The Queer Child: Or, Growing Sideways in The Twentieth Century (Review)
The Queer Child: Or, Growing Sideways in The Twentieth Century (Review)
Century (review)
Gabrielle Owen
The Lion and the Unicorn, Volume 35, Number 1, January 2011, pp. 101-106
(Review)
———. The Child as Poet: Myth or Reality? Boston: Horn Book, 1984.
Nodelman, Perry. The Hidden Adult: Defining Children’s Literature. Baltimore: Johns
Hopkins UP, 2008.
———. The Pleasures of Children’s Literature. 2nd ed. New York: Longman, 1996.
Sloan, Glenna. “But Is It Poetry?” Children’s Literature in Education 32.1 (2001):
45–56.
Sorby, Angela. Schoolroom Poets: Childhood and the Place of American Poetry,
1865–1917. Lebanon, NH: U of New Hampshire P, 2005.
Styles, Morag. From the Garden to the Street: Three Hundred Years of Children’s
Poetry. London: Cassell, 1998.
Tarr, Anita. “‘Still so much work to be done’: Taking up the Challenge of Children’s
Poetry.” Rev. of From the Garden to the Street: An Introduction to 300 Years of
Poetry for Children by Morag Styles. Children’s Literature 28 (2000): 195–201.
Tarr, Anita, and Richard Flynn. Introduction. “‘The trouble isn’t making poems, the
trouble’s finding somebody that will listen to them’: Negotiating a Place for Poetry
in Children’s Literature Studies.” Children’s Literature Association Quarterly 27.1
(2002): 2–3.
Thomas, Jr. Joseph, T. Poetry’s Playground: The Culture of Contemporary American
Children’s Poetry. Detroit: Wayne State UP, 2007.
Stockton, Kathryn Bond. The Queer Child: or, Growing Sideways in the Twentieth
Century. Durham, NC: Duke UP, 2009.
Queer theory is looking at children. Perhaps its first glance was the collection
of essays Curiouser: On the Queerness of Children (2004), edited by Steven
Bruhm and Natasha Hurley, which gathered work by Judith Halberstam, James
Kincaid, Eve Kosofsky Sedgwick, Michael Warner, and indeed Kathryn Bond
Stockton herself. These essays represent moments over the past twenty years
when queer theory, however briefly, has turned to children as a site for inquiry,
a powerful location for questions of identity, sexuality, language, and culture.
Stockton’s The Queer Child: or, Growing Sideways in the Twentieth Century
is the first of its kind, the first extended meditation on both queerness and
childhood. Stockton looks to twentieth-century representations of children in
film and fiction to read for images that have recurred throughout the century:
the ghostly gay child, the grown homosexual who is made childish, the child
queered by Freud, and the child queered by innocence, color, or money. These
images of children are seldom acknowledged or accounted for in traditional
social histories. Stockton does not do the work of social history, does not
102 The Lion and the Unicorn
linger long on the discourses of sociology, medicine, or law, but instead aims
to supplement these modes of history-making with the stories told by novels
and films, stories rich with the gaps, overlaps, and excesses of meaning from
which the queer child appears.
The organization of the book can feel thematically strange or arbitrary,
though this feature is likely purposeful. Stockton divides The Queer Child
into three sections of paired chapters, set up to “freely” explore “three realms
of growing sideways: sideways relations, motions, and futures” (52). These
notions of sideways growth often collapse into one another or fragment entirely
in different manifestations. The Queer Child is stylistically playful, playing
with the repetition of words and metaphors, a practice of scholarly writing
queer theory has taken from deconstruction to reveal the uncertainties and
movement of language. Thus, the initial sections of the introduction may feel
unwieldy. Stockton’s most vivid and articulate moments arrive in her readings
of twentieth-century novels and films. In five chapters, she lucidly unfolds
scenes from both the page and the screen to bring the queer child into view.
The introduction, “Growing Sideways, or Why Children Appear to Get
Queerer in the Twentieth Century,” is much less an outline of what is to
come than a substantive argument framing Stockton’s theoretically inventive
terms and concepts. For Stockton, all children are queer. In one sense, there
is the gay child, the child understood as having same-sex desires, a child
whose desires are still unthinkable, or only available retrospectively, in our
language or representations. Stockton wonders if we are getting closer to
the gay child in the present tense, the day that a person might say, “I am a
gay child” (19). However, she is led to ask: “What this specific labeling will
mean for children’s creative occulting of themselves in either metaphors or
narrative strings is, of course, anyone’s guess. What will get lost through this
way of being found?” (19). Children are assumed to be straight, Stockton
says, but really they are assumed to be “not-yet-straight,” since “they cannot,
according to our concepts, advance to adulthood until we say it’s time” (6).
In this sense, Stockton explains, “the child from the standpoint of ‘normal’
adults is always queer” (7).
These twentieth-century conceptions produce a number of curious and
interrelated versions of the queer child, including the homosexual who is
figured as childlike or immature in psychological discourses. Stockton dis-
covers revisions of this figure in works as far-ranging as Radclyffe Hall’s
Well of Loneliness (1928) and Tim Burton’s film Charlie and the Chocolate
Factory (2005), where Johnny Depp plays an androgynous and child-like
Willy Wonka. Closely related is the child queered by Freud. Freud “queered”
the child by locating what he called “sexual perversions” in infancy and
childhood, perversions that he considered to be a natural part of human de-
velopment. Thus, Stockton argues, Freud constructs a queer child who only
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young teacher in The Pupil, a boy who with his teacher takes pleasure in
suffering, and whose love is violent and intense. She offers The Pupil as a
radical depiction of a queer child’s agency—more radical even than that of
Edward Carpenter, whose essay “Affection in Education” (1899) argued for
the purposeful homoeroticism of relations between boys and their teachers.
The Pupil serves as a way of speaking back to present cultural preoccupa-
tions with pedophilia and raises important questions about what it means for
a child to consent to pleasure, to seduce or to harm an adult, or to consent
to harm to oneself.
The second chapter, “Why the (Lesbian) Child Requires an Interval of
Animal,” explores the sideways relation between girls and dogs in three early
twentieth-century novels: Virginia Woolf’s Mrs. Dalloway (1925), Hall’s The
Well of Loneliness, and Djuna Barnes’s Nightwood (1936). Stockton suggests
that dogs work as metaphor, not simply in the sense of substitution, but in a
new theorization of metaphor that allows the suspension of time for women
who love other women. The adult women in these novels are given queer
childhoods through memory and narrative, but they are also rendered childish
adults through the delay of heterosexual marriage or the stylistic suspension
of language and plot. Delay is important to Stockton as an alternative way to
talk about and conceptualize growth. Growth usually implies forward motion,
progress, or development, but delay allows for movement in unpredictable
directions. Stockton explores the queer ways of being made possible within
delay, or what she calls “growing sideways.”
In the third and fourth chapters, Stockton delves into “sideways motions,”
which she understands as closely linked to the issue of motives. Her examples
come via intricate and unexpected readings of novels and films that make
children’s agency a central concern. “What Drives the Sexual Child? The
Mysterious Motions of Children’s Motives” focuses primarily on Lolita, in-
cluding Nabokov’s 1955 novel and film versions by Stanley Kubrick (1965)
and Adrian Lyne (1996). Stockton argues that the metaphors of animal and
vehicle that describe Lolita’s physical movements (or motions) indicate her
sexual desire and willful action (or her motives). “Feeling Like Killing? Mur-
derous Motives of the Queer Child” turns to criminal intent in two stories of
murder: Truman Capote’s novel In Cold Blood (1965) and the film Heavenly
Creatures (1994). In different ways, these two stories feature childhood as the
location for motive, even for adult actions. Stockton theorizes the way motive
is itself retrospective, applied only after an action has occurred, conceptually
linking motive to constructions of childhood and what Stockton (per Eve
Sedgwick) calls the “protogay” child. Even these constructions find themselves
retrospectively loaded with motives and meanings that are intended to explain
the later actions of the adult self. Motives move sideways, Stockton argues,
by putting the self-as-child beside the adult in a queer temporal logic that
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