That One Scene: Homoeroticism or Homosexuality?
That One Scene: Homoeroticism or Homosexuality?
In this post, I’ll be discussing whether or not Evelyn Nesbit and Emma Goldman’s encounter was sexual or not. So, jumping right in, Evelyn Nesbit, as a person, is incredibly tied to sex; Doctorow calls her “the first sex goddess in American history,” and Emma Goldman calls her “nothing more than a clever prostitute” (Doctorow 84, 56). We can see from Goldman’s line especially how much she uses her sexuality in her day to day life. She was a Gibson Girl, which was an early form of pin-up, and she used that modeling (and thus her sexuality) to bolster her career. However, what she is most famous for comes through in Ragtime, when her husband Harry K. Thaw shot and killed Stanford White out of jealousy. So, Evelyn Nesbit’s whole story––both her story in Ragtime and her story as a historical figure––revolves around her sex appeal. This, however, comes with the obvious exception of her main storyline in the book, in which she takes a liking to Tateh and his daughter. Though, I would argue, she takes a liking to his daughter, not to him, and her admiration of the girl stems from the girl’s beauty. So, while Evelyn has no sexual feelings towards the girl, and vice versa, I think that Evelyn’s admiration of the girl’s beauty mirrors society’s admiration of her own. This marks a reflection of her beauty more indirect yet still present, thus this is a storyline also having to do with her beauty/sexuality. This trend makes me think the scene was sexual in nature, not just sensual.
On the other hand, her companion in that one scene is Emma Goldman. Goldman’s storylines throughout the rest of the book do not revolve around sex or Goldman’s beauty. Now, I’m not sure if you’ve ever googled Emma Goldman, but she’s not exactly the picture of beauty that Evelyn Nesbit is. Nothing against her, of course (#supportwomen), but she’s not known for her beauty like Evelyn. She’s also fifteen years older than Evelyn (though there was a thirteen year age gap between her and Harry K. Thaw). So, after I’d forgotten about Mother’s Younger Brother in the closet, and I read Emma Goldman begin to massage Evelyn Nesbit, I wasn’t sure if it was sexual or not. It’s a peculiar moment in the book, with Goldman’s response to Nesbit’s crying, one of lecturing her on the ways society uses her, particularly striking. I think that had it been practically anyone else in that room with Evelyn Nesbit, with the undressing and massaging, the scene would have been obviously sexual, but Emma Goldman just makes me doubt that.
And then the jism.
Fetishization of lesbians is certainly not uncommon. I’m honestly not sure where it came from, but it’s certainly prevalent today at least in film and television (those are the two things I know most about), from Blue is the Warmest Color and The Handmaiden to Riverdale. This fetishization also certainly goes with the objectification of Evelyn Nesbit as a person and a character. Now, I’m not really sure if it was because of the homoeroticism or just because of Evelyn Nesbit, but either way, Mother’s Younger Brother clearly found something sexual in this scene. Even if it’s not clear to readers, it was clear to him, and because of that, I do think that there are at the very least sexual undertones worth noting in the scene; it’s not just gals being pals. Because of the jism, the scene, and therefore the interaction between Evelyn Nesbit and Emma Goldman, is transformed into a sexual one. Did the two women have sexual motives behind their actions? I’m not sure. However, I don’t think that that really matters. Throughout Ragtime, Doctorow consistently proves that he has control over the characters, and their actions don’t necessarily matter in the long run––it’s his story, and he gets to do what he wants with it (I’m thinking of Sarah’s death and Father trying to save MYB from his fate here, just to name a couple). It doesn’t matter if the characters intended their actions to be sexual. Doctorow chooses to make Mother’s Younger Brother fall out of the closet, transforming the scene, and by extension Nesbit and Goldman’s interaction, into a sexual one. So, by making Mother’s Younger Brother fall out of the closet, Emma Goldman and Evelyn Nesbit come out of the closet too.
Great post Ivy! I always thought of the scene as non-sexual. In the scene it seems like Emma Goldman is freeing Evelyn from the physical shackles of patriarchy, which she has fallen victim to. By massaging her welts she is simultaneously healing Evelyn from the wounds left by society both physically and mentally (first with tough love, then with a more gentle approach). Then Younger Brother fractures this tender moment by turning it into a sexual scene. By Doctorow having Younger Brother construe this scene sexually it offers a commentary that even when women attempt to free themselves from this societies hold the patriarchy will always be lurking in the corner ready to warp womens newfound liberty into something the complete opposite. With that interpretation I dont think the scene is sexual between Evelyn and Emma or to Doctorow.
ReplyDeleteWhen I first initially read the scene, I was a little put-off and uncomfortable. However, after reading it through thoroughly, I kind of understood the non-sexual nature of the interaction. I agree with your point that the fact that one of the people involved is literally Emma Goldman kind of makes the scene less sexual. I feel like the interaction itself was really more focused on the idea of liberation. However, you're right: the insertion of MYB's presence into the scene does force it to become sexual, whether it was supposed to be or not. I feel like this is another one of those examples of Doctorow exercising his control as the author.
ReplyDeleteHi Ivy, great post! I agree with Hannah that I was initially really taken aback by this scene, but it was mostly due to the shock of MYB's appearance in it. I do think that this is a really important scene for Evelyn Nesbit's character, as it's allowing her to free herself from the gaze of society that has constantly sexualized and objectified her. It's a very intimate moment between two women and in general, platonic intimacy between women will never truly been seen as platonic but rather a source of fetishization for men. Then when MYB bursts out of the closet, the scene is really representative of that fact and I think it was an interesting choice for Doctorow to write that but I think it does show the unyielding reality. (I hope this makes sense I'm not really articulating my thoughts well) #supportwomen
ReplyDeleteI didn't find the interaction between Evelyn and Emma sexual. I saw it more as a way of forming a connection and a kind of healing session for Evelyn. But like you said, by tying in MYB's lust, the scene becomes more sexual. I feel like this goes to show that often times, impressions are more impactful than intentions. Which is more important could warrant a whole essay in itself, so I'm still not quite sure whether that one scene was sexual or not. Should we let MYB's reaction define the interaction or Evelyn and Emma's formed connection?
ReplyDelete[I've now tried to post this comment THREE TIMES, and it keeps disappearing (although I see it show up on the first screen after I post it, if I close that window and reopen the blog, it has disappeared!) I originally thought I'd posted this on Friday, February 9.]
ReplyDeleteOoh, great closing sentence--I see what you did there! This is indeed a very . . . complicated scene to parse, and as you note, on one level it serves as the grossest possible example of the male gaze and the reduction of this deep and even nurturing moment between two women to a mere source of arousal and titillation for this loser guy in the closet. (Many times I have found myself simply wishing that Doctorow cut the scene off BEFORE MYB's ignoble entrance, but we have to deal with the novel we have . . .). The question you pose is, essentially, is DOCTOROW taking part in the ogling, as if he presents this scene for the (male cis-het) reader's voyeuristic pleasure? Or do we wince, laugh at MYB, and view it ironically as a reflection of how, um, *self-absorbed* his fascination with Evelyn really is?
I truly can see it both ways--the reader is kind of placed in MYB's position, observing their private interactions unseen. And at the same time, while MYB is clearly having some feelings about what he witnesses (ahem), he is ALSO being exposed to some radical ideas about gender, marriage, sexuality, and all that. Emma is indirectly talking to HIM as well as Evelyn, in other words. And eventually he DOES shift his focus from obsessing over the pin-up girl to obsessing over Coalhouse, and as the author states (with or without irony?), "The effect was salutory."
Hi Ivy! Your point is resally interesting. When I first read the scene I had heard rumors about the jism, but it caught me entirely by surprise, which makes me think. Prior to MYB's interruption I wouldn't have considered it to be innately sexual. It was more of a sweet moment and commentary on society, with Emma Goldman literally washing away the marks the modern world. However, after reading the jism scene there's a whole new light on it. You start looking for the sexual undertones MYB was seeing, and whether or not you see them too it's changed the way the scene is read, thus changing the scene in its entirety. Great post and interesting topic!
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