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1 See
Jameson,Postmodernism.
Paul AusterandMr.Vertigo
4 In his
posthumously published ofValues,CharlesLindbergh
Autobiography madethefollowing
muchquotedremark, evoking - thestateofinnocence
- or fabulating in whichhe toolearned
tofly:'The lifeofan aviatorseemedtome ideal.Itinvolvedskill.Itcommandedadventure. It
DennisCooperand Period
DennisCooper'snovels,moreso eventhanAuster's,explorethetensionbetween
thetwo momentsdescribedin thatpassage fromLukâcs:thefailed,novelistic
searchfortheessence,and theepicsuspensionoftimein thecertainty ofhaving
achievedit already.His novelPeriod(2000)resistsanyattemptto say whatit is
"about."In fact,it so successfully achievesthestatusofan eventthatthenovel
itselfall butdisappears;itis impossible,finally, to distinguishbetween,say,ve-
hicleand tenor,subjectand object,formand content, materialand thematic.
The subjectmatterofPeriod,morethananything, is a novel entitledPeriod
written by a cultnovelist named Walker Crane.Cooper'sPeriodis theculmina-
tionof a five-novel cycledealing with young,mostlygay Californianmen in
searchofthepossibility ofmeaningand beauty.Theseworkstoo,then,looklike
novelsin Lukâcs'sdefinition - or at least,Cooper'scharacters looklikenovelists;
they are embarked a
upon quest for the "essence"which theyare destinednever
to find, particularlysince- and this is the main reason for Cooper's
notoriety - they look for it in unpromisingplaces, such as among the
disembodiedorgansoftherandomboystheypickup, or in thelook on a boy's
facewhenhe sees his own gutsspillingoutofhim.Yettheworkcannotbe sim-
ply equated with the preoccupationsof its characters,whom Cooper has
described,withself-conscious provocation,as merely"configurations of the
prose"(qtd. in Gambone 58).
LikeAuster'sbooks,Cooper'salmostalwaysinvolvean unreador an absent
text.In Periodthetextin questionis notonlyWalkerCrane'snovelPeriod, which
or
may may notbe the text we are reading, but also a notebook a
keptby myste-
rious,beautiful boywho does notspeak.The reasonsforhissilenceemergedur-
ingthecourseofthenarrative: "Reallyevilthingshavehappenedto him,"saysa
character namedLeon,halfwaythroughthebook;butthisis soon afterwe hear
thatLeon,and hencealso theboy withthenotebook,are characters in Walter
Crane'sPeriod(60,54).
Itis difficult
to do justiceto thecomplexity ofthisworkin thespace available.
The five-novel cycleas a wholesupposedlycenterson a character namedGeorge
Miles,a childhoodfriendand former loveroftheauthorwho committed suicide
in 1987.Perioditselfhas a mirror-like structurewhichis reminiscent of Orson
Welles's films The Lady fromShanghaior F for Fake, or- a more recent
example- ChristopherNolan's Memento,althoughthe structure of Cooper's
novelis considerably morecomplexthanthese.
WalkerCrane'sPeriodis aboutan artistsomewhatlikeWalkerCranehimself,
who spendshislifetrying to recreate"George"- a former loverwho committed
suicide- in hisart.ThusthetextwithinCooper'stext - WalkerCrane'sPeriod - is
or
also, maybe, the text outside the text. This material destabilization of the
boundary between inside and outside is crucial to theeffect ofthe novel.Dennis
Cooper's Periodis notonlyaboutdesireas thecompulsionto repeat,but also
about creativity - literarycreativity
itself - as fuelledby suchdesire. George
Miles, the "original"object desire, man whom Cooper talks about in
of a
interviewsin termsof an absoluteinnocence("the one personI would have
protectedat all costs"[qtd. in Lucas 3]), has plentyof doubles in Cooper's
fiction;accordingto theauthor,everymajoryoungmale figurein his booksis
based him- butin Periodthesedoublesproliferate.
on It is neverentirely clear
who is a real person and who is a fictional character from one or otherof the
textsentitledPeriod.
WalkerCrane'sPeriod - thefictional textinsideCooper'sPeriod - has a website
devotedto it,runby a fannamedBob,whichis also thename of theartistin
Crane'sown novel- a textwithinthetextwithinthetext(50). WhenCooper's
Bob (thewebsitehost)articulates theethicalconundrum at theheartofBob (the
artist)'sprojectin Walker Crane's Period, what he says has as muchresonancefor
DennisCooper'sPeriodas for Walker Crane's Period, indeedforBob's own
and
obsessiveweb-basedactivity as a fan of the novel.7 "Theonlyquestion,"he says,
"is whetherthe artist'ssuccess [in reviving"George"in a workof art]is an
exampleofloveco-opting form... orthecompleteopposite"(50).
Thereis also a rockband called"TheOmen,"in Cooper'sPeriod,who model
themselves afterthe"fictional" band in WalkerCrane'sPeriod - althoughagain,
giventhereversiblestructure, it is impossibleto say in theend whichband is
modeledafterwhich.The twoband members,fansof theWalkerCranebook,
select boys from among their following who look like the "real"
-
George- photographsof whom are on Bob's Period website and whom
successivelytheyrape,killand dismemberin theback of theirtourvan. It is
neverestablishedwhetherthephotoson thewebsiteare reallyof Georgeor in
factofNate,a GeorgelookalikewithwhomthewriterWalkerCraneis sleeping
in an attemptto replacehis own dead George.This factbecomessalientwhen
The Omenpickup Natehimself on thebasisthathe tooresemblesGeorge.Ator
aroundthispointthetextappearsto go intoa kindofreversal,sinceeverything
we've readis progressively unwritten bywhatfollows;indeed,amidtheaccumula-
tionof reconstructions, Cooper's novel effectively disappears.The book itself
presentsnothing, afterall,otherthanthisseriesofreconstructive Atthe
projects.
end itis unclearwhichOmen- WalkerCrane'sorDennisCooper's- havekilled
Nate.Nor is it entirely clearwhethertheboy withthenotebookin theopening
8
JamesAnnesleyis thusrightto rejectElizabethYoung'sreadingofCooper'sworkas merely
a kindof"postmodernism"
replicating thatsheseesexemplified, forexample,in the"deathly
brilliance"of JeanBaudrillard.Young,observesAnnesley,"failsto take intoaccountthe
materialnatureofCooper'swriting....
Friskneedstobe interpreted, notas a self-reflexive
text
abouttherepresentationof thebody,but as a novelwhichactuallyconcernsitselfwiththe
relationshipbetweenwritingand materiality" (34). See also Young,"Deathin Disneyland"
259-61.
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