Held in abusive custody by the laws of becoming, they hang on to your finger for dear life. (139)

—Avital Ronell, "On the Unrelenting Creepiness of Childhood: Lyotard, Kid-Tested," in Minima Memoria, ed. Nouvet, Stahuljak, and Still

Baptisons-la infantia, ce qui ne se parle pas. Une enfance qui n'est pas un âge de la vie et qui ne se passe pas. Elle hante le discours. Celui-ci ne cesse pas de la mettre à l'écart. Mais il s'obstine, par là même, à la constituer, comme perdue. A son insu, il l'abrite donc. Elle est son reste. Si l'enfance demeure chez elle, ce n'est pas quoique mais parce qu'elle loge chez l'adulte. (9)

[Let us baptize that which does not speak infantia. A childhood that is not a phase of life and which does not pass. It haunts discourse. It {discourse} never ceases to set infancy apart, yet infancy persists, constituting it, as if lost. Unknowingly, then, {discourse} shelters infancy; infancy is its remainder. If infancy remains in its own place, it is not despite dwelling in the adult, but because of it.]

—Jean-François Lyotard, Preface, Lectures d'Enfance (Galilée, 1991; bootleg translation my own fault).

As soon as we attempt to talk about infancy we freeze it; we make it something that "loge chez l'adulte" and "qui ne se passe pas." Yet the fact that it passes is the defining condition of childhood. The state of infancy is all-confining, all-determining, inexorable, and is at the same time always slipping away, minute by minute: that's the point. It's temporary.

Temporariness is a difficult concept; therefore, so is childhood.

Important fact: in addition to the Animals Dressed as Other Animals Tumblr, there is an Animals with Stuffed Animals Tumblr. The former is more uncanny, the latter cuter, but obviously the two are of a piece. In the latter the animal confronts the simulacral animal; in the former the animal wears it.

Q. Is there an entire Tumblr devoted to animals dressed as other animals?

A. Of course there is.

Double double

There's an uncanny (yeah, I went there) degree of consonance between my research and teaching lately. I'm currently working on an article on the animals and children (and feral children), and one of the things I'm writing about is that there's usually a double mimesis at work in instances of the cute and the uncanny. For instance, in Sianne Ngai's example of a cute, "anthropomorphic" frog sponge, the sponge isn't just anthropomorphized. Instead, the sponge is made to look like a frog that has in turn been anthropomorphized. Likewise, these poor pets are animals that have been dressed up to look like children dressed as animals. Mimicry is thought to be the particular domain of children and animals. (This is why we always fear that kids will do exactly what they see on TV. I mean, sometimes they do tie a bath towel around their necks and try to fly. Mimics!) It seems that, faced with one another, children and animals just go the whole hog and mimic doubly.

Now a student rightly notes the same dynamic at work in Andrew Lloyd Webber's CATS, of which we watched a clip in class (since I am the meanest teacher). My student writes:

As I mentioned in class, I think maybe the core of the problem is that when I see Cats the Musical, I don’t see cats; I see people acting like cats.

After Tuesday’s discussion, I realized that the creepiness is actually one level deeper than that. It’s not just people pretending to be cats, it’s people pretending be cats pretending to be people. The reason why Mr. Mistoffelees gets a song/poem is that he does magic like a human magician. He hunts mice and whatnot, but he also does tricks with dice and cards, which require opposable thumbs (and...wit), which we have and cats do not.

I've had research and teaching converge before, but this is really kind of amazing. (It helps to have great students.)

(Posts related to the article in progress: 1, 2, 3, 4, 5, 6)


Ngai, Sianne. "The Cuteness of the Avant-Garde." Critical Inquiry 31.4 (Summer 2005): 811-47. Print.

Taussig, Michael. Mimesis and Alterity: A Particular History of the Senses. New York: Routledge, 1993. Print.

Better (than this): cuteness is a moment in the uncanny, the heimlich moment subject to reversal. The uncanny has a diachronic dimension that we tend to efface in our attention to it as a minor aesthetic category.

(By the way, Marilyn Ivy writes about the link between cuteness and the uncanny here [Muse], though I would go further than she does.)

Noted:

1. The uncanny is the original minor aesthetic category.

2. Cuteness is a special (heimlich) case of the uncanny.

Freud, Sigmund. “The ‘Uncanny.’" In Freud, The Standard Edition of the Complete Psychological Works of Sigmud Freud. Ed. James Strachey et al. Vol. XVII: An Infantile Neurosis and Other Works. 218-52. London: The Hogarth Press and the Institute of Psycho-Analysis, 1955. Print.

Ngai, Sianne. “The Cuteness of the Avant-Garde.” Critical Inquiry 31.4 (Summer 2005): 811-47. Web. JSTOR. 5 February 2011.