Author Archives: Sam Cohen

The Nuclear Family / The Nuclear Bomb: Revisiting Kate Zambreno’s O Fallen Angel in Trump America

O Fallen Angel Kate Zambreno

The first time I read Kate Zambreno’s O Fallen Angel was in 2012, not too long after it was first released on Chiasmus Press in 2010, and it felt like something I’d been starving for: the story of a girl raised by a housebound Mommy whose constant care is a form of creepy control, whose love is both dollifying and cannibalizing. The girl—Maggie—is stifled and self-seeking and, with limited tools with which to construct a self, self-destructs instead.

O Fallen Angel is Zambreno’s first book—she went on to garner a larger readership with her novel Green Girl and her critical book Heroines, both of which establish Zambreno as a formal innovator who is in constant conversation with dead critical theorists and Hollywood starlets, who returns from these conversations with new language with which to write the experience of the girl. Compared to Green Girl and Heroines, O Fallen Angel feels young, but in the best way—it’s desperate, searing, hurting, angry and unforgiving.

When I first read the novel five years ago, I loved it because I related so hard. Finally there was a mother in literature who wanted to “freeze [her children] when…they’re at the age before they start disagreeing with you,” who wanted to keep her self-harming girlkid out of therapy because psychologists “blame everything on the Mommy.” Maggie’s Mommy’s dollification is so extreme it even leads her to fantasize about Maggie’s death—in death, “finally Maggie will let Mommy dress her…and finally Maggie will be her girl yes her girl.” Finally there was a girl in literature who, raised by such a mother and just like me, was so unequipped to live her own life that she was fired from all her waitressing jobs, that she sought self-worth in the beds of brooding, bohemian boys, that she got rejected from in-patient psychiatric care because even her suicide plan wasn’t specific enough. And maybe it’s true that we see girls like Maggie in stories from Mary Gaitskll and her acolytes, but O Fallen Angel is the first book that I’ve read that is some degree of diagnostic, that shows the reader how the girl got that way.

And maybe—like the therapist of Mommy’s fantasies—Zambreno’s narrator blames the Mommy, but Mommy’s story, albeit judgmentally, gets told, too, and so O Fallen Angel gives us an intergenerational story of women teaching girls how to accept oppression, how to self-oppress, and why.

O Fallen Angel is told in the form of a triptych, narrated closely in turns to Mommy, Maggie, and the god Malachi. Mommy’s sentences are long and smushed together, free of the constraints of commas and periods, often including rhyming folk-wisdoms and bits of Bible verses that seem to be Mommy’s only external reference points with which to make sense of the world, but for Mommy they are enough. Maggie’s references expand to include fairy tales and Hollywood movies from the 50’s and 60’s, clearly inherited from Mommy, which have taught her to be prince-seeking; that the only way out of her Mommy’s American Dream is to latch her sense of self to a boy who looks like Marlon Brando and run to the other side of the proverbial tracks. Maggie’s also got what she’s learned from her brief stint as a psychology major. Maggie is drugging and slutting but she’s also reading desperately, reading in order to discover or assemble a self, but the thing is she’s too young and too sheltered; she hasn’t read enough to have left her hometown ideology behind for good, she hasn’t read enough enable her to know how to move around safely in Chicago, the city to which she’s relocated.

In 2012, maybe I hadn’t read enough, and I was reading desperately, self-seekingly, too, and I glossed over the cultural differences between Maggie’s family and my own, made the book into a book about me. But it’s 2017 now and I’ve gone through my Saturn return, and O Fallen Angel is being re-released on Harper Perennial in the very same month that Donald Trump has been inaugurated into the U.S. Presidency, and it feels like a different book. It’s no longer just a book for sad girls raised to be selfless dollies by controlling moms—it turns out to be a book about those 53% of white women voters so many of us were so shocked to learn about, and many others weren’t; a book about the constant and attentive labor those women do to uphold patriarchy and racism and corporate capitalism and anti-environmentalism as the True American Values, the constant and attentive labor they do in service of their own oppression. If the election had gone another way, the characters in this book might seem quaint, obscure, like a dying breed. Instead, the timing of O Fallen Angel’s re-release fuckedly transitions it from Sad Girl Cult Classic to Great American Novel in écriture féminine. In Mommy’s colliding sentences, we’re able to see how thoughtless associations and oft-repeated phrases and rhymes take the place of logic: Continue reading

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WE WERE THERE: Sorority – A Queer Performance K-Hole

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Thursday, June 16th, 2016
Lyric Hyperion Theatere & Cafe, Los Angeles, CA
 
 
I almost didn’t go because I’d come down with some kind of physical plague along with the emotional one I had already been feeling that week, but really thankgawd I have a girlfriend who thinks it’s important for us to show up to community events in the wake of tragedy because the opposite of lonely grieving might be cabaret.

Is there anything gayer? I think I first realized I was gay while attending a weekly cabaret at the Slipper Club in Madison, Wisconsin during my senior year of college. Until then I was very Natasha Lyonne at the outset But I’m A Cheerleader, when she’s still like, “Everyone looks at other girls all the time!” Like her, I thought “everyone had those thoughts,” but the cabaret showed me that what I desired wasn’t just a trip to clamtown (which is requisite, but maybe not sufficient for gayness) but instead a more permanent residence in the sequin-covered cabaret world where camp is the very best way to communicate pathos. I wanted to live among this cheeky and earnest community with its visible belief that desire for the spotlight was what made one deserving of it, where people cheered and sang in such familial chorus.What I remember most about that Midwestern cabaret was that for each finale, the entire cast would get onstage and sing “Que Sera Sera” in this overdone way that made the lyrics —will I be pretty? will I be rich? — seem ridiculous (how hilariously heterocapitalist!)—and yearningly anxious (but like I kind of need to be sort of rich and super pretty!) at the exact same time. At the cabaret, I learned about expressing nostalgia through mockery, about using tacky overperformance as a form of worship. I heard the language there and recognized it as my mother tongue.
 
SORORITY, organized and hosted by Los Angeles playwright Gina Young, has re-immersed me in that language—has reintroduced the feelings that are able to be articulated and felt when queers get onstage in front of a queer audience. The series, which launched at the Lyric-Hyperion Theater in LA in April, occurring every Thursday night during that month, has reemerged as a monthly event this summer. On its Facebook page, SORORITY is described as a “queer performance k-hole” which includes “works-in-progress,” “theatrical situations,” and “summertime short shorts.” The unfinished feel is refreshing: where LA’s performance scene can sometimes feel like its requires an art school education to access, SORORITY’s performances are playful and engaging. The series is also— with its late-night start time, availability of cocktails, variety-show vibe, and abundance of bad wigs—a true cabaret. Continue reading

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