“The Quare in the Square”: Queer Memory, Sensibilities, and Oscar Wilde

Abstract

Oscar Wilde is perhaps the most well-known historical homosexual in the public imagination. However, for a new generation of queers less connected to “gay” labels, Wilde appears other and forgettable. To reanimate Wilde's memory for twenty-first-century queers and ensure his legacy going forward, I read the 1997 Oscar Wilde monument in Dublin, Ireland. Through discursive, visual, and material analyses, I argue the monument first complicates Wilde's sexuality, casting doubt on his gay label. Second, the monument reframes Wilde as the practitioner of a proto-queer sensibility. In doing so, the monument marks historical anachronisms and renders Wilde a more resonant figure for contemporary queer audiences.

Keywords:

• Queer
• Gay
• Monument
• Public Memory
• Oscar Wilde

Notes

[1] Alex Ross, “Deceptive Picture: How Oscar Wilde Painted Over ‘Dorian Gray,’” The New Yorker, August 8, 2011, http://www.newyorker.com/magazine/2011/08/08/deceptive-picture.

[2] Yvonne Ivory, “The Trouble with Oskar: Wilde's Legacy for the Early Homosexual Rights Movement in Germany,” in Oscar Wilde and Modern Culture: The Making of a Legend, ed. Joseph Bristow (Athens, OH: Ohio University Press, 2008), 138–47.

[3] Including the Oscar Wilde Bookshop, the world's oldest gay and lesbian store, until it closed in 2009.

[4] See the Wilde productions chronology in Bristow, Modern Culture, xxxv–xlii.

[5] Henry Abelove, “The Queering of Lesbian/Gay History,” Radical History Review 62 (1995): 47–48, doi:10.1215/01636545-1995-62-45.

[6] Ross, “Deceptive Picture.”

[7] Thomas R. Dunn, “Queerly Remembered: Tactical and Strategic Rhetorics for Representing the GLBTQ Past” (PhD diss., University of Pittsburgh, 2011), 208, 222–23, ProQuest.

[8] For example, Julie Bolcer, “Elton and Judy Voted Top Gay Icons,” Advocate, December 11, 2009, accessed August 11, 2014, http://www.advocate.com/news/daily-news/2009/12/11/elton-and-judy-voted-top-gay-icons.

[9] Ross, “Deceptive Picture.”

[10] Neil McKenna, “Jeremy Isaacs is Obsessed with Stephen Fry's Donation—Apparently, My Dear, It Was Enormous,” New Statesman, December 4, 1998, http://www.newstatesman.com/jeremy-isaacs-obsessed-stephen-frys-donation-apparently-my-dear-it-was-enormous.

[11] Thomas R. Dunn, “Remembering ‘A Great Fag’: Visualizing Public Memory and the Construction of Queer Space,” Quarterly Journal of Speech 97, no. 4 (2011): 453, doi:10.1080/00335630.2011.585168.

[12] Neil McKenna, The Secret Life of Oscar Wilde: An Intimate Biography (New York, NY: Basic Books, 2005), 9–10.

[13] Alan Sinfield, The Wilde Century: Effeminacy, Oscar Wilde, and the Queer Moment (New York, NY: Columbia University Press, 1994), 2.

[14] Marta Mateo, “The Reception of Wilde's Works in Spain,” in The Reception of Oscar Wilde in Europe, ed., Stefano Evangelista (New York, NY: Continuum, 2010), 172.

[15] Oliver S. Buckton, “Oscar Goes to Hollywood: Wilde, Sexuality, and the Gaze of Contemporary Cinema,” in Bristow, Modern Culture, 319.

[16] Ritch C. Savin-Williams, The New Gay Teenager (Cambridge, MA: Harvard University Press, 2005), 1–3.

[17] Ritch C. Savin-Williams, “The New Gay Teen: Shunning Labels,” Gay & Lesbian Review Worldwide, November 1, 2005, https://www.glreview.org/article/article-1081.

[18] Savin-Williams, “Shunning Labels.”

[19] Sinfield, Wilde Century, 2–3.

[20] Savin-Williams, “Shunning Labels.”

[21] For instance, see Felicia R. Lee, “Trying to Bring Baldwin's Complex Voice Back to the Classroom,” New York Times, April 25, 2014, A1, accessed August 11, 2014, http://www.nytimes.com/2014/04/25/books/james-baldwin-born-90-years-ago-is-fading-in-classrooms.html; on queer Lincoln, see Charles E. Morris III, “Sunder the Children: Abraham Lincoln's Queer Rhetorical Pedagogy,” Quarterly Journal of Speech 99, no. 4 (2013): 399, doi:10.1080/00335630.2013.836281.

[22] Kenneth Burke, “Literature as Equipment for Living,” in The Philosophy of Literary Form (Berkeley, CA: University of California Press, 1973), 293.

[23] Richard Ellmann, Oscar Wilde (New York, NY: Vintage, 1988), 275; McKenna, Secret Life, 9–11.

[24] “Queer Temporalities,” ed. Elizabeth Freeman, special issue, GLQ: A Journal of Lesbian and Gay Studies 13, no. 2–3 (2007): 159–367, doi:10.1215/10642684-2006-029.

[25] Oscar Wilde, “De Profundis,” in The Complete Works of Oscar Wilde, Vol. 8, ed. Robert Ross (Boston, MA: Wyman-Fogg, 1905), 142; Savin-Williams, “Shunning Labels” and New Gay Teenager, 205.

[26] Michel Foucault, History of Sexuality, Volume 1: An Introduction (New York, NY: Vintage, 1990), 42–43.

[27] Morris, “Sunder the Children,” 402, 403.

[28] The Wilde monument and the author's childhood home feature prominently in the inaugural Oscar Wilde Tours, which began in 2014. See “Oscar Wilde Tours,” 2014, http://oscarwildetours.com and Tim Teeman, “Adventures in Gay History with Oscar Wilde,” The Daily Beast, June 11, 2014, http://www.thedailybeast.com/articles/2014/06/11/adventures-in-gay-history-with-oscar-wilde.html. For other events, see “Dublin Pride Events,” 2013, http://www.dublinpride.ie/events; Visit Dublin, “Oscar Wilde Statue,” 2013, http://www.visitdublin.com/Asset/See_and_Do/tours_attractions/Literary_Dublin/Oscar_Wilde_Statue.

[29] Douglas Crimp, “Mario Montez, For Shame,” in Gay Shame, ed. David M. Halperin and Valerie Traub (Chicago, IL: University of Chicago Press, 2009), 64.

[30] For example, see Charles E. Morris III, ed., Queering Public Address: Sexualities in American Historical Discourse (Columbia: University of South Carolina Press, 2007) and Remembering the AIDS Quilt (East Lansing, MI: Michigan State University Press, 2011); Dunn, “A Great Fag,” 435–60 and “Remembering Matthew Shepard: Violence, Identity, and Queer Counterpublic Memories,” Rhetoric & Public Affairs 13, no. 4 (2010): 611–52, doi:10.1353/rap.2010.0212; Jessica Enoch and Jordynn Jack, “Remembering Sappho: New Perspectives on Teaching (and Writing) Women's Rhetorical History,” College English 73, no. 5 (2011): 518–37; Christopher Castiglia and Christopher Reed, If Memory Serves: Gay Men, AIDS, and the Promise of the Queer Past (Minneapolis, MN: University of Minnesota Press, 2012); Jean Bessette, “An Archive of Anecdotes: Raising Lesbian Consciousness after the Daughters of Bilitis,” Rhetoric Society Quarterly 43, no. 1 (2013): 22–45, doi:10.1080/02773945.2012.740131.

[31] Charles E. Morris III, “My Old Kentucky Homo: Lincoln and the Politics of Queer Public Memory,” in Framing Public Memory, ed. Kendall R. Phillips (Tuscaloosa, AL: University of Alabama Press, 2004), 91.

[32] Pierre Nora, “Between Memory and History: Les Lieux de Mémoire,” Representations 26 (1989): 8, doi:10.2307/2928520.

[33] Annamarie Jagose, Inconsequence: Lesbian Representation and the Logic of Sexual Sequence (Ithaca, NY: Cornell University Press, 2002), xi.

[34] David M. Halperin, How to Do the History of Homosexuality (Chicago, IL: University of Chicago Press, 2002), 6.

[35] Carla Freccero, “Queer Times,” South Atlantic Quarterly 106, no. 3 (2007): 486, doi:10.1215/00382876-2007-007.

[36] Halperin, How to Do, 6.

[37] Heather K. Love, “‘Spoiled Identity’: Stephen Gordon's Loneliness and the Difficulties of Queer History,” GLQ: A Journal of Lesbian and Gay Studies 7, no. 4 (2001): 492, 491, doi:10.1215/10642684-7-4-487.

[38] Lisa Duggan, “The Discipline Problem: Queer Theory Meets Lesbian and Gay History,” GLQ: A Journal of Lesbian and Gay Studies 2, no. 3 (1995): 181, doi:10.1215/10642684-2-3-179.

[39] Ann Cvetkovich, An Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures (Durham, NC: Duke University Press, 2003), 8.

[40] Duggan, “Discipline Problem,” 181.

[41] Andreas Huyssen, Present Pasts: Urban Palimpsests and the Politics of Memory (Stanford, CA: Stanford University Press, 2003), 30–31.

[42] Morris, “My Old Kentucky Homo,” in Phillips, Framing Public Memory, 91; Michel Foucault, “Two Lectures,” in Power/Knowledge: Selected Interviews and Other Writings, 1972–1977, ed. Colin Gordon (New York, NY: Pantheon, 1980), 81–82.

[43] Castiglia and Reed, If Memory, 11, 23.

[44] Duggan, “Discipline Problem,” 181, 188–89.

[45] Cvetckovich, An Archive of Feelings, 8

[46] Castiglia and Reed, If Memory, 23

[47] Valerie Rohy, “Ahistorical,” GLQ: A Journal of Lesbian and Gay Studies 12, no. 1 (2006): 71, doi:10.1215/10642684-12-1-61.

[48] For multiple examples of such work, see Morris's Queering Public Address, Remembering the AIDS Quilt, and “(Self-)Portrait of Prof. R. C.: A Retrospective,” Western Journal of Communication 74, no. 1 (2010): 4–42, doi:10.1080/10570310903463760.

[49] Merriam-Webster Online, s.v. “anachronism,” accessed August 14, 2014, http://www.merriam-webster.com/dictionary/anachronism, emphasis in original.

[50] Els Elffers-van Ketel, The Historiography of Grammatical Concepts (Atlanta, GA: Rodopi, 1991), 74, emphasis in original.

[51] Carl R. Trueman, Histories and Fallacies: Problems Faced in the Writing of History (Wheaton, IL: Crossway, 2010), 115.

[52] Allan Megill and Donald N. McCloskey, “The Rhetoric of History,” in The Rhetoric of the Human Sciences: Language and Argument in Scholarship and Public Affairs, eds. John S. Nelson, Allan Megill, and Donald N. McCloskey (Madison, WI: University of Wisconsin Press, 1987), 224.

[53] Elffers-van Ketel, Historiography of Grammatical Concepts, 74.

[54] Rohy, “Ahistorical,” 65.

[55] Morris, “My Old Kentucky Homo,” in Morris, Queering Public Address, 95, emphasis in original.

[56] Castiglia and Reed, If Memory, 11.

[57] Carole Blair, Greg Dickinson, and Brian L. Ott, introduction to The Places of Public Memory: The Rhetoric of Museums and Memorials (Tuscaloosa, AL: University of Alabama Press, 2010), 14–16.

[58] Bradford J. Vivian, “Up from Memory: Epideictic Forgetting in Booker T. Washington's Cotton States Exposition Address,” Philosophy & Rhetoric 45, no. 2 (2012): 193, doi:10.5325/philrhet.45.2.0189.

[59] Kirt H. Wilson, “Debating the Great Emancipator: Abraham Lincoln and Our Public Memory,” Rhetoric & Public Affairs 13, no. 3 (2010): 460, doi:10.1353/rap.2010.0185.

[60] Rohy, “Ahistorical,” 68.

[61] Jagose, Inconsequence, 102.

[62] Rohy, “Ahistorical,” 69, 68.

[63] Carolyn Dinshaw, Getting Medieval: Sexualities and Communities, Pre- and Postmodern (Durham, NC: Duke University Press, 1999), 1, 12, 11.

[64] Valerie Traub, The Renaissance of Lesbianism in Early Modern England (New York, NY: Cambridge University Press, 2002), 32, 16, 32.

[65] Judith Halberstam, Female Masculinity (Durham, NC: Duke University Press, 1998), 46, 52–53.

[66] Dinshaw, Getting Medieval, 1.

[67] Michael Warner, introduction to Fear of a Queer Planet: Queer Politics and Social Theory (Minneapolis, MN: University of Minnesota Press, 1993), xxvi, xxvii.

[68] Cherry Smith, Lesbians Talk Queer Notions (London, UK: Scarlet Press, 1992), 25.

[69] Noreen Giffney, “Denormatizing Queer Theory: More than (Simply) Lesbian and Gay Studies,” Feminist Theory 5, no. 1 (2004): 74, doi:10.1177/1464700104040814.

[70] Smith, Lesbians Talk, 25.

[71] Susan Stryker, “Transgender Studies: Queer Theory's Evil Twin,” GLQ: A Journal of Lesbian and Gay Studies 10, no. 2 (2004): 214, doi:10.1215/10642684-10-2-212, emphasis in original.

[72] Giffney, “Denormatizing,” 75.

[73] Thomas A. Dowson, “Why Queer Archaeology? An Introduction,” World Archaeology 32, no. 2 (2000): 163, doi:10.1080/00438240050131144.

[74] David L. Eng, Judith Halberstam, and José Esteban Muñoz, “Introduction: What's Queer about Queer Studies Now?” Social Text 23, nos. 3–4 (2005): 1, doi:10.1215/01642472-23–3-4_84-85-1.

[75] Giffney, “Denormatizing,” 73.

[76] Eve Kosofsky Sedgwick, Tendencies (Durham, NC: Duke University Press, 1993), 8.

[77] Warner also asks whether “‘sexuality’ is an adequate grounding concept for queer theory.” See introduction to Fear of a Queer Planet, xiv, xv.

[78] Warner, introduction to Fear of a Queer Planet, viii–xi.

[79] José Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity (New York, NY: New York University Press, 2009), 1.

[80] Judith Butler, “Critically Queer,” in Bodies That Matter: On the Discursive Limits of “Sex” (New York, NY: Routledge, 1993), 230.

[81] Danny Osborne, “More about Oscar Wilde,” Danny Osborne (blog), accessed August 14, 2014, http://dannyosborne.com/sculpture/more-about-oscar.

[82] Osborne, “More about Oscar.”

[83] For instance, see Walter F. Otto, Dionysus: Myth and Cult, trans. Robert B. Palmer (Bloomington, IN: Indiana University Press, 1965), 175 and Sigridur Thorgeirsdottir, “Nietzsche's Philosophy of Life,” in Birth, Death, and Femininity: Philosophies of Embodiment, ed. Robin May Scott (Bloomington, IN: Indiana University Press, 2010), 173.

[84] Carole Blair, “Contemporary U.S. Memorial Sites as Exemplars of Rhetoric's Materiality,” in Rhetorical Bodies, eds. Jack Selzer and Sharon Crowley (Madison, WI: University of Wisconsin Press, 1999), 30.

[85] Sartre, Foucault, and Lacan are all prominently mentioned as critical scholars who investigated the gaze. See also Laura Mulvey, “Visual Pleasure and Narrative Cinema,” Screen 16, no. 3 (1975): 6–18, doi:10.1093/screen/16.3.6.

[86] Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis, ed. Jacques-Alain Miller, trans. Alan Sheridan (New York, NY: W. W. Norton & Company, 1998), 268.

[87] For example, sight lines are important factors in decisions about monuments on the National Mall. The embodied form of Abraham Lincoln, for instance, always needs to “see” the White House from the opposite end of the Mall. See Kirk Savage, Monument Wars: Washington, DC, the National Mall, and the Transformation of the Memorial Landscape (Berkeley, CA: University of California Press, 2009), 54.

[88] Erin J. Rand, “An Inflammatory Fag and a Queer Form: Larry Kramer, Polemics, and Rhetorical Agency,” Quarterly Journal of Speech 94, no. 3 (2008): 298, doi:10.1080/00335630802210377.

[89] Leah Ceccarelli, “Polysemy: Multiple Meanings in Rhetorical Criticism,” Quarterly Journal of Speech 84, no. 4 (1998): 395–415, doi:10.1080/00335639809384229.

[90] Osborne, “More about Oscar.”

[91] Savin-Williams, New Gay Teen, 1–2.

[92] Sinfield, Wilde Century, 3.

[93] Wilde, “De Profundis,” in Ross, Complete Works, 142.

[94] Mary Warner Blanchard, Oscar Wilde's America: Counterculture in the Gilded Age (New Haven, CT: Yale University Press, 1998), xii.

[95] Julia Prewitt Brown, Cosmopolitan Criticism: Oscar Wilde's Philosophy of Art (Charlottesville, VA: University of Virginia Press, 1997), 4.

[96] A paraphrasing of Max Beerbohm's definition of the dandy from his 1896 essay, “Dandies and Dandies” in Monica L. Miller, Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity (Durham, NC: Duke University Press, 2010), 7.

[97] Charles Baudelaire, “The Painter of Modern Life,” in The Painter of Modern Life and Other Essays, trans. and ed. Jonathan Mayne (London, UK: Phaidon Press, 1995), 27.

[98] Philippe Perrot, Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century (Princeton, NJ: Princeton University Press, 1994), 140.

[99] Liz Constable, Matthew Potolsky, and Dennis Denisoff, introduction to Perennial Decay: On the Aesthetics and Politics of Decadence (Philadelphia, PA: University of Pennsylvania Press, 1999), 14, 17.

[100] Michael S. Foldy, The Trials of Oscar Wilde: Deviance, Morality, and Late-Victorian Society (New Haven, CT: Yale University Press, 1997), 74.

[101] For example, see Kenneth Burke, A Grammar of Motives (Berkeley, CA: University of California Press, 1969), xv; Gregory Clarke, Rhetorical Landscapes in America: Variations on a Theme from Kenneth Burke (Columbia, SC: University of South Carolina Press, 2004).

[102] Carole Blair and Neil Michel, “Commemorating in the Theme Park Zone,” in Thomas Rosteck, At the Intersection: Cultural Studies and Rhetorical Studies (New York, NY: Guilford Press, 1999), 29–83; Blair, “Contemporary,” in Selzer and Crowley, Rhetorical Bodies, 36–37.

[103] For example, Gordon Brent Ingram, Anne-Marie Bouthillette, and Yolanda Retter, eds., Queers in Space: Communities, Public Places, Sites of Resistance (Seattle, WA: Bay Press 1997).

[104] “Statues in Dublin City: Monuments of the Irish Capital,” New York Times, March 31, 1879, 5.

[105] In this case, “quare” emphasizes a local pronunciation of the word “queer” not an intersectional queer persona emphasizing race. See E. Patrick Johnson, “‘Quare’ Studies, or (Almost) Everything I Know about Queer Studies I Learned from my Grandmother,” Text and Performance Quarterly 21, no. 1 (2001): 1–25, doi:10.1080/10462930128119.

[106] Tim Pat Coogan, The IRA (New York, NY: Palgrave, 2002), 50.

[107] Christine Casey, The Buildings of Ireland: Dublin (New Haven, CT: Yale University Press, 2005), 78.

[108] Baudelaire, “The Painter in Modern Life,” in Mayne, Painter, 27, 26, emphasis in original.

[109] Oscar Wilde, “The Critic as Artist,” in The Collected Works of Oscar Wilde (London, UK: Wordsworth, 2007), 1054.

[110] On the relationship between immortality and production, see Hannah Arendt, The Human Condition, 2nd ed. (1958; Chicago, IL: University of Chicago Press, 1998), 119, 84.

[111] Blair, “Contemporary,” in Selzer and Crowley, Rhetorical Bodies, 37.

[112] Deirdre Mulrooney, “Interview with Sculptor Danny Osborne for VULGO,” VULGO, 2010, http://www.vulgo.ie/features/sculptor-danny-osborne-on-his-oscar-wilde-statue.

[113] Mulrooney, “Interview with Sculptor.”

[114] Shawn Pogatchnik, “Oscar Wilde Statue Causes Comment; Dubliners ‘Let Poor Old Oscar Appear in Public Again,’” Toronto Star, November 22, 1997, L13.

[115] Pogatchnik, “Oscar Wilde Statue Causes Comment,” L13.

[116] Eileen Battersby, “Oscar Comes Out at Last—Within Sight of Home,” Irish Times, October 29, 1997, 9.

[117] Baudelaire, “The Painter in Modern Life,” in Mayne, Painter, 28.

[118] Ross, “Deceptive Picture.”

[119] Wilde, “Critic as Artist,” in Collected Works, 1014.

[120] McKenna, Secret Life, 183.

[121] Robert Hariman, “Decorum, Power, and Courtly Style,” Quarterly Journal of Speech 78, no. 2 (1992): 156, doi:10.1080/00335639209383987.

[122] Kimberlee Pérez and Daniel C. Brouwer, “Potentialities and Ambivalences in the Performance of Queer Decorum,” Text and Performance Quarterly 30, no. 3 (2010): 318, doi:10.1080/10462937.2010.483098.

[123] Pogatchnik, “Oscar Wilde Statue Causes Comment,” L13.

[124] Frank McDonald, “Random Sculpture and Hideous Orbs Spoil Merrion Square Park,” Irish Times, August 11, 2009, 10.

[125] Baudelaire, “The Painter in Modern Life,” in Mayne, Painter, 27, 26.

[126] Battersby, “Oscar Comes Out,” 7.

[127] Baudelaire, “The Painter in Modern Life,” in Mayne, Painter, 28.

[128] Deirdre Mulrooney, “A Geological Odyssey for Oscar as Wilde gets a New Jade Head,” Irish Times, November 12, 2010, 18. See also Osborne, “More about Oscar.”

[129] Amy Laughinghouse, “Dub Crawl,” Irish Times, November 7, 2009, 5.

[130] J. A. Barbey d'Aurevilly, Of Dandysim and Of George Brummell, trans. Douglas Ainslie (London: J. M. Dent & Company, 1897), 23.

[131] Thortsen Botz-Bornstein, “Rule-Following in Dandyism,” Modern Language Review 90, no. 2 (1995): 288, doi:10.2307/3734540, emphasis in original.

[132] Josephine M. Guy, ed., introduction to The Complete Works of Oscar Wilde: Historical Criticism Intentions, the Soul of Man, Volume 4 (Oxford, UK: Oxford University Press, 2007), lvii.

[133] Peter Raby, Oscar Wilde (New York, NY: Cambridge University Press, 1988), 124.

[134] Brown, Cosmopolitan Criticism, 1, 10.

[135] See Chatham Ewing, “American Wildes,” in Reading Wilde, Querying Spaces, eds. Carolyn Dever and Marvin J. Taylor (New York, NY: New York University Press, 1995), 38; Daniel A. Novak, “Sexuality in the Age of Technological Reproducibility: Oscar Wilde, Photography, and Identity,” in Bristow, Modern Culture, 63–95.

[136] Mulrooney, “Interview with Sculptor.”

[137] Jeffrey James Keyes, “Explore Dublin, London and Paris with the Spirit of Oscar Wilde,” Queerty, August 4, 2014, http://www.queerty.com/the-spirit-of-oscar-wilde-lives-with-new-gay-tour-company-20140804.

[138] Ellmann, Oscar Wilde, 302.

[139] “Merrion Square Park,” website for Dublin City Council, accessed August 14, 2014, http://www.dublincity.ie/main-menu-services-recreation-culture-dublin-city-parks-visit-park/merrion-square-park.

[140] Rosita Boland, “Fabulist Journeyman,” Irish Times, May 23, 1998, 63.

[141] Rohy, “Ahistorical,” 64–67.

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[143] Morris, “(Self)-Portrait,” 30–31.