Where the Skin Meets

Over the last half century, the analysis of homoerotic themes present in the author’s novels has been a particularly generative subset of Melville studies. Among this body of research, the relationship between Ishmael and Queequeg in Moby-Dick has proven to be a compelling avenue of research regarding modes of queer representation in an historical period wherein the open discussion of homosexuality was viewed as anywhere from taboo to illegal. This paper builds on the work of other Melville scholars, such as Caleb Crain and Kellen Bolt, in examining the ways in which 19th century ideas of race intersect with the representation of an eroticized male relationship between Ishmael and Queequeg. I suggest that the particular lens of racialized eroticism through which 19th century white observers viewed Polynesian men inherently denies the potential for disavowal of same-gender attraction to the non-White subject. This denial necessarily reifies racial hierarchy by giving a White male participant in a homoerotic relationship the ability to dictate its boundaries. I argue that even if, as Bolt suggests, Ishmael’s relationship with Queequeg represents a rejection of 19th century American nativist sentiment, Ishmael retains the ability to distance himself from accusations of homoeroticism in a way that is not possible for Queequeg and his exoticized body. I conclude with an exploration of how the Victorian freak-show archetype of the tattooed man connects with Ishmael’s decision to tattoo himself and thus voluntary take on racializing signifiers within his contemporary context.

From the Comfort of Your Own Couch: Is the Canadian Broadcasting Corporation’s You Can’t Ask That an Educational Documentary, or a 21st century Freak Show?

This interrogation begins with a question — Is the Canadian Broadcasting Corporation’s series, You Can’t Ask That, an educational documentary, or instead, is the series a 21st-century version of the freak show? The answer, as can be said about most discussions pertaining to disability, is not a simple binary. Although the series can be lauded for creating a public space for the experience of persons with disabilities to be heard in the world, the framing of disability in the series is fraught with ableism.

Here Come My 600-Pound Quintuplets: A Discussion of Reality Television as a Freak Discourse

History is littered with tales of the absurd, odd, and unusual. From Gorgons and mermaids to bearded ladies and elephant men, people have, for centuries, been fascinated by those who deviate from physical and mental social norms. Such fascinations seemed to peak during the 19th century when showmen, like PT Barnum, bought and exhibited those deemed too different and macabre for “normal” society. However, as science and medicine progressed, and the protection of human rights became more important, freak shows and travelling sideshows dwindled (Nicholas & Chambers, 2016). Society’s fascination with the unusual though, did not. Despite increased political correctness and calls to end “fat shaming,” bullying and the like, reality television appears to encourage “a dehumanising process that actually lessens our regard for other people” (Sardar, 2000). While some writers have considered how reality television exploits stereotypes and links social norms to hegemonic whiteness (Cooke-Jackson & Hansen, 2008; Rennels, 2015), few have commented on the similarities between such programming and the stylings of the 19th century freak show. Utilising Thomson’s (1996) concept of freak discourse, and Bogdan’s (1996) assessment of freak narrative, this article examines how reality television programming as a genre, despite its varied plots, uses a narrative formula that can be likened to 19th century freak shows to enhance its storylines and “produce a human spectacle” (Thomson, 1996, p. 7).

Unmaking Masculine Determinacy: A Postmodern Challenge in Suzan-Lori Parks’ Venus

Venus, a play written by Suzan-Lori Parks, employs unconventional theatrical approaches in retelling the history of a 19th-century freak show attraction. This study examines how the critique of gender bias and sexual manipulations in Venus is explored and projected in ways that can be described as postmodern. Through the subversion of conventional forms and language, the blending of fact and fiction, the pastiches of both low and high generic and linguistic presentations, the liberating of a marginalized voice, and the revision of the philosophical premises that subordinate the female to the male order, the play questions the masculine determinacy inherent in social institutions and traditions and invites a conscious reconsideration of default meaning and truth.

‘Freak Show Excess’: Steve Vai and his self-presentation in the media

This article attempts to uncover the complex relationship between musical expression, artist discourse and personae, by focusing on the way virtuoso guitarist Steve Vai presents himself and his music in the media. I analyse video and print interviews that span the three decades of Vai's career to trace patterns and contradictions in his views on his music and artistry. This is not to assume intentionality, but rather to ask what sort of gap there is between how Vai sees himself and presents himself as a musician, and whether he sees music as self-expressive, or as involving a constructed persona.

Advertising Millie-Christine, or the Making of the Two-Headed Nightingale

Millie and Christine McKoy (1851–1912), African American conjoined twins billed as the “Two-Headed Nightingale,” were among the most successful “freak show” performers in the last quarter of the 19th-century. This chapter relies on “freak show” ephemera—such as press articles, (pseudo) biographical and autobiographical pamphlets, and posters and photos—to reconstruct Millie-Christine’s musical act and to examine the troubling process by which the sisters were made into and promoted as a “freak.” With a focus on the sonic elements described by these texts, examined alongside visual and textual narratives, the chapter builds an account of an advertising strategy that traded on the consumers’ prejudiced musical expectations with regard to gender and race, while cultivating new sonic fantasies about the conjoined body.