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Thompson, Peter. “Crossing the Gendered “Clothes”-line: Lanini y Sagredo’s El parto de Juan Rana.” Bulletin of the Comediantes 53.2 (2001): 317-333. Print. Valenzuela, Luisa. Cola de lagartija. Mendoza: Editorial Bruguera Argentina, 1983. Print. - - - . The Lizard’s Tail. Trans. Gregory Rabassa. New York: Farrar Straus Giroux, 1994. Print. Velasco, Sherry. Male Delivery: Reproduction, Effeminacy, and Pregnant Men in Early Modern Spain. Nashville: Vanderbilt UP, 2006. - - -. “Performing Male Pregnancy in Lanini y Sagredo’s El parto de Juan Ran.” Comedia Performance 1.1 (2004): 192-218. Print. Zapperi, Robert. The Pregnant Man. Trans. Brian William. London: Harwood Academic Publishers, 1991. Print. transverse 51
52 transverse evelyn lau’s persona and choose me: the aesthetics of pathos, pathology and racial melancholia jason d’aoust Enlightenment cannot be duped [...]. Pity stands in disrepute. Adorno & Horkheimer Le pathos représente une manière de socialiser l’affect et de l’intégrer dans un ordre qu’il risquerait de perturber. Anne Coudreuse 1 D’après nos habitudes, rien ne communique moins de soi qu’un tel sujet qui en fi n de compte ne cache rien, qui n’a qu’à nous manipuler, et je vous assure qu’il ne s’en prive pas. Jacques Lacan 2 Reception of Evelyn Lau’s fi ction has either criticized her self-involvement as a writer or has sought to see past authorial self-refl exivity and establish her as a new kind of minority writer. Both of these critical stances locate “Lau the writer” on the fringe of the social: while the former critics address her pathological identifi cations, the latter welcome her marginal point of view as an authorial locus from which renewed social criticism might come forth. Such confl ation of the author’s fi gure with her work has led to a relative disregard for the aesthetics of Lau’s writing. Unfortunately so, for the tension produced by the silent pathos in Choose Me – the descrepancy between the characters’ passionate emotions and their restrained physical expression – informs both of these critical stances. On one hand, it demonstrates how this written tension can be criticized as the acting out of the author’s previous suffering in a narcissistic use of literature as the public exorcisation of her daemons. On the other hand, this represented gap between emotion and its expression allows critics of minority politics to speak on behalf of the alienation of racial subjects. By foregrounding the pathos of these stories – a term that also implies a conscious appeal to the reader’s pity – through a discussion of Anne Coudreuse’s Le goût des larmes au XVIII e siècle, and by insisting on the text’s multiple layers of representation,
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