Berto_Tony_201307_PhD .pdf - University of Guelph

120
century gay theatrical representations, and these may contribute to perpetuating out-dated
understandings concerning homosexuality. These associations allow a reading of
Malcolm’s abusive behaviour as a disease, one that he acquired as a presumably defenseless
youth, and one that he consciously attempts to treat. However, this perception of disease
maps onto the play's characterisations of same-sex desire, and may suggest homosexuality
itself is a contagion. While these motifs do not reflect contemporary legal, medical or even
academic understandings of homosexuality, they do underscore some widely held
understandings concerning homosexuality that still circulate in contemporary Canadian
society.
Twice during the play, Malcolm seeks out Derrick at a video gallery. Malcolm then
pays Derrick to endure a violent sexual encounter. Malcolm describes their first tryst: “I
grab his flimsy arm . . . and I deliver a blow to his soft belly, send him bent over now. I
strike that body maybe five times, he’s on the ground, and that’s it, enough is enough”
(MacLennan, Shooting 84). Derrick adds to their sexual and potentially abusive interaction
by selling Malcolm an undeveloped roll of pornographic film he has taken (31). The
pictures show a Derrick as a "hurt kid" (48). They arrange that Derrick will shoot and sell
more films to Malcolm in future. Malcolm then brings the film to Len and asks him to
develop the photos. Malcolm's mind-set and his values are indicated in this scene. Though a
lawyer, charged to uphold the law, he not only sexually engages a seventeen-year-old
(which, due to his position of power, is illegal), but also violently (Department). He pays
Derrick for this abuse, which further implicates him in child prostitution. He also becomes
complicit in generating child pornography and furthermore implicates his friend Len in its
production. His ethical position becomes clear in a monologue where he discusses trying to