Pathos 2

INTRODUCTION  ||  DISIDENTIFICATION  ||  THEORY  ||  TECHNOLOGY  ||  QUEER RHETORIC  ||  LOGOS  ||  PATHOS  ||  ETHOS  ||  TONGUES  ||  WORKS CITED

 

Sara Ahmed, writing in The Cultural Politics of Emotion about “queer feelings,” actually advocates—“ideally,” as she puts it—for a permanent state of discomfort:  For Ahmed, discomfort emerges from a rejection of the norms that dominate, sustain, and proliferate heterosexual privilege and heteronormativity.  In contrast, queerly lived lives “would not desire access to comfort; they would maintain their discomfort with all aspects of normative culture in how they live. Ideally, they would not have families, get married, settle down into unthinking coupledom, give birth to and raise children, join the neighborhood watch, or pray for the nation in times of war.  Each of these acts would ‘support’ the ideals that script such lives as queer, failed and unliveable in the first place” (149).  Ultimately, such discomfort might serve to open up ways to conceive of heteronorms in different ways, in more capacious ways, to honor and appreciate diverse life choices—not just those focused on the reproduction of particular consuming families replicating more particular consuming families.  As Ahmed, puts it, “[t]o feel uncomfortable is precisely to be affected by that which persists in the shaping of bodies and lives.  Discomfort is hence not about assimilation or resistance, but about inhabiting norms differently” (155).

We can see such discomfort at work in the AIDS activism of the 1980s and 1990s, noting how “die-ins” played with pathos to evoke not just pity for the queers who had died shrouded in governmental and cultural silence, but also consternation and distress. The emotional impact of the “die-in” comes, we believe, less from the inducement of pity than it does from disruption, a disruption that mimics in the larger culture the sense of surprise, shock, and even fear that AIDS caused in queer communities. The “die-in” plays critically with the pathetic image of the dead queer, the only good kind of queer. The death of queers becomes less and less a private matter and erupts publicly to inconvenience the larger polis.