Note: This post is an imitation of the style of essay found in Brian Blanchfield’s book Proxies: Essays Near Knowing (Nightboat, 2016).
Permitting Shame, Error and Guilt, Myself the Single Source
The first context in which I heard the word “paratext” spoken aloud was, of all things, a speedrun. For his contribution to Summer Games Done Quick 2018, FoldableHuman (a.k.a. Dan Olson) played through the notoriously bad survival-horror game Amy. Whereas most speedrunners, based on the limited sample of such runs I’ve watched, focus their commentary on the mechanical aspects of playing the game quickly, FoldableHuman made his run a presentation on the narrative and thematic aspects of the work. Notably, during a tedious-to-play-through segment of Chapter 3, he took the time to discuss how the game’s title character, a young girl who the player-character must shepherd through a sudden zombie apocalypse, is coded as being on the autism spectrum. Amy’s autism is not explicitly mentioned in the game itself, though her in-game behavior may suggest it. Rather, one finds evidence in the game’s paratext.
Paratext—that which is around the text, above and beyond it—refers to the collection of ancillary texts which frames the main text, which attracts and transitions the audience into it. Sometimes the paratext is attached to the text itself, as in the title of a poem, or a video game’s packaging. Other times it’s disconnected, obscure, even private: an advertisement, say, or the artist’s personal correspondence. In the case of the Amy speedrun, FoldableHuman cites the existence of marketing materials and interviews with the developers as evidence that the title character should be understood as being on the autism spectrum. As such, it is fair to criticize the game for how it depicts people in that community—its paratext invites that discussion.
Since watching that speedrun, the word “paratext” has been on my tongue a great deal. There are two reasons for this, I suspect. The first is that I find “paratext” to be a fun word, a word which at the same time evokes the fantastical and the mundane. On the one hand, it calls to mind such words as “paranormal” and “parapsychology,” terms which suggests worlds and ways of knowing beyond everyday experience. After all, one must often dig beyond the naked text to find the paratext. On the other hand, paratext has a certain “parenthetical” quality to it. A phrase enclosed by parentheses is implied to be digressive, expendable, interesting as trivia but not essential to the main argument. The oddity (the paradox?) of parentheses is that, by their visual appearance, they call attention to what they’re supposed to close off. We are told not to judge a book by its cover, but if covers were pointless would publishers bother including them?
The second is that I want to write an imitation of the style of essay found in Brian Blanchfield’s Proxies: Essays Near Knowing. Among the devices which Blanchfield uses frequently, especially at the beginning of essays, is meditating on a word, discussing its etymology and drawing out its implications. I feel that to write a successful Blanchfield imitation, I need a suitable word, and “paratext” is the best that I’ve come up with. It’s semi-obscure, and even better, I think that acknowledging paratext would have some thematic resonance with Blanchfield’s book.
To start with the title, that omnipresent example of paratext, the book is called Proxies and subtitled Essays Near Knowing, both of which suggest something that can only be approached indirectly, or partially. “This book will be exploratory,” the title tells us, and we may see the paratext surrounding it as a guidebook, a map, for that exploration. Moving to the book as a physical object, we find a rather minimalist display: the title and the author’s name in white text, printed on a black field. No cover image, no exciting typeface—this is a book where language, and by that I mean pure language, has primacy over the visual, or the visual rendered through text. (I’ve been tempted to include some visuals in this blog post—a picture of the book, an embed of the archived Amy speedrun—but to do so, I believe, would violate the spirit of Blanchfield’s work.)
Turning Proxies over to the back cover, we find the kind of paratext I most associate with poetry collections and literary prose: the blurb. Blurbs from critics or established writers are a standard part of book marketing, but my preferred genres raise the blurb to a vacuous artform. The literary blurb attempts to canonize a given book through sheer grandiosity, as though every collection were the First Folio and every friend and former teacher tasked with writing one, Ben Jonson. My senior year of undergrad, I complained to my thesis advisor about the blurb-industrial complex, and as a result he lent me a copy of Nick Demske’s self-titled collection of quasi-sonnets, whose sole blurb is a generic commendatory letter from Paul Ryan, Desmke’s representative in Congress, on winning a poetry prize. I have to assume Ryan never read the book, though most blurbs are so generic, who’s to say that’s not the case from writers as well?
Personally, I’ve stopped reading the content of blurbs. I merely skip to the attribution line now, and use my knowledge of the blurb-writers’ own works as a proxy for what the text in question will be like. If Brenda Shaughnessy likes a book, my thought process goes, I might enjoy the book; if Graham Foust likes it, I should stay away. In the case of Proxies, Blanchfield received a blurb from Claudia Rankine, the poet behind Citizen: An American Lyric, which I first read for an informal book club while at Johns Hopkins; Maggie Nelson, whom I have heard of but have never read; and two others whose names were wholly foreign to me. Not the ideal line-up of writers for me to make a judgment, but Rankine’s name may have sold me on Proxies had I come to the text naively. Whereas the cover design draws my attention to the book’s language, Rankine’s endorsement primes me for a book of social engagement, one which will be sympathetic to or in the voice of marginalized groups.
Further down the back cover, one finds the name of the publisher: Nightboat Books. For a giant publishing house, the presence of the name means very little to the reader; it’s hard to say what exactly the HarperCollins brand means. For small presses, though, there’s more often a distinct house “style.” In the case of Nightboat, the name signifies a level of formal inventiveness and academic density. I’ve had a mixed history with Nightboat’s catalog. On the one hand, I greatly admired Jill Magi’s Labor, which combined poetry with prose narratives and instruction manuals to comment on the contemporary state of the academic worker. It was a book I pulled at random from the Hopkins library stacks, and I’ve considered finding it to be among my happiest accidents. On the other hand, I found Bhanu Kapil’s Ban en Banlieue to be needlessly opaque, a work whose whole text reads more like paratext. I read it for the same book club for which I read Citizen, and I contributed nothing to that particular discussion. I’m certain that had I done so, it would have come out as little more than frustrated rage.
At certain moments, in hindsight, I suspect my hostile reaction to Kapil’s work was grounded less in aesthetics than in my own insecurities. I was the youngest member of our cohort at Johns Hopkins, the one person who came straight from undergrad, and I feared at the book club that I was also the person least versed in contemporary developments in poetics. While I had read some late 20th- and 21st-century poetry in writing workshops, almost all the poetry I had studied in a critical context was early modern: Chaucer, the Renaissance dramatists. Kapil’s book demanded a fundamentally different background to understand it, perhaps, and it is so much easier for readers to blame the book than themselves.
Nightboat tends to publish authors who the Johns Hopkins English Department would invite to give poetry readings. I was a student in the Johns Hopkins Writing Seminars, whose taste in poetry is traditional, canonical, formalist. The English Department, on the other hand, prefers that which is contemporary, subversive, experimental. At least, so go the stereotypes. I’m told that there is a rivalry, if not outright hostility, between the two departments, although just about every interaction I had with the English department, faculty and students both, was at least cordial and oftentimes friendly. Indeed, I knew one of the English doctoral candidates from my time at Carnegie Mellon. (To a certain, the grad students in both departments had to get along, as we shared a common workspace.)
It was at one of the English Department poetry readings that I first became aware of Proxies. In effect, if not in fact, this was the primary paratext that brought me to Blanchfield’s work. It was a Friday in late October 2016, right after our readings class for the week had let out. (Indeed, my colleagues and I had to hustle downstairs and down the hall to make in on time, because our class ran long.) The room was pretty packed compared to the other readings in the series, and in my opinion the crowd’s presence was more than justified. Blanchfield’s presentation was engaging, but natural, never self-consciously performative. His choice of essay to read showcased the breadth of his powers as a writer, offering something to audience members of all aesthetic stripes. I dare say it was the best reading I saw while at Hopkins, certainly the best out of the English Department.
In one crucial sense, though, the reading was a disappointment. The event was advertised as being a poetry reading—even reading the text comes with paratext—but it seems the people in charge of booking writers for the series neglected to tell Blanchfield that. He did what writers are wont to do at such events: read from the book he was trying to promote. To the extent that was his goal, it worked. In the parlance of the book blogging world, Proxies immediately went onto my TBR afterwards. Had I been a fan of his verse, I may well have been put out by that turn of events. But then again, if what is delivered is engaging, who cares about the packaging? Paratext is merely suggestion, not a contract, right?
The place where the concept of “paratext,” as I’ve been discussing it, feels most relevant to Proxies is also the place where I’m least certain the term applies: the introduction laying out the project. The conceit, or less charitably the gimmick, of Blanchfield’s book is that all the information presented in each essay is based solely on his memory. He makes no use of search engines to find facts; he doesn’t return to books to verify how he paraphrases their points. (To paraphrase, that is, to speak around what has been said.) Instead, he includes a lengthy section at the back of the book called “Correction,” where he corrects whatever mistakes he subsequently finds in the essays, for instance, how he attributes Plato’s mistrust of poets to Aristotle.
Is that introduction paratext? I’m not certain. An introduction does constitute part of a book’s front matter, alongside (para-) such elements as dedications, epigraphs, and the table of contents: all clear instances of paratext. But that page-and-a-half of preamble is so integral to understanding the essays as a collection that deeming it above, beyond or around the main text doesn’t capture its significance. Or is the correction section the truly integral part of the text, and the introduction merely the explanatory link between the essays and the corrections? I’m alas a poet, and one not especially fluent in literary theory. I’m not qualified to discuss these topics. I have just used the format of Blanchfield’s essays to give myself permission to do so.
In fairness, I’d argue that’s also what Blanchfield’s essays do for the author himself. From their titles, their paratext, one might assume his essays are technical and detached. They have names like “On Propositionizing,” “On Abstraction,” “On the Leave.” And, true, many start out that way. But those high-minded concepts are really entry points, permission, to discuss more intimate matters. “On Frottage,” the piece he read at Johns Hopkins, begins with an exploration of queer sexual terminology before transitioning to his life as a gay man in 1990s New York, during the height of the AIDS epidemic. “On Peripersonal Space,” my pick for the collection’s best essay, uses the title concept as a metaphor for Blanchfield’s formerly tight, now strained relationship with his mother.
I’ve done nothing quite so bold or naked here, though I believe thinking through this piece has allowed me to reflect on my time at Johns Hopkins. I find myself at a transitional point in my professional life, and I’m still unsure of how to process everything that has happened in the past few years. (Certainly “On Dossiers” has scared me off of pursuing academia, at least in the near term.) Perhaps I have latched onto paratext over text because it represents the point before commitment, the last experience before actual experience. It is the perfect element for someone who is only “near knowing” at time of composition.
In FoldableHuman’s Amy commentary, he does not use the exact word “paratext,” but rather its adjectival form: “There is no direct reference to autism in the game, but there are paratextual references to it. It was used in interviews, in promotional materials for the game. The developers did highlight this aspect of it.”
In addition to the title, subtitle, and author’s name, the front cover of Proxies also includes, in small print and curly brackets, the phrase “a reckoning.” Neither the other paratextual elements nor Nightboat’s website indicate that this phrase is an additional subtitle. Rather, it appears to serve a similar function as the phrase “Poems” or “A Novel”—identifying the genre of a work while suggesting it possesses an aura of literary quality, the sort of paratext that brings not the reader, but a particular kind of reader, to the text.
According to Goodreads, I first placed Proxies on my to-read shelf on October 7, 2016, which would hardly qualify as “late” in the month.