Category: 2014 Blog Post

Tyler Doesn’t Know (Scotty Doesn’t Know parody)

Upon her arrival at the Paradise Alms home, Mala Ramchandin is placed into the care of Nurse Tyler. She does not speak, she does not eat. In fact, the only sounds that emit from Miss Ramchandin are imitations of animals. Eventually, Tyler’s presence is accepted by Mala and he declares himself as her storyteller. “…and for all the scant attention paid my presence, I am the one who ended up knowing the truth, the whole truth every significant and insignificant bit of it” (47).

How can Tyler know the truth without knowing Asha’s side of the story?

He yearns for Asha, “Asha Ramchandin, Asha Ramchandin, Asha Ramchandin. In quiet moments after a long day caring for your sister, when I would rather lie in my bed in the nurses’ quarter and have my mind lie fallow, your name repeats itself mantra-like in my head. At night I fall asleep clinging to the hope that you are happy and well, and you would soon know that it is now safe to return to paradise” (90). Tyler is well aware that he can never know everything but he has to make his own truth, to believe that Asha is happy and well, in order to make peace with the Ramchandin’s story.

Être

Not a man and not ever able to be a woman, suspended nameless in the limbo state between existence and nonexistence” pg 77

From the first read of this sentence, the binaries being set up are glaringly apparent.  “Man” is set opposite of “woman,” just as “existence” is contrasting “nonexistence” (77).  Similarly, “suspended,” “nameless,” and “limbo” are all clustered together (77).  Even the sentence structure itself follows these binary and cluster rules; the binary of man/woman is set opposite of the existence/nonexistence comparison with the suspended/nameless/limbo cluster floats alone in the middle.  This double binary emphasizes the strict boundaries of the concepts of man/woman or existence/nonexistence, claiming that they leave no middle ground for any sort of womanly man, somewhat existence, etc.  If something doesn’t fit into one of these categories, according to this sentence, it doesn’t even deserve a name.

A limbo state is not a desirable one.  That is to say, no one actively seeks to end up in limbo.  To be in limbo insinuates failure; that one wasn’t strong enough to make it to one end point or the other, and instead had to just sort of stop in the middle.  With failure comes shame and so one could argue that being in limbo is shameful.  As namelessness is paralleled with “the limbo state,” to be “nameless” must also be shameful (77).  Humans express themselves through language; we have a word for everything we interact with in our lives.  Therefore, to be “nameless” is the ultimate failure, because, according to human logic, if there isn’t a word for it, it must not exist or be important enough to acknowledge.

I believe that Mala and Tyler are able to connect on such a deep level because Mala doesn’t really use words.  For her, words don’t hold the same power as they do for someone whose sole method of expression is through them.  Since Mala doesn’t use words, she is able to just let Tyler be, rather than try to define him.  For example, when Tyler tries on the dress, Mala pays no attention because “the outfit was not something to either congratulate or scorn – it simply was” (77).  Mala doesn’t seek to define Tyler as gay or transsexual or whatever words someone might try to pin on him.  He just “was” and no words were needed to categorize that.

They shared more than a common friend

I felt she had been watching me and seeing the same things everyone else saw. But she had stolen a dress for me. No one had ever done anything like that before. She knows what I am, she knows my nature. (76)

Without knowing why, he wanted to share his secret with Mala Ramchandin, even at the risk of being caught walking the streets dressed like a woman. (121)

Even before their shared storyline evolves, Tyler and Otoh share more than knowing Mala Ramchandin. Both of them have a secret when it comes to their identity and their sexuality; and both of them share their secret with Mala.

Tyler is caught in a state of limbo. He is aware that he is not like other men, yet he also knows that he is not a woman. He is constantly trying to figure out who he is, while at the same time desperately trying to hide his findings about himself from the rest of the world. He knows that people are talking about him, making assumptions about himself and, as he puts it, his perversion.

He is constantly trying to perform a gender role that he cannot truly identify with. However, he does not “pass”, as Kate Bornstein would put it, and people realize that something about him is different. This becomes particularly evident when looking at the use of the words ‘watching’, ‘seeing’, and ‘saw’ in the first sentence of the quote. Tyler feels that he is constantly under observation, and thus he lives in constant fear of being discovered, for people to “know [his] true nature”. The way the last sentence of his quote is written shows this fear: “She knows what I am, she knows my true nature”. The repetition of ‘she knows’ emphasizes that that she knows is more important to him than what she knows. At this point he can only assume what Mala thinks or knows, yet, he is already convinced that she knows what he is trying to hide. He does not even consider that the dress could have any other meaning. Furthermore, he is afraid of her discovering and judging his un-normalness. By saying ‘what I am’ instead of ‘who I am’ Tyler makes it clear that he himself thinks that he is abnormal and perverse, that his true nature is not human.

Yet, he is beginning to see that Mala might not be like other people. She has already done something that others never have, she has given him a dress to wear. She allows him to have something that does not match his gender performance, to break free from the prison he has put himself in. It is also important that she has actively acquired the dress; she had stolen it. This shows Tyler that Mala had actively done something in order to try to make him happy. Thus, “she knows what I am, she knows my true nature” can also be read as the relief Tyler feels knowing that he does not have to carry the burden of his secret by himself anymore.

Otoh on the other hand, performs his chosen gender role so well, that even his parents forgot that he was born a girl. While Tyler is constantly trying to perform the gender he was born with, Otoh needs to hide it. Yet, he chooses to show himself to Mala wearing a dress, although he has never actually met her before. Otoh seems to sense what Tyler is currently discovering – that Mala “was not one to manacle nature” (77). It seems that only with Mala both of them can be their entire self. Only with her they do not feel the need to conceal a part of who they are.

 

Overlooking the Obvious

The reason Miss Ramchandin paid me no attention was that, to her mind, the outfit was not something to either congratulate or scorn-it simply was.  She was not one to manacle nature, and I sensed that she was permitting mine its freedom” (Mootoo, 77).

The words “congratulate” and “scorn,” offer a binary, which is quickly dismissed when Tyler says “it simply was,” implying that the normality or abnormality of his ensemble did not matter to Miss Ramchandin and thus was a moot point. Therefore, the binary is evident, but holds little to no meaning.  Although Miss Ramchandin may not be 100% “with it” mentally, her blindness to Tyler’s change suggests that perhaps she looks for deeper qualities than can be found on the exterior.

Tyler treats her with fairness and respect, something that she may not be used to, given her incest-filled past, and as a result; she looks at Tyler as a kind-spirited person, no matter how he dresses or acts.  Similarly, Tyler is not always treated well or taken seriously, so from that regard the two share a special, non-judgmental bond.

“She was not one to manacle nature.”  This passage suggests that Miss Ramchandin may disagree with the male/female gender binary that exists.  Manacles are often used when discussing restraining measures taken on criminals, which is interesting, because those who do not conform to one or the other gender are often treated as criminals, as if there is something wrong with them.

You’re either a man or a woman; if you are a man, you are masculine and if you are a woman, you’re feminine. These are the expectations, a biological imperative, and anything that does not fit the mold is out casted and treated differently than those who conform. But why does nature have to be “manacled?”

Kate Bornstein discusses her opinion concerning the issue in “My Gender Workbook,” openly disagreeing with the binary expectation placed on us by society.  The quote from Mootoo’s novel indirectly supports this, saying essentially that gender should be “permitt[ed] its freedom,” something that Miss Ramchandin does!  Overall, I think that Miss Ramchandin’s difficult past has allowed her to see past the “societal bad” in people, or rather, the differences that they may exhibit

Scent of Sleep

She slid closer to the wall to let the little girl slip under the coverlet. The bed sheets and Pohpoh’s pillow held the odour of stale camphor, eucalyptus and turpentine. They clung to each other, inhaling the pleasantly sour blend of their rubbing oil and each other’s talcum-sweet scent of sleep, night sweat and stale breath. (p 79)

This quote when reading stuck me because of the language. The use of the letter s is extremely strong throughout the passage with similar words such as slid, slip, sheets, stale, sour, sweet, sleep, and sweat. All of these words can then be placed in their own individual groups. Slid and slip being one. Then sheets and sleep. Then stale, sour, sweet, and sweat are all words that can be used to describe the body. These groups help the reader to read between the lines and see the sensualness present here in the novel, without showing it. Another grouping that is odd however, are talcum, camphor, eucalyptus and turpentine-not a combination that one would normally put together. Perhaps this represents an unlikely alliance or creation. The passage also suggests the deep desire for closeness, a wanting to be loved by using words such as closer, held, and clung. Each of these words can be used to describe the need to breath and take it all in, even if it may be sour or stale because it is still a closeness at the end of the day. The characters want love wherever they can get it.

The passage also suggests the theme of age because of phrasing such as rubbing oil which is something that someone older would. However a child would use (or someone would use for them) talcum powder to lock in their moisture because their skin is sensitive. It is showing the parallels and different stages between the two but somehow they still come together, despite it being unnatural. The sentence is clearing trying to compare the two just as the sentence with eucalyptus and turpentine is; both have a very distinctive scent and use-making them an abnormal combination. Scent is the main theme here which makes sense because scent is the sense that is most associated with memories and can help people recall past events. All of these scents and descriptive words are being used together to create the moment to the reader. The author uses strong reactionary words such as inhale and ordour on purpose to place us within the scene. At the same time it leaves the reader with a stale taste after reading it because of the simplicity and innocence of two sisters cuddling in bed attempting to escape life, if only for a moment.

Scared In The Dark, Yet Safe Because We’re Blind

Shani Mootoo states in her novel Cereus Blooms at Night states that, in the name of sexuality and/or gender identity, there is a “limbo state between existence and nonexistence” (Mootoo, 77). I see this as a safety blanket, yet at the same time an unbelievable, undefinable danger zone. This is safe, as priorly stated, yet also scary and shameful, especially in the name of sexuality and/or gender identity.

One being neither “properly man nor woman but some in-between, unnamed thing” allows for different interpretations of the “truth,” but in the end, left to be defined by the “victim” (Mootoo, 71). I say victim because this uncertainty is not a choice. It is this “definition” of one’s personal sexuality and gender identity, and the comfort of not associating one way or the other that acts as a safety blanket. It is safe to not know. Although it is safe to be in the dark, it is oh so scary. He/She cannot see what is ahead of him/her, what is awaiting him/her after his/her “definition” is solidified, which can, in turn, result in a shameful personal and social regression.

In these two quotes I see a very important connection between the words “unnamed” and “nonexistence.” Remaining “unnamed” can be viewed as “nonexistence” by the said “victim” of sexuality and instills a sense of fear and shame into him/her. It is this fear and shame that drives one to attempt to “define” the undefined: his/her sexuality and/or gender identity. It is interesting that when you put the two quotes together, it suggests that “existence” is associated with defining as a man or a woman, and “nonexistence” is associated with the “limbo state,” being “unnamed” and somewhere in between.

How is one “properly” one or the other? This is the word that suggests shame. Sexuality, gender and gender identity are choices; choices with social repercussions that can instill a sense of fear or shame into one if they even slightly deviate from the “norm.” Who is to say that there is a “proper” definition of sexuality? NO ONE. To put these two ideas together, the “limbo state” of being “unnamed” creates a drive to define the sexuality and/or gender identity that is not defined, but is linked with the shame of defining a sexuality or gender identity that deviates from the norm. This limbo is such a safe place of blindness, but such a scary place of darkness.

 

“I am beginning to understand some things about her and I think that that she does not like things in nature to be hurt. To her, the flower and the plant would both be suffering because they were separated from each other… It would be as if its arm had been cut off or something. I think it would upset her greatly and set her back.” (69)

This quote is the response Tyler gives to the gardener Mr. Hector after he asked Tyler to ask Miss. Ramchandin if she would be interested in gardening. I found this quote very ambiguous. In one instance Tyler displays how protective he is over Miss. Ramchandin and how much he truly cares for her mental and well-being but in another instance this can be interpreted as Tyler considering Miss. Ramchandin’s past and how current things affect her.

In the begging of the quote Tyler says “I am beginning to understand some things about her.” I think Tyler feels he is slowly but surely beginning to understand Miss. Ramchandin’s through her body language, noises, and their eye contact interactions. Along with their interactions I think that by Tyler narrating Miss. Ramchandin’s story he is getting to know a part of her that no one else can understand nor identify with. With that said Tyler feels he is obligated to be Miss Ramchandin’s voice and speak for her. In his mind if he no one anyone else will.

Further along in the passage he says “…the flower and the plant would both be suffering because they were separated.” I think the word separate is they key word in this sentence. When he refers to the flowers being separated I think Tyler was also alluding to Miss Ramchandin’s being abandoned and separated from her mother as young girl. He then says “I think it would upset her greatly and set her back.” I think he said that because Miss. Ramchandin has been through a great deal of trauma in her life and he doesn’t want her to overthink of gardening to bring back up old feeling that she experienced as a child.

Tyler’s Dress

“I did not even consider leaving her room dressed as I was. I was endowed with a sense of propriety, depended on it, for that matter, for the most basic level of survival. I changed back into my trousers and white-shirt and rubbed my cheeks and lips clean. I stuffed the dress and stockings behind the dresser, deciding to keep if not to wear it again, at least for the memory of some power it seemed to have imparted. It had been a day and evening to treasure. I had never felt so extremely ordinary, and I quite loved it.” (78).

 

Tyler alludes to his non-heteronormative sexuality and non-conforming gender identity in this passage and in several other times throughout the novel. The first time these identities intersect is when he tries on the dress; he enjoys the power wearing the dress gives him. Dressing in traditionally feminine clothing gives him the opportunity to express parts of his self that he has previously been unable to do. He’s never experienced what it’s like to dress as a woman and finds “something delicious about such confinement.” (77) because he has confined this part of his identity for so long. He feels “extremely ordinary” and “love[s] it”. (78) He likes feeling like a woman, but we don’t know yet if he wants to be one or simply enjoys expressing himself as more feminine than masculine. He simply says he identifies as something “in-between, unnamed” (71) and that he hasn’t determined all of the facets of his identity yet. If he had the correct language to speak about his sexuality and gender identity he might be able to define it for himself but he may or may not tell anyone else how he feels. He has not articulated or pondered his desire for Otoh or wearing a dress because he lacks the language to do so.

If Tyler could articulate clearly his identity, he would probably only reveal it a few people. Currently, his closest (and perhaps only) friends are Mala Ramchandin and Otoh Mohanty. He feels some sort of attraction to Otoh and a connection to Mala so it is likely that if he came out to anyone, it would be his two friends. He is speechless when Mala tells him he wants to wear the dress and is at first fearful that she may have figured out his secret. When he realizes she not only doesn’t care if he doesn’t identify as cisgender and/or heterosexual but also wants him to feel happy and wear the dress, he feels a sense of relief and freedom.

Free at last! Free at last!

“The reason Miss Ramchadin paid me no attention was that, to her mind, the outfit was not something to either congratulate or scorn-it simply was. She was not one to manacle nature, and I sensed she was permitting mine its freedom (pg 77).”

This quote comes after Tyler tries on women’s clothing for the first time. He expected Miss Ramchadin to react, and as this quote demonstrates, she did not. The punctuation emphasizes this moment. This sentence reads at a slower pace than the previous sentences, when he is trying on the dress, due to the use of commas and a dash. The previous sentences are all jumbled and full of details of how he was feeling when putting on all the components of the dress. Now that he has it all on, he has had time to gather himself and reflect on his feelings of the dress, and prepare for the reaction of someone other than himself. The commas are used so the sentence reads at a slower, calmer, pace, while also emphasizing that it is only Miss Ramchadin who would accept Tyler in this dress. The sentence would still make sense without that phrase “to her mind” stuck in between the commas, but Tyler needed to emphasize this acceptance was just from Miss Ramchadin and not everyone else, because he is treated so poorly by every other character in the novel.  By neither congratulating or scorning this moment in his life, just ignoring and acting as if this action is normal and nothing to make a fuss over, Tyler for the first in this novel is simply able to be the person he wants to be without being judged. The use of the dash “-it simply was” demonstrates that Tyler feels relief that he is not being judged. He is able to take a deep breath, bask in this moment, and simply be.

The next sentence is what intrigued me most about the passage. To me, from the language in this sentence, it is my understanding that Tyler felt like a prisoner in his own body. The words “manacle” and “freedom” are extreme opposites, and each have associations with those whom are imprisoned. The definition of manacle is to fetter a person with shackles. By saying that “she was not one to manacle nature” it demonstrates that Tyler has felt, by the actions of others in his life, that his natural state of being has been trapped inside him unable to be expressed, shackled like a prisoner of his body. This reminded me of  “The Strange Case of Dr. Jekyll and Mr. Hyde”. Just as Dr. Jekyll was unable to express his true self, Tyler was unable to express his true self. Instead of having evil grow inside him due to lack of acceptance like Jekyll, Tyler had Miss Ramachadin to accept him. Now, finally, because Miss Ramachadin is not passing judgment on Tyler, she permitted his nature to be freed. She didn’t react to him, chastise him for the way he was being, and at this moment he was freed from his imprisonment from his body.  For once in his life, he could express himself in any way he desired. He was free at last.

Internal Debates or Inner Madness?

“ I wonder at how many of us, feeling unsafe and unprotected, either end up running away from everything we know and love, or staying and simply and going mad. I have decided today that neither option is more or less noble than the other. They are merely different ways of coping, and we each must cope as best we can” (90).

In class we discussed the use of the ten on one method. To me, this quotation encompassed a few of the ideas we came up with when we read our quotations out loud. I think this statement embodies the ideas of truth, desire, and social constructs. The truth is evident because the way this statement is said in the novel, the reader can see inside the speaker’s mind, that there is some inner debate about whether to stay or go. We discussed in class how Tyler has not come out and said that he is gay, but is it implied, as he has stated he is girlish, along with other things which would imply his sexual orientation. Perhaps his truth is his inner debate about whether to come out to everyone or not. This feeling goes hand in hand with social constructs, which dictates a person’s actions based on societal norms. Tyler may worry that he wont be fully accepted for who he is, and how he identifies. Desire can be seen in this passage through the speakers inner debate because it seems like he wants to stay, to be helpful to those who need him, but also it seems Tyler desires coming out to the world. Perhaps his way of coping is to remain quiet and just not say anything, that way nothing changes, but he does not rejected by those around him whom he loves.

When doing the method on this statement, the commas become important because it separates what should be done, and what the speaker wants to happen. For example, “feeling unsafe and unprotected, or staying and going mad” provides this internal conflict, and which is better? The narrator is saying that neither is better or worse, but rather they are different ways of simply trying to exist. I think many of us have seen this decision in our own lives, not only the lives of Mala, Tyler, and the other characters in the novel.  At times, we all struggle with whatever decision we need to make, and whether or not to change whatever the change is, can lead to this same type of internal debate.