{"id":12760,"date":"2012-12-04T09:00:45","date_gmt":"2012-12-04T09:00:45","guid":{"rendered":"http:\/\/www.badreputation.org.uk\/?p=12760"},"modified":"2013-11-04T12:10:53","modified_gmt":"2013-11-04T12:10:53","slug":"guest-post-on-american-horror-story-part-22-the-terrors-of-reproduction","status":"publish","type":"post","link":"https:\/\/badreputation.org.uk\/2012\/12\/04\/guest-post-on-american-horror-story-part-22-the-terrors-of-reproduction\/","title":{"rendered":"[Guest Post] On American Horror Story, Part 2\/2: The Terrors of Reproduction"},"content":{"rendered":"
In my previous post yesterday<\/a>, I talked about the
first season of
American Horror Story<\/strong> and its reliance on two female
archetypes – the femme fatale and the overbearing mother
– in its construction of the monstrous.<\/p>\n
The spoiler warning, again, goes here!
Mothers are, in the world of
AHS<\/strong>, a danger not only to their children, but
also to the others that touch their lives. Pregnancy, with
its easy symbolism and suitably melodramatic and gory end
bit, lends itself to Horror. But it is not just the
obvious that is made an object of fear.<\/p>\n
As I said in part one, Vivien and Ben are a married
couple facing difficulties. She\u2019s had a
miscarriage, he\u2019s had an affair, and their
relationship is in tatters. I think, I
think<\/em>, that we\u2019re meant to be engaged
with this crumbling marriage.<\/p>\n
Like Nora, the basement abortionist’s wife,
Hayden (Ben\u2019s deeply sexual and manipulative
mistress), and Constance, the terminally abusive
and neglectful mother next door, Vivien simply
has uterus, will procreate<\/em>.1<\/a><\/sup><\/p>\n
Vivien is little more than a vessel, a womb
with bouncy hair. She is Shroedinger’s
Uterus, forever pregnant or not pregnant,
host to a foetus that is alive or not alive,
evil or not evil depending on the
requirements of the plot in any given
episode. Viven\u2019s role as incubator is
underlined when she dies in childbirth
– her role is complete, so we need
nothing more from her.<\/p>\n
Vivien\u2019s pregnancy is unusual. Hers is
a product of heteropaternal
superfecundation<\/a> – she\u2019s
carrying twins with different fathers. One
is her husband’s, the other is the
result of her rape by a psychopathic
ghost.2<\/a><\/sup> Let\u2019s not even go
into the fact that her husband
doesn\u2019t believe she\u2019s been raped
– there\u2019s something much worse
than that on the horizon.The show\u2019s
mythology tells us that a child born of a
ghost and a human will be the antichrist,
and we all know what that means:
apocalypse.<\/p>\n
Just in case the implication of that
isn\u2019t clear, let me put it in
slightly different terms: Vivien\u2019s
vagina is the muggletuppin\u2019
Hellmouth.<\/p>\n
Much of what I\u2019ve said so far
owes a debt to Barbara Creed\u2019s
theory of the monstrous-feminine, and
in particular the abject body; the
demonisation, defilement and
objectification of the female body in
Horror.<\/p>\n
With neither the clinical intervention
of the modern birthing experience nor
the cleanliness of the body innocent,
the birth plays on both classically
Freudian and modern germophobic fears.
It is, from both perspectives,
unclean.<\/p>\n
The point of Horror, if there must be
one, is to walk the line between
desirable and undesirable; to cross or
threaten the boundaries that separate
stability and chaos. Childbirth, as a
triumph of the primal over the
civilised and the inner over the
outer, is a natural exemplar of this.
It\u2019s naturally yukky and
generally unstoppable, and that makes
it pretty frightening. Here we\u2019re
treated to close ups of Vivien\u2019s
sweat covered forehead, wide overhead
shots that emphasise the
claustrophobic urgency of the scene,
and heavy blood-loss.<\/p>\n
Horror films that depict monstrous
births play on the inside\/outside
distinction in order to point to the
inherently monstrous nature of the
womb as well as the impossibility of
ever completely banishing the abject
from the human domain. […] The
womb represents the utmost in
abjection for it contains a new life
form which will pass from inside to
outside bringing with it traces of
contamination – blood,
afterbirth, faeces.<\/p>\n
– Barbara Creed, The Monstrous Feminine: Film,
Feminism,
Psychoanalysis<\/strong><\/a>
(1993)<\/p><\/blockquote>\n
Childbirth places us on the side
of nature, outside of
patriarchal order. Flesh is
torn, blood is spilled, the
sexual organs begin to resemble
a wound. The imagery is graphic,
base: abject. Vivien\u2019s
affinity with uncivilised, feral
nature invoked, her threat to
patriarchal law is cemented. The
birth of Vivien\u2019s twins is
a threat fulfilled, a boundary
crossed. From the abject comes
the ruin of the world.<\/p>\n
Vivien is threatened not just by
the hell-spawn she\u2019s
carrying, but also by three of
the ghosts that share her home.
Nora and Hayden, who have lost
their own children, and Chad,
who has never had children, each
desire ownership of
Vivien\u2019s child and conspire
to steal the baby once it is
born.<\/p>\n
Baby-snatching is a common, well
rooted trope in fantasy and
horror, which usually points to
the degeneracy of a group or
being – a sign that
they\u2019re beyond redemption,
truly inhuman. Infants are
stolen for ingestion (as in Torchwood: Children of
Earth<\/strong><\/a>), as
revenge (like the Pied Piper
of Hamlyn) or a sacrificial
offering (the Buffy
episode
Band Candy<\/strong><\/a>)
and occasionally, though
rarely, to be raised as the
kidnapper’s own. It is
this which motivates the
childless ghosts of
AHS<\/strong>.<\/p>\n
Each conspirator
represents a different
level of threat.
Deceased interior
designer Chad,
constantly arguing with
his (also dead) partner
Patrick, is no threat at
all. More concerned as
he is with decorating
than mending his broken
relationship, he seems
to think the baby will
simply be handed to him.
Nora, left to her own
devices, is an unlikely
threat –
she\u2019s narcissistic
enough but ethereal and
clueless.<\/p>\n
But with Hayden, the
picture is quite
different. Hayden is
wicked, determined and
operating without fear
of consequence –
she\u2019s dead, after
all – and
that\u2019s precisely
why she\u2019s so
dangerous.<\/p>\n
The feminine is only
established, however,
if the wish for a
penis is replaced by
one for a baby.<\/p>\n
– Freud,
\u201cFemininity\u201d,
New Introductory
Lectures in
Psycho-Analysis<\/strong>
(1933)<\/p><\/blockquote>\n
The problem here
is one of
motivation. Now,
I\u2019m not
saying
there\u2019s
something wrong
with wanting
children. But
there\u2019s
something wrong
with wanting
children to the
exclusion of
everything else.
Hayden is a
formidable woman
brimming with
agency and
audacity, and, in
a stunning display
of the roles women
play in our
diverse society,
she\u2019s
pregnant
too.<\/p>\n
When she dies,
she\u2019s
contributing all
her energy to
winning Ben back,
and then, bam! One
blunt-force trauma
later, her whole
reason for being
has changed. Now,
I get that dying
is the sort of
thing that might
emotionally scar a
person, but COME
ON. The child in
her belly,
previously
presented only as
a tool of
emotional
blackmail, will
never appear, so
she\u2019s
obsessed with
replacing
it.<\/p>\n
And that\u2019s
the key to
understanding both
Hayden and Nora.
They both want to
replace children
they\u2019ve lost.
It is a
narcissistic
craving; a desire
merely to possess.
The possibility of
motherhood has
stripped them of
rationality, maybe
even sanity, and
turned them into
objects of dread.
Here motherhood
truly is \u2018the
most powerful
feminine
wish\u2019 (Freud
again, in 1933),
and it is
dangerous.<\/p>\n
In the eyes of
AHS<\/strong>,
women are to be
feared. Female
sexuality is
aberrant if not
abhorrent, and
represented by
crude Freudian
symbolism (if
you aren\u2019t
yet convinced,
check out the
suckling infant
literally
devouring his
mother\u2019s
breast).<\/p>\n
I\u2019m with
Simone de
Beauvoir when
it comes to
Freud, but not
so Messrs.
Murphy and
Falchuck;
it\u2019s like
they\u2019ve
tried to
dramatise
Introduction
to
Psychoanalysis<\/strong>.<\/p>\n
The second
season of
American
Horror
Story<\/strong>
recently
began
its run
on UK
television
(on
FX, new
episodes
Tuesday
evening<\/a>).
So far
it’s
really
pushing
the boat
out to
hate
women in
a
variety
of new
and
exciting
ways
under
the
guise of
a
critical
look at
the
pathologising
of
sexuality
and
historic
attitudes
to poor
mental
health.<\/p>\n
It\u2019s
terrible.
You\u2019re
going
to
love
it.<\/p>\n
\n<\/strong>
\nToday, I\u2019m going to talk about reproduction, so if you
want to sing that song from
Grease 2<\/strong><\/a>, you better get it out of your system
now. Ready?<\/p>\n
Vivien, the walking womb-ded<\/h3>\n
Here\u2019s where we get into the really
juicy feminist theory<\/h3>\n
\n