Iceland

ICELAND

Iceland is on the top of my travel list. For one thing, Bjork is from Reykjavik, and she is the coolest woman on the planet. Not to mention that it is stunningly beautiful, as its landscape is shaped from glaciers and volcanic ash. The country is also steeped in Norse tradition, the language spoken by Icelanders being the language of the Vikings.

Thorrablot was a Viking Pagan celebration and feast, and it is still celebrated today at the end of January. The traditional foods that the Vikings used to prepare for the feast are still consumed, today, by the Icelanders who celebrate the festival. The foods that are served have been preserved by being pickled, dried, salted, smoked, or petrified.

The food I most want to try is Hakarl, or Ice Shark. Since the meat of this shark is poisonous when eaten fresh, it has to rot for at least six weeks before it can be consumed. The meat is apparently very chewy and smells of Ammonia. I could also sample a glass of potato wine to wash down my Hakarl. Potato wine is Iceland’s Schnapps, made from fermented potato pulp and caraway seeds. It is known as ‘The Black Death,’ and the excessive consumption of this beverage is what makes foods, such as Hakarl, palatable. It is often served as a shot to help digest the strange Viking fare.

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Promiscuous Reader

The Modern Library has compiled two lists of the 100 Best Novels, according to both readers and the board. Below are the two lists. I have bolded the books I have read and italicized the ones for which I have only seen the movie. I just wanted to see how I compare, and how much reading I still have to accomplish in this lifetime. 

The Board’s List

  1. ULYSSES by James Joyce
  2. THE GREAT GATSBY by F. Scott Fitzgerald
  3. A PORTRAIT OF THE ARTIST AS A YOUNG MAN by James Joyce
  4. LOLITA by Vladimir Nabokov
  5. BRAVE NEW WORLD by Aldous Huxley
  6. THE SOUND AND THE FURY by William Faulkner
  7. CATCH-22
  8. DARKNESS AT NOON by Arthur Koestler
  9. SONS AND LOVERS by D.H. Lawrence
  10. THE GRAPES OF WRATH by John Steinbeck
  11. UNDER THE VOLCANO by Malcolm Lowry
  12. THE WAY OF ALL FLESH by Samuel Butler
  13. 1984 by George Orwell
  14. I, CLAUDIUS by Robert Graves
  15. TO THE LIGHTHOUSE by Virginia Woolf
  16. AN AMERICAN TRAGEDY by Theodore Dreiser
  17. THE HEART IS A LONELY HUNTER by Carson McCullers
  18. SLAUGHTERHOUSE-FIVE by Kurt Vonnegut
  19. INVISIBLE MAN by Ralph Ellison
  20. NATIVE SON by Richard Wright
  21. HENDERSON THE RAIN KING by Saul Bellow
  22. APPOINTMENT IN SAMARRA by John O’Hara
  23. U.S.A. (trilogy) by John Dos Passos
  24. WINESBURG, OHIO by Sherwood Anderson
  25. A PASSAGE TO INDIA by E.M. Forster
  26. THE WINGS OF THE DOVE by Henry James
  27. THE AMBASSADORS by Henry James
  28. TENDER IS THE NIGHT by F. Scott Fitzgerald
  29. THE STUDS LONIGAN TRILOGY by James T. Farrell
  30. THE GOOD SOLDIER by Ford Madox Ford
  31. ANIMAL FARM by George Orwell
  32. THE GOLDEN BOWL by Henry James
  33. SISTER CARRIE by Theodore Dreiser
  34. A HANDFUL OF DUST by Evelyn Waugh
  35. AS I LAY DYING by William Faulkner
  36. ALL THE KING’S MEN by Robert Penn Warren
  37. THE BRIDGE OF SAN LUIS REY by Thornton Wilder
  38. HOWARD’S END by E.M. Forster
  39. GO TELL IT ON THE MOUNTAIN by James Baldwin
  40. THE HEART OF THE MATTER by Graham Greene
  41. LORD OF THE FLIES by William Golding
  42. DELIVERANCE by James Dickey
  43. A DANCE TO THE MUSIC OF TIME (series) by Anthony Powell
  44. POINT COUNTER POINT by Aldous Huxley
  45. THE SUN ALSO RISES by Ernest Hemingway
  46. THE SECRET AGENT by Joseph Conrad
  47. NOSTROMO by Joseph Conrad
  48. THE RAINBOW by D.H. Lawrence
  49. WOMEN IN LOVE by D.H. Lawrence
  50. TROPIC OF CANCER by Henry Miller
  51. THE NAKED AND THE DEAD by Norman Mailer
  52. PORTNOY’S COMPLAINT by Philip Roth
  53. PALE FIRE by Vladimir Nabokov
  54. LIGHT IN AUGUST by William Faulkner
  55. ON THE ROAD by Jack Kerouac
  56. THE MALTESE FALCON by Dashiell Hammett
  57. PARADE’S END by Ford Madox Ford
  58. THE AGE OF INNOCENCE by Edith Wharton
  59. ZULEIKA DOBSON by Max Beerbohm
  60. THE MOVIEGOER by Walker Percy
  61. DEATH COMES FOR THE ARCHBISHOP by Willa Cather
  62. FROM HERE TO ETERNITY by James Jones
  63. THE WAPSHOT CHRONICLES by John Cheever
  64. THE CATCHER IN THE RYE by J.D. Salinger
  65. A CLOCKWORK ORANGE by Anthony Burgess
  66. OF HUMAN BONDAGE by W. Somerset Maugham
  67. HEART OF DARKNESS by Joseph Conrad
  68. MAIN STREET by Sinclair Lewis
  69. THE HOUSE OF MIRTH by Edith Wharton
  70. THE ALEXANDRIA QUARTET by Lawrence Durell
  71. A HIGH WIND IN JAMAICA by Richard Hughes
  72. A HOUSE FOR MR BISWAS by V.S. Naipaul
  73. THE DAY OF THE LOCUST by Nathanael West
  74. A FAREWELL TO ARMS by Ernest Hemingway
  75. SCOOP by Evelyn Waugh
  76. THE PRIME OF MISS JEAN BRODIE by Muriel Spark
  77. FINNEGANS WAKE by James Joyce
  78. KIM by Rudyard Kipling
  79. A ROOM WITH A VIEW by E.M. Forster
  80. BRIDESHEAD REVISITED by Evelyn Waugh
  81. THE ADVENTURES OF AUGIE MARCH by Saul Bellow
  82. ANGLE OF REPOSE by Wallace Stegner
  83. A BEND IN THE RIVER by V.S. Naipaul
  84. THE DEATH OF THE HEART by Elizabeth Bowen
  85. LORD JIM by Joseph Conrad
  86. RAGTIME by E.L. Doctorow
  87. THE OLD WIVES’ TALE by Arnold Bennett
  88. THE CALL OF THE WILD by Jack London
  89. LOVING by Henry Green
  90. MIDNIGHT’S CHILDREN by Salman Rushdie
  91. TOBACCO ROAD by Erskine Caldwell
  92. IRONWEED by William Kennedy
  93. THE MAGUS by John Fowles
  94. WIDE SARGASSO SEA by Jean Rhys
  95. UNDER THE NET by Iris Murdoch
  96. SOPHIE’S CHOICE by William Styron
  97. THE SHELTERING SKY by Paul Bowles
  98. THE POSTMAN ALWAYS RINGS TWICE by James M. Cain
  99. THE GINGER MAN by J.P. Donleavy
  100. THE MAGNIFICENT AMBERSONS by Booth Tarkington

  Reader’s List

  1. ATLAS SHRUGGED by Ayn Rand
  2. THE FOUNTAINHEAD by Ayn Rand
  3. BATTLEFIELD EARTH by L. Ron Hubbard
  4. THE LORD OF THE RINGS by J.R.R. Tolkien
  5. TO KILL A MOCKINGBIRD by Harper Lee
  6. 1984 by George Orwell
  7. ANTHEM by Ayn Rand
  8. WE THE LIVING by Ayn Rand
  9. MISSION EARTH by L. Ron Hubbard
  10. FEAR by L. Ron Hubbard
  11. ULYSSES by James Joyce
  12. CATCH-22 by Joseph Heller
  13. THE GREAT GATSBY by F. Scott Fitzgerald
  14. DUNE by Frank Herbert
  15. THE MOON IS A HARSH MISTRESS by Robert Heinlein
  16. STRANGER IN A STRANGE LAND by Robert Heinlein
  17. A TOWN LIKE ALICE by Nevil Shute
  18. BRAVE NEW WORLD by Aldous Huxley
  19. THE CATCHER IN THE RYE by J.D. Salinger
  20. ANIMAL FARM by George Orwell
  21. GRAVITY’S RAINBOW by Thomas Pynchon
  22. THE GRAPES OF WRATH by John Steinbeck
  23. SLAUGHTERHOUSE FIVE by Kurt Vonnegut
  24. GONE WITH THE WIND by Margaret Mitchell
  25. LORD OF THE FLIES by William Golding
  26. SHANE by Jack Schaefer
  27. TRUSTEE FROM THE TOOLROOM by Nevil Shute
  28. A PRAYER FOR OWEN MEANY by John Irving
  29. THE STAND by Stephen King
  30. THE FRENCH LIEUTENANT’S WOMAN by John Fowles
  31. BELOVED by Toni Morrison
  32. THE WORM OUROBOROS by E.R. Eddison
  33. THE SOUND AND THE FURY by William Faulkner
  34. LOLITA by Vladimir Nabokov
  35. MOONHEART by Charles de Lint
  36. ABSALOM, ABSALOM! by William Faulkner
  37. OF HUMAN BONDAGE by W. Somerset Maugham
  38. WISE BLOOD by Flannery O’Connor
  39. UNDER THE VOLCANO by Malcolm Lowry
  40. FIFTH BUSINESS by Robertson Davies
  41. SOMEPLACE TO BE FLYING by Charles de Lint
  42. ON THE ROAD by Jack Kerouac
  43. HEART OF DARKNESS by Joseph Conrad
  44. YARROW by Charles de Lint
  45. AT THE MOUNTAINS OF MADNESS by H.P. Lovecraft
  46. ONE LONELY NIGHT by Mickey Spillane
  47. MEMORY AND DREAM by Charles de Lint
  48. TO THE LIGHTHOUSE by Virginia Woolf
  49. THE MOVIEGOER by Walker Percy
  50. TRADER by Charles de Lint
  51. THE HITCHHIKER’S GUIDE TO THE GALAXY by Douglas Adams
  52. THE HEART IS A LONELY HUNTER by Carson McCullers
  53. THE HANDMAID’S TALE by Margaret Atwood
  54. BLOOD MERIDIAN by Cormac McCarthy
  55. A CLOCKWORK ORANGE by Anthony Burgess
  56. ON THE BEACH by Nevil Shute
  57. A PORTRAIT OF THE ARTIST AS A YOUNG MAN by James Joyce
  58. GREENMANTLE by Charles de Lint
  59. ENDER’S GAME by Orson Scott Card
  60. THE LITTLE COUNTRY by Charles de Lint
  61. THE RECOGNITIONS by William Gaddis
  62. STARSHIP TROOPERS by Robert Heinlein
  63. THE SUN ALSO RISES by Ernest Hemingway
  64. THE WORLD ACCORDING TO GARP by John Irving
  65. SOMETHING WICKED THIS WAY COMES by Ray Bradbury
  66. THE HAUNTING OF HILL HOUSE by Shirley Jackson
  67. AS I LAY DYING by William Faulkner
  68. TROPIC OF CANCER by Henry Miller
  69. INVISIBLE MAN by Ralph Ellison
  70. THE WOOD WIFE by Terri Windling
  71. THE MAGUS by John Fowles
  72. THE DOOR INTO SUMMER by Robert Heinlein
  73. ZEN AND THE ART OF MOTORCYCLE MAINTENANCE by Robert Pirsig
  74. I, CLAUDIUS by Robert Graves
  75. THE CALL OF THE WILD by Jack London
  76. AT SWIM-TWO-BIRDS by Flann O’Brien
  77. FARENHEIT 451 by Ray Bradbury
  78. ARROWSMITH by Sinclair Lewis
  79. WATERSHIP DOWN by Richard Adams
  80. NAKED LUNCH by William S. Burroughs
  81. THE HUNT FOR RED OCTOBER by Tom Clancy
  82. GUILTY PLEASURES by Laurell K. Hamilton
  83. THE PUPPET MASTERS by Robert Heinlein
  84. IT by Stephen King
  85. V. by Thomas Pynchon
  86. DOUBLE STAR by Robert Heinlein
  87. CITIZEN OF THE GALAXY by Robert Heinlein
  88. BRIDESHEAD REVISITED by Evelyn Waugh
  89. LIGHT IN AUGUST by William Faulkner
  90. ONE FLEW OVER THE CUCKOO’S NEST by Ken Kesey
  91. A FAREWELL TO ARMS by Ernest Hemingway
  92. THE SHELTERING SKY by Paul Bowles
  93. SOMETIMES A GREAT NOTION by Ken Kesey
  94. MY ANTONIA by Willa Cather
  95. MULENGRO by Charles de Lint
  96. SUTTREE by Cormac McCarthy
  97. MYTHAGO WOOD by Robert Holdstock
  98. ILLUSIONS by Richard Bach
  99. THE CUNNING MAN by Robertson Davies
  100. THE SATANIC VERSES by Salman Rushdie

Reader’s List: 28 out of 100
Not sure if this is average. Still, I have a lot of reading to do. Though, I’m sure not all of these books are deserving of the title “Best Novel.” A few of the novels I’ve read on both lists are not, in my opinion, the best novels I have ever read. I think some of them have been called literary classics for decades, and now everyone is supposed to make an effort to read them. By placing them on a list entitled “100 Best Novels,” it makes reading these books seem imperative. (I don’t think it’s necessary to read The Catcher in the Rye or, even, The Great Gatsby.)

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Embodying a body without organs

What constitutes reality can never be fully realized by the embodied subject. Because we live our bodies our perspective is where we locate ourselves in the world. Perception is “the midway between mind and body that requires the functioning of both” (Lived Bodies). It is through our bodies that we develop a relationship to other objects, but since we are our bodies we are unable to fully access it or see it as an object. Instead, we rely on the perception of other subject-objects and mirrors, which reflect back the “real” image others see. However, we can never really know how others perceive us, and we can never really perceive our bodies because the body is an experience. Merleau-Ponty argues that the body does not simply take up space like an object does, but rather, the body inhabits space and “we transport it without instruments” (Lived Bodies). A person is the conjunction of mind and body, and I believe that people who have Anorexia Nervosa or Gender Identity Disorder experience a separation between mind and body so that they desire to alter their bodies to mimic the “true” person they believe rests in the mind. Both of these disorders hyper-objectify the body, as the body is thought to be a prison that prevents the “actual” person from being realized.

The root of Anorexia and GID is a feeling of being trapped in the wrong body. Both disorders seek an identity to become, but there is a question of where identity is located or if it even has a location. People with Anorexia or GID know who or what they want to become and that if they want this becoming to be perceived by others, they have to reflect it in their visible bodies; they believe that who they really are is invisible unless it can be seen by others, which, in reality, is true. It’s not enough to feel something, you have to be it, and for others to recognize what or who you are, your identity has to be perceptible. Merleau-Ponty calls this extroceptively perceived image the “specular image.” While everyone recognizes the “specular image” and internalizes it as a double of themselves, I would argue that someone with Anorexia or GID not only internalizes this image, but accepts it as reality. When she looks in the mirror she comes face-to-face with what is visible to others, and she desires to change the body because what others visually perceive is not a reflection of who she believes herself to be. For instance, although Judith Butler states that gender is a performance, if a man who believes himself to really be a woman exerts feminine behaviors even though he is visually perceived to be male because of his body, he is not then perceived to be a woman, but rather, a homosexual or even a freak.

In the movie Transamerica, the main character, Brie Osborne, is becoming woman or, rather, the idea of woman. The identity of Brie Osborne is hyperfeminized in both mind and body to the point where she is unmistakably female to anyone who does not know that Brie was once Stanley. Brie is almost entirely woman in body, except that she still possesses a phallus, and the movie begins with Brie trying to attain signatures from both her medical doctor and her therapist assuring that she does in fact have Gender Identity Disorder and needs to have the surgery that will complete her becoming. While Brie still has a phallus she is both Brie and Stanley. Brie attributes Stanley to the body, to the corporeal and material. Brie is her mind, or who she really is. She refers to Stanley in the third person because he is not her. Stanley is only what her body used to be, but when the surgery is complete she will be Brie Osborne in mind, body, and perception. I question, however, the use of surgery to cure a mental illness. It completes and fulfills the person’s desire, but is the desire even healthy? Is it healthy to want to become something other than who you are? But then again, who are you?

According to Phenomenology we are our bodies, and “the body is crucial for understanding subjectivity” (Salamon). Brie wants the surgery so she can escape Stanley and his life. When Brie finds out that Stanley fathered a son, her therapist is unable to give her permission to have the surgery unless she goes to help her son, who was in prison for illegal drug use and prostitution. Brie becomes defensive because her alleged son was a part of Stanley’s life, to which her therapist responds, “Stanley’s life is your life.” Merleau-Ponty claims that the body and sexual schema are temporal and inescapable. They extend into the past and future so that desire is always in a “futural mode,” and is shaped by the past. It seems that allowing Brie to have the surgery reifies the notion that there is a male brain and a female brain, and that by a person changing their body they are escaping their past.

Someone who has Anorexia Nervosa is never able to complete or fulfill her desire, either because she is forced to seek medical attention or because her desire is physically unattainable, as her body is just never “good” enough. A female Anorexic’s starvation and perfectionism are physical expressions of her hyperfeminization. The anorexic wants to make her body unmistakably thin because she knows she is always being looked at, always being perceived, and she is terrified of being perceived as fat.

The anorexic’s body is an object in that she feels that if her body is not thin enough, it will take up too much space. She does not consider herself an embodied subject, and so she thinks that she takes up space rather than inhabit it. But the Anorexic does not desire a gendered body; in fact she comes to fear what makes her body perceptively female. Although the female Anorexic does not consciously desire a gendered body, her starvation defeminizes her body and causes it to become more perceptively masculine. The Anorexic body loses so much necessary fat that a soft coating of hair grows to keep the body warm; the body loses its feminine shape and curves; the body ceases to menstruate and even ceases to produce estrogen; and the Anorexic body becomes absent of breasts, the female body part that universally signifies a woman’s body. It would seem that the female Anorexic desires to become male. The female Anorexic desires to become a body without organs. She desires to erase any signification on her body. She wants to hide, go undetected. The female Anorexic is afraid of being perceived.

Although Anorexia and Gender Identity Disorder are both desires to alter the body to reflect true selves, the desire is not the same. A person with GID does not want to hide from the world or desire to be unperceived, but rather desires to be perceived as something different. In Kim Hall’s essay Queer Breasted Experience, she writes that feminism should not focus on how our bodies are our selves, but to instead focus on how we can make our bodies our selves. Brie wanted to feel and be perceived as a woman, and so she was replacing the phallus – the body part that signifies the male body – with breasts and a vagina. The body the person with GID wishes to create is familiar. Before the sexual reassignment surgery is complete the body is ambiguous, but once it is complete the body is recognizable because it conforms to a perceptible sexual category.  But the Anorexic woman’s behavior is actually destructive. The Anorexic body is unfamiliar, ambiguous, and is unrecognizable, unable to be categorized as either male or female. In her essay, Hall claims that Patriarchy harms women because it is able to “make one’s own body an unfamiliar and despised object” (Hall). The Anorexic woman despises her body because she recognizes the boundary between the sexes and that as a woman she is “the other,” forever subordinated to man. She comes to experience her body as some kind of dirty sweater she wants to shrug off. The split between the mind and body causes her to look at her body as though she is outside of it. The Anorexic is always living an out-of-body experience.

Anorexia Nervosa and Gender Identity Disorder are not biologically rooted within the individual. These are social disorders, in other words, it is society that is sick. It is the patriarchal society which claims sexual difference to be a fact about the body, and so asserts that some bodies are better than others. The male body is privileged in society, and so the phallus is marked as a powerful body part. The Anorexic female starves her body to assert that she is tired of having a weak body, but her solution is not to assume a male body. Starving her body erases the feminine, but it does not replace or supplant it with the masculine; the anorexic body does not acquire a phallus, and so it does not acquire privilege. It is rendered imperceptible, a body without organs. But why does Brie desire to relinquish the privileged body? In the movie she states how disgusted she is with her penis, so perhaps she finds the very notion of there being a privileged sex disgusting. She wishes to become the body that is always other. Brie believes she is being reborn like Christ. Christ assumed human flesh because he loved people so much that he wanted to suffer like them. Brie wants to become the other, and as a transsexual she is “a radically evolved human.” Brie has a kind of Mestiza consciousness because even though she becomes a woman, Stanley is always a part of her.

Anorexics and Transsexuals, or people with GID, do not simply have an embodied consciousness. They do not accept the body as fact or the signification society places on it. Instead, they resist patriarchal norms and become something else, but that is why it is disordered thinking. Although it is a societal problem that so much emphasis is placed on the body, that sexual difference is taken as fact and some bodies are considered privileged, the body cannot be altered because the body is fact. It is only the significance we place on bodies that can, and should, be altered. The body is not an object; it is part of a person’s subjectivity and is an experience.

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