)? What about the fact that Harry is neither male nor female? I’m a special—a two for one, his character Valentine explains in By Hook or By Crook.

  When or how do new kinship systems mime older nuclear-family arrangements and when or how do they radically recontextualize them in a way that constitutes a rethinking of kinship? How can you tell; or, rather, who’s to tell? Tell your girlfriend to find a different kid to play house with, your ex would say, after we first moved in.

  To align oneself with the real while intimating that others are at play, approximate, or in imitation can feel good. But any fixed claim on realness, especially when it is tied to an identity, also has a finger in psychosis. If a man who thinks he is a king is mad, a king who thinks he is a king is no less so.

  Perhaps this is why psychologist D. W. Winnicott’s notion of “feeling real” is so moving to me. One can aspire to feel real, one can help others to feel real, and one can oneself feel real—a feeling Winnicott describes as the collected, primary sensation of aliveness, “the aliveness of the body tissues and working of body-functions, including the heart’s action and breathing,” which makes spontaneous gesture possible. For Winnicott, feeling real is not reactive to external stimuli, nor is it an identity. It is a sensation—a sensation that spreads. Among other things, it makes one want to live.

  Some people find pleasure in aligning themselves with an identity, as in You make me feel like a natural woman—made famous by Aretha Franklin and, later, by Judith Butler, who focused on the instability wrought by the simile. But there can also be a horror in doing so, not to mention an impossibility. It’s not possible to live twenty-four hours a day soaked in the immediate awareness of one’s sex. Gendered selfconsciousness has, mercifully, a flickering nature.

  A friend says he thinks of gender as a color. Gender does share with color a certain ontological indeterminacy: it isn’t quite right to say that an object is a color, nor that the object has a color. Context also changes it: all cats are gray, etc. Nor is color voluntary, precisely. But none of these formulations means that the object in question is colorless.

  The bad reading [of Gender Trouble] goes something like this: I can get up in the morning, look in my closet, and decide which gender I want to be today. I can take out apiece of clothing and change my gender: stylize it, and then that evening I can change it again and be something radically other, so that what you get is something like the commodification of gender, and the understanding of taking on a gender as a kind of consumerism…. When my whole point was that the very formation of subjects, the very formation of persons, presupposes gender in a certain way—that gender is not to be chosen and that “performativity” is not radical choice and it’s not voluntarism…. Performativity has to do with repetition, very often with the repetition of oppressive and painful gender norms to force them to resignify. This is not freedom, but a question of how to work the trap that one is inevitably in.

  You should order a mug in response, my friend mused while drinking her coffee. Like, how about one that features Iggy’s head crowning, in all its bloody glory? (I had told her earlier that day that I was vaguely hurt that my mother hadn’t wanted to look at my birth photos; Harry then reminded me that few people ever want to look at anyone’s birth photos, at least not the graphic ones. And I was forced to admit that my past feelings about other people’s birth photos bore out the truth of this statement. But in my postpartum haze, I felt as though giving birth to Iggy was such an achievement, and doesn’t my mother like to be proud of my achievements? She laminated the page in the New York Times that listed me as a Guggenheim recipient, for God’s sake. Unable to throw the Guggenheim placemat away (ingratitude), but not knowing what else to do with it, I’ve since placed it below Iggy’s high chair, to catch the food that flows downward. Given that the fellowship essentially paid for his conception, each time I sponge tidbits of shredded wheat or broccoli florets off of it, I feel a loose sense of justice.)

  During our first forays out as a couple, I blushed a lot, felt dizzy with my luck, unable to contain the nearly exploding fact that I’ve so obviously gotten everything I’d ever wanted, everything there was to get. Handsome, brilliant, quick-witted, articulate, forceful, you. We spent hours and hours on the red couch, giggling, The happiness police are going to come and arrest us if we go on this way. Arrest us for our luck.

  What if where I am is what I need? Before you, I had always thought of this mantra as a means of making peace with a bummer or even catastrophic situation. I never imagined it might apply to joy, too.

  In The Cancer Journals, Audre Lorde rails against the imperative to optimism and happiness that she found in the medical discourse surrounding breast cancer. “Was I really fighting the spread of radiation, racism, woman-slaughter, chemical invasion of our food, pollution of our environment, the abuse and psychic destruction of our young, merely to avoid dealing with my first and greatest responsibility—to be happy?” Lorde writes. “Let us seek ‘joy’ rather than real food and clean air and a saner future on a liveable earth! As if happiness alone can protect us from the results of profit-madness.”

  Happiness is no protection, and certainly it is not a responsibility. The freedom to be happy restricts human freedom if you are not free to be not happy. But one can make of either freedom a habit, and only you know which you’ve chosen.

  The wedding story of Mary and George Oppen is one of the only straight-people stories I know in which the marriage is made more romantic by virtue of its being a sham. Here is their story: One night in 1926, Mary went out on a date with George, whom she knew just a little from a college poetry class. As Mary remembers it: “He came for me in his roommate’s Model T Ford, and we drove out to the country, sat and talked, made love, and talked until morning…. We talked as we had never talked before, an outpouring.” Upon returning to their dorms in the morning, Mary found herself expelled
; George was suspended. They then took off together, hitchhiking on the open road.

  Before meeting George, Mary had decided firmly against marriage, considering it to be a “disastrous trap.” But she also knew that traveling together without being married put her and George at risk with the law, via the Mann Act—one of the many laws in U.S. history ostensibly passed to prosecute unequivocally bad things like sexual slavery, but which in actuality has been used to harass anyone whose relationships the state deems “immoral.”

  So in 1927, Mary got married. Here is her account of that day:

  Although I had a strong conviction that my relationship with George was not an affair of the State, the threat of imprisonment on the road frightened us, so we went to be married in Dallas. A girl we met gave me her purple velvet dress, her boyfriend gave us a pint of gin. George wore his college roommate’s baggy plus-fours, but we did not drink the gin. We bought a ten-cent ring and went to the ugly red sandstone courthouse that still stands in Dallas. We gave my name, Mary Colby, and the name George was using, “David Verdi,” because he was fleeing from his father.

  And so Mary Colby marries David Verdi, but she never precisely marries George Oppen. They give the state the slip, along with George’s wealthy family (who by this point had hired a private eye to find them). That slip then becomes a sliver of light filtering into their house for the next fifty-seven years. Fifty-seven years of baffling the paradigm, with ardor.

  I have long known about madmen and kings; I have long known about feeling real. I have long been lucky enough to feel real, no matter what diminishments or depressions have come my way. And I have long known that the moment of queer pride is a refusal to be shamed by witnessing the other as being ashamed of you.

  So why did your ex’s digs about playing house sting so bright?

  Sometimes one has to know something many times over. Sometimes one forgets, and then remembers. And then forgets, and then remembers. And then forgets again.

  As with knowledge, so too, with presence.

  If the baby could speak to the mother, says Winnicott, here is what it might say:

  I find you;

  You survive what I do to you as I come to recognize you as not-me;

  I use you;

  I forget you;

  But you remember me;

  I keep forgetting you;

  I lose you;

  I am sad.

  Winnicott’s concept of “good enough” mothering is in resurgence right now. You can find it everywhere from mommy blogs to Alison Bechdel’s graphic novel Are You My Mother? to reams of critical theory. (One of this book’s titles, in an alternate universe: Why Winnicott Now?)

  Despite his popularity, however, you still can’t procure an intimidating multivolume set titled The Collected Works of D. W. Winnicott. His work has to be encountered in little bits—bits that have been contaminated by their relationship to actual, blathering mothers, or by otherwise middlebrow venues, which prohibit any easy enshrinement of Winnicott as a psychological heavyweight. In the back of one collection, I note the following sources for the essays therein: a presentation to the Nursery School Association of Great Britain and Northern Ireland; BBC broadcasts to mothers; a Q&A for a BBC program titled Woman’s Hour; conferences about breast-feeding; lectures given to midwives; and “letters to the editor.”

  Such humble, contaminated sources are surely part of the reason why, in Iggy’s first year of life, Winnicott was the only child psychologist who retained any interest or relevance for me. Klein’s morbid infant sadism and bad breast, Freud’s blockbuster Oedipal saga and freighted fort/da, Lacan’s heavy-handed Imaginary and Symbolic—suddenly none seemed irreverent enough to address the situation of being a baby, of caretaking a baby. Do castration and the Phallus tell us the deep Truths of Western culture or just the truth of how things are and might not always be? It astonishes and shames me to think that I spent years finding such questions not only comprehensible, but compelling.

  In the face of such phallocentric gravitas, I find myself drifting into a delinquent, anti-interpretive mood. In place of a hermeneutics we need an erotics of art. But even an erotics feels too heavy. I don’t want an eros, or a hermeneutics, of my baby. Neither is dirty, neither is mirthful, enough.

  On one of the long afternoons that has since bled into the one long afternoon of Iggy’s infancy, I watch him pause on all fours at the threshold to our backyard, as he contemplates which scraggly oak leaf to scrunch toward first with his dogged army crawl. His soft little tongue, always whitened in the center from milk, nudges out of his mouth in gentle anticipation, a turtle bobbing out of its shell. I want to pause here, maybe forever, and hail the brief moment before I have to jump into action, before I must become the one who eliminates the inappropriate object, or, if I’m too late, who must harvest it from his mouth.

  You, reader, are alive today, reading this, because someone once adequately policed your mouth exploring. In the face of this fact, Winnicott holds the relatively unsentimental position that we don’t owe these people (often women, but by no means always) anything. But we do owe ourselves “an intellectual recognition of the fact that at first we were (psychologically) absolutely dependent, and that absolutely means absolutely. Luckily we were met by ordinary devotion.”

  By ordinary devotion, Winnicott means ordinary devotion. “It is a trite remark when I say that by devoted I simply mean devoted.” Winnicott is a writer for whom ordinary words are good enough.

  As soon as we moved in together, we were faced with the urgent task of setting up a home for your son that would feel abundant and containing—good enough—rather than broken or falling. (These poeticisms come from that classic of genderqueer kinship, Mom’s House, Dad’s House) But that’s not quite right—we knew about this task beforehand; it was, in fact, one of the reasons we moved so quickly. What became apparent was the urgent task specifically before me: that of learning how to be a stepparent. Talk about a potentially fraught identity! My stepfather had his faults, but every word I have ever uttered against him has come back to haunt me, now that I understand what it is to hold the position, to be held by it.

  When you are a stepparent, no matter how wonderful you are, no matter how much love you have to give, no matter how mature or wise or successful or smart or responsible you are, you are structurally vulnerable to being hated or resented, and there is precious little you can do about it, save endure, and commit to planting seeds of sanity and good spirit in the face of whatever shitstorms may come your way. And don’t expect to get any kudos from the culture, either: parents are Hallmark-sacrosanct, but stepparents are interlopers, self-servers, poachers, pollutants, and child molesters.

  Every time I see the word stepchild in an obituary, as in “X is survived by three children and two stepchildren,” or whenever an adult acquaintance says something like, “Oh, sorry, I can’t make it—I’m visiting my stepdad this weekend,” or when, during the Olympics, the camera pans the audience and the voiceover says, “there’s X’s stepmother, cheering him on,” my heart skips a beat, just to hear the sound of the bond made public, made positive.

  When I try to discover what I resent my stepfather for most, it is never “he gave me too much love.” No—I resent him for not reliably giving the impression that he was glad he lived with my sister and me (he may not have been), for not telling me often that he loved me (again, he may not have—as one of the stepparenting self-help books I ordered during our early days put it, love is preferred, but not required), for not being my father, and for leaving after over twenty years of marriage to our mother without saying a proper good-bye.

  I think you overestimate the maturity of adults, he wrote me in his final letter, a letter he sent only after I’d broken down and written him first, after a year of silence.

  Angry and hurt as I may have been by his departure, his observation was undeniably correct. This slice of truth, offered in the final hour, ended up beginning a new chapter of my adulthood, the one in w
hich I realized that age doesn’t necessarily bring anything with it, save itself. The rest is optional.

  Bear Family: my stepson’s other favorite toddler game, which took place in our morning bed. In this game he was Baby Bear, a little bear with a speech impediment that forced him to say B’s at every turn (Cousin Evan is Bousin Bevan, and so on).

  Sometimes Baby Bear played at home with his bear family, delighting in his recalcitrant mispronunciations; other times he ventured off on his own, to spear a tuna. On one of these mornings, Baby Bear christened me Bombi—a relative of Mommy, but with a difference. I admired Baby Bear’s inventiveness, which persists.

  We hadn’t been planning on getting married per se. But when we woke up on the morning of November 3, 2008, and listened to the radio’s day-before-the-election polling as we made our hot drinks, it suddenly seemed as though Prop 8 was going to pass. We were surprised at our shock, as it revealed a passive, naive trust that the arc of the moral universe, however long, tends toward justice. But really justice has no coordinates, no teleology. We Googled “how to get married in Los Angeles” and set out for Norwalk City Hall, where the oracle promised the deed could be done, dropping our small charge off at day care on our way.

  As we approached Norwalk—where the hell are we?—we passed several churches with variations of “one man + one woman: how God wants it” on their marquees. We also passed dozens of suburban houses with YES ON PROP 8 signs hammered into their lawns, stick figures indefatigably rejoicing.