Search

Dr. Chase Dimock

English Professor at College of the Canyons and Researcher in Comparative Literature and LGBT Studies

Month

December 2013

Growing up on the Island of Misfit Toys or: Rudolph the Red Nosed Reindeer as a Queer Allegory

Image

.

The Misfit Narrative and Queer Youth

The narrative of the misfit character struggling to find his place in the world is a well-used trope for popular entertainment because it is nearly universally identifiable and it lends itself to a light, yet redeeming moral at the end of the story. Everyone, in some capacity, thinks of himself or herself as a misfit to some degree and everyone is accustomed to, yet never contesting of, the simplistic message of tolerance and treating everyone equally.

Yet, the story of Rudolph as a misfit takes on a different dimension for the 50 years worth of queer American children who grew up watching the holiday classic every year on television. While these stories about kindly treating those different from us and not being afraid to be different were commonplace in the American classroom with their examples of not being ashamed to wear glasses, have freckles, stuttering, etc., the narrative of tolerating difference resonates differently for queer youth. Unlike the child with glasses who knows he is the same as other children beneath the glasses, queer youth often feel an intrinsic difference—that they inhabit a different kind of body or gender—almost another species of being. The queer youth is looking for more than a little hope that they will be tolerated an accepted; they are also looking for a subject model to emulate, a guide on how to live as a misfit.

For most of the past 50 years, lgbt youth have had to look for subject models in the abstract. Until the past decade, there were few, if any, lgbt identified characters in the media that their family consumed. Unlike today where lgbt youth have a character on Glee or Modern Family to point to in order to navigate their subject position, children of previous generations (including myself) had to look elsewhere for characters and subject models who mirrored their queerness in non-explicitly gendered or sexual forms. Coming into one’s gay identity meant identifying across a variety of different kinds of queerness and cobbling together a sense of how to think and live in a marginalized subject position by observing and learning from other forms of outsider status, like racial minorities, the disabled, immigrants, the poor—pretty much any oppressed class of people who would have some representation in the media.

In a certain way, maturing into my gay subjectivity by identifying through the similar outsider subject positions of others was beneficial because I saw my gayness as united with other disadvantaged segments of the population. It allowed me to see that part of the challenges facing the lgbt world come not simply from sexual or gender difference, but also from how society defines and polices otherness. In contrast, growing up today with gay visibility in mainstream media cuts out some of the grappling and self-invention that the queer youth historically went through in understanding their sexual or gender identity. Now they are given preformed, and usually limited, definitions of what constitutes an lgbt person. There is a greater sense of tolerance and acceptance, but oddly enough, lgbt identity becomes the freckles and glasses of the 21st century. Queerness is written out of lgbt identity as one’s constitutional difference is made one dimensional, aesthetic—like how the oft repeated message of not judging a man by the color of his skin leads children to believe that racism is absurd because it is about an arbitrary difference of physical appearance instead of its true basis in a long history of cultural, political, and economic oppression.

Screen Shot 2013-12-13 at 12.36.53 PM

This is the legacy that the “be nice to those who are different” and “be proud to be different” morals have left modern lgbt youth now that movements like the It Gets Better Project have updated this message for the 21st century. These are fine messages to begin with: on the very basic level, we should indeed be nice to those who are different and be proud of our differences. Yet, just like how the It Gets Better Project became a vehicle for press-seeking celebrities and corporations to dilute its specifically lgbt oriented message with vague assertions of “hang in there kids”, so too does this tolerance fable too often miss the supposed point of its own message. It’s okay to be different, but more often than not, the happy ending of the story is that the misfit learns that their difference is their key to fitting in. Rudolph’s red nose is accepted once it is discovered that society has a use for it and he can fit in at the front of Santa’s sleigh. When the misfit’s happy ending is finally finding a place to fit in within the same social system that had once rejected him, ultimately the moral of the story is to tolerate only minor, superficial differences. The moral of the story declares it is okay to be a misfit by showing how a misfit has a place in society—which renders him no longer a misfit. It is the story of social assimilation—difference is tolerable as long as it fits into the social hierarchy and structure and does not threaten it.

 

This is the same problem that lgbt youth face today as society has become more accepting of gay identity and more exposure has been granted to gay characters in the media. There is increasing support for coming out as gay, but because modern lgbt activism has stressed its “normality” as the key to gaining rights, one comes out to a specific idea of what gay sexuality constitutes, including a preconceived identity politics and culture. One may come out as different from the societal norm of heterosexuality, but that child is reinscribed into the system of cultural norms by being expected to adhere to the norms of lgbt identity.  Now that there are uses for the gay man in society (largely stereotypes of the interior decorator, hair dresser, stage producer, though there is no shame in these vocations) he is encouraged to come out because there are non-threatening, economically viable uses for him in mainstream society. His misfit status isn’t accepted or defended, because ultimately society has a found a “fit” for him, that serves the dominant culture.

While the story of Rudolph participates in this discourse of sympathizing with the misfit not by defending the right to be different, but by trying to trivialize his difference, the story is also remarkable in how it identifies the political, cultural, and social roots of how we determine “otherness” in our society while vaguely hinting at a possible alternate social arrangement. Through Rudolph’s story, we can see how the queer subject is constituted through 1. Sexism and the Patriarchal Family System (Donner’s (the father’s) fear that his son’s nose will prevent him from maturing into a proper, heterosexual patriarch) 2. Industry, Capitalism, and the Means of Production (How Santa’s system of production values certain traits amenable to his production of toys) and 3. Through Class and Racial Identity (The Reindeer and Elves as permanent underclasses of laborers with essentialized identities that lock them into their drudgery) Finally, when Rudolph and Hermey band together as misfits, become “independent together”, and visit the Island of Misfit Toys, the film suggests an alternative kinship structure where difference within the social system is not defined against an internal norm, but as a virtue. Yet, the Island of Misfit Toys is a paradise lost, a queer utopia that could have been. They present the possibility of a society based not on prefabricated social roles, but on mutual support of each other’s individuality.

 (Read the full Article on The Qouch)

Advertisements

My Review of Camp Sites By Michael Trask

9780804784412
The gay community has always had a contradictory relationship with the notion of authenticity. We have delighted in the camp spectacles of drag on stage and marveled at the “realness” of ball culture in Paris is Burning, yet we maintain that to be “straight acting” is the pinnacle of masculine attractiveness and many lgbt rights groups preach assimilation and highlight our “normality” as a political tactic. In Camp Sites, Michael Trask traces some of the origins of this contemporary obsession with authenticity in the lgbt world and its cultural politics to a shift in the culture of leftist politics and American academia from the 50s to the 60s.

.
Charging that the New Left of the 60s “drew with surprising frequency on the Cold War culture’s wide repertoire of homophobic suppositions,” Trask argues that “the New Social Movements had such difficulty with the queers” because “the equation radicals forged between authenticity and a meaningful life rendered gay culture’s uncommitted and artificial persons beyond redemption, even if such figures would serve a role in defining countercultural commitment by their negative example.” (1) Trask contends that the Left of the 60s saw the hallmarks of gay existence such as camp culture, male effeminacy, and closetedness as vestiges of the inauthenticity they sought to dismantle as they posited more utopian visions of cultural revolution. As Trask puts it “in the liberal mind, camp followers became so hopelessly beholden to surfaces that they were incapable of taking advantage of the opportunistic gap between appearance and depth, the gap in which realpolitik unfolded.” (8)

(Full Article Available at The Lambda Literary Review)

Blog at WordPress.com.

Up ↑