Hey there. It's been a minute since I've done any blogging about writing/craft since there has been a lot of excitement over my publication, so I decided I wanted to get back to why I had initially started blogging in the first place. A year and a half ago I threw myself into a rabbit hole - one that had a very lofty goal of using transgressive fiction to intentionally create social change. This is a massive task for something like a monograph, which I kind of want(ed) it to turn into. I started some initial leg work, like, tip of the iceburg stuff, that I wrote a beginning essay on, and presented on at a conference, but then research got set aside for life things and other writing endeavors. I was reminded of it when talking to a friend about narrative identity (future research for this topic) and decided I wanted to share with you the research I have already done. That being said, welcome to my research on creating social change - transgressive fiction's role in shaping past and future revolutions, baby!

Revolutions have, historically, been messy. They’ve come at the cost of economic efficiency, trauma, and precious lives, but still, many communities have taken their shots at revolution, hoping for a ‘better’ society. Chirot (2020) says revolutions are “Inspired by ideals that call for the building of a better society by deliberately and quickly changing, at a minimum, key political rules and institutions” (p. 5), and when a group of people agrees on these new ideals, that’s when a revolution may begin. Depending on who you ask, revolutions may be a violent overthrow of government or, maybe more simply, an instrument to combat oppression. Regardless, they require dedication and work in order to succeed. While not the first nor the last, The American Revolution is a world-famous example of this. Starting not even as a revolution, but just a desired reform of the American-British relationship, the tension rose between divided sides in America, turning the conflict into a civil war. Blanco Núñez explains how with American colonial protests turning into battles, outside countries eventually joined the fight against Britain, and it became as much a world war as it was America’s fight for independence (Blanco Núñez, 2018, p. xvii). In the end, the British negotiated a close to the war.
John Adams, a leader of the Revolutionary War, did not consider the armies and battles to be the revolution though. In a letter to Thomas Jefferson, Adams wrote:
 
"What do we mean by the Revolution? The war? That was no part of the Revolution. It was only an effect, and consequence of it. The revolution was in the minds of the people, and this was effected, from 1760 to 1775, in the course of fifteen years, before a drop of blood was drawn at Lexington. The records of thirteen legislatures, the pamphlets, newspapers, in all the colonies out to be consulted, during that period…" (Bergh et al., 1905, p. 347).
 
Adams believed writing to be what revolutionized America. It was the educating, the mobilizing, and the inspiring that stirred the people to build what Chirot (2020) called a better society; the bloodshed that resulted was just a consequence of that. Boston Tea Party Ships & Museum (2022) also notes how prose played part in the revolution. General Washington led troops across the Delaware River to attack Trenton in December of 1776 and before battling, the troops were read a passage from Thomas Paine’s pamphlet, The Crisis to inspire them. Writing, it seems, has long had the power to comfort and persuade people. In this paper, I examine characteristics of contemporary transgressive fiction, the process of how minds change, and literature that has made change, to argue how transgressive fiction can be used as a catalyst for future revolution.

Changing politics or institutions, something so ingrained in a culture, requires work and time because the social values that some want changed are typically built into systems over time; they are a part of culture, so to change any rules, laws, or codes of conduct, means changing the culture. Culture is defined as the behavior that a group of people learns socially, reflecting the traditions of that people that get passed on from generation to generation (Dirette, 2014; Hofstede, 1997; see also Nasir et al., 2006, as cited in How People Learn II: Learners, Contexts, and Cultures). As discussed in How People Learn II: Learners, Contexts, and Cultures, culture reflects the traditions of people that get passed on from generation to generation. It’s the rules that are understood and are expected to be followed by the group that people belong to. Challenging people to create new rules and systems, especially on a relatively short timeline, is difficult. This is oftentimes where revolting begins. The hope is that a revolution will work more quickly to spark the desired change. To revolt and to drastically change institutions or politics inherently involves transgression, which is the act of breaking a law or code of conduct, so while a revolution includes transgression, transgression does not automatically create a revolution.

Breaking social order can be powerful though, and writers have tried to use writing to instigate changes to their societies. One way is by using transgression to call out harmful norms despite backlash from the social majority. Christina Foust (2010) said, “…as scholars and practitioners have figured it, transgression's threat to social order runs deeper than violating the rules and expectations that govern what is normal” (p. 6). Transgression threatens the community because those actions show that social order is fluid rather than fixed like people think. While a multitude of varying definitions grasp at characterizing transgressive fiction, I will refer to Coco D’Hont’s (2020) definition: transgressive fiction is “A historically evolving type of fiction that takes on a specific form and level of importance during specific historical periods, changing along with the extra-textual sociopolitical shifts it explores” (p. 2). She argues that transgressive fiction is not just text that is shocking or has socially unacceptable behavior, but that it develops social ideologies, and crosses between boundaries. Her view, however, claims that transgressive texts simply reflect society. D’Hont (2020) thinks transgressive fiction has the “potential to disrupt seemingly stable ideas, norms and conventions” (p. 5) but that it has “an unclear relationship to social activism” (p. 4). While it does defy society, she does not think, like John Adams does, that it affects society enough to create a revolution. Foust (2010), however, thinks that “transgression typically translates into "resistance" because its actions oppose dominant powers that occupy preferred positions in hierarchies" (p. 11), and this resistance can turn into a revolution. This means that if a transgressive text is strategic, it should be able to influence a culture.

Culture, however, is not easy to transform. Culture is the way that individuals learn to exist among others. These mutual understandings get expressed through actions, expectations, and beliefs, and similarities that develop among the people who surround each other is what builds community. With culture at the heart of society, it’s necessary to acknowledge the role that it has in resistance, revolution, and transgression. Culture is reflected in the time period in which someone lives; it’s reflected in what people learn and how they learn (How People Learn II: Learners, Contexts, and Cultures, 2018) and that develops a group identity. McRaney says that an outsider who wants to impose different cultural practices on a group threatens the group’s identity (2022). That’s why many people choose not to adopt new cultural practices because once someone demonstrates behaviors outside of the community’s norms, the person becomes an outsider. Most people do not want to be outsiders. It’s also why changing culture requires specific strategies to effectively work. In her book, Extreme States: The Evolution of American Transgressive Fiction 1960-2000, D'Hont (2020) argues that American transgressive fiction analyzes transgression in its societal context and reflects transgressive dynamics that occur in society, but the writing itself isn’t transformational. To prove her point, she examines five transgressive texts, Fight Club, American Psycho, Hogg, The Monkey Wrench Gang, and Beloved. Four are largely known as transgressive for their shock value and aesthetic characteristics, and one particularly holds significance during a specific historical period and explores extra-textual sociopolitical shifts. She admits the novels push the boundaries of what’s considered socially acceptable, and exaggerate the reconstruction of American ideologies, but since the writing isn’t transformational, they do not lead to concrete revolution.

Over the course of her discussion of these five texts, D'Hont (2020) explores a variety of craft choices that these stories employ. I will highlight three of them. One that she brings up frequently across the texts is the use of the body (1) (2). For example, in Fight Club by Chuck Palahniuk, men choose to physically fight each other to express dissatisfaction with their lives and masculinity. Bodily violation is common in transgressive literature, but it makes sense: our body is one of the only things that we will always own during our lifetime and the act of violating a body challenges that or takes it away. This act can symbolize multiple forms of loss that are relevant to a variety of American ideals, making it a strong example of transgression. Secondly, D’Hont (2020) also explores constructed hierarchies through the use of an “other.” In the novel Hogg by Samuel R. Delaney, for example, she describes the character Hogg who is portrayed as physically filthy and running a rape business. His character represents a sharp contrast to typically displayed American values. Thirdly, D’Hont’s (2020) book discusses how the novels explore societal complexities. This includes Edward Abbey’s The Monkey Wrench Gang’s philosophy on anarchism and social margins, and Toni Morrison’s Beloved’s redevelopment of the perception of race and gender, to name just a few. While these three craft choices demonstrate transgression’s role in shaping society, and call attention to situations by creating exaggerated, aesthetic systems where the authors reveal, destruct, interrogate, and reform “the ideological structures of their extra-textual content” (p. 16), D’Hont acknowledges that clear solutions are not typically given and so the stories do not end up impacting social change.

While it’s true that the books D’Hont (2020) discussed did not create revolutions, there are books that are recognized as having prompted change. Three of these books include: Rachel Carson’s Silent Spring, Harriet Beecher Stowe’s Uncle Tom’s Cabin, and Upton Sinclair’s The Jungle. These books can all be considered transgressive because of their time-period importance and their defiance of extra-textual norms which shocked and upset people by exposing them to a part of American society that many were unaware of. These books did more, though. Silent Spring wrote about the hazard of pesticides entering the food chain and damaging the environment, which resulted in increased public awareness of nature’s vulnerability, the beginnings of environmentalism, and identifying which pesticides were dangerous (“The Story of Silent Spring”, 2015). Uncle Tom’s Cabin portrayed the evils of slavery and arguably impacted the Civil War by changing popular opinion. Its relatable story transformed slavery from an abstract concept to a real horror and moved society to enact antislavery laws (McNamara, 2020). The Jungle’s story of dreadful working conditions in the meat packaging industry reached President Roosevelt and resulted in the Meat Inspection Act of 1906, regulations on food and drugs, and the formation of the Food and Drug Administration (“Upton Sinclair's The Jungle”, n.d.). These books were able to transgress and transform, showing that it’s possible to use transgressive fiction as a way to revolutionize.
 
Considering stories that have not revolutionized America despite diving deep into complex, transgressive plots, and ones that have, and how fiction can create future revolutions, it’s necessary to consider social attitudes, norm perceptions, and how minds change. All that considered, the following ways are my initial thoughts on how writers can employ the techniques of transgressive fiction alongside the science behind how minds change to use the genre as a vehicle for social change.

Unlike the five books D’Hont explores, these three books identified a specific problem. D'Hont’s (2020) analysis said that in her discussed books, “The characters aim their actions at a faceless government but their inability to clearly define the shape of the “system” complicates their ability to overthrow it” (p. 74). McRaney (2022) describes how even if a society agrees on a moral (such as “mass shootings are a problem”), they may not agree on the interpretation of its facts, like what has caused the problem. These disagreements start to divide the society, even on a topic agreed upon, and then people struggle to update their beliefs, even when offered new information (p. 83). By Silent Spring, Uncle Tom’s Cabin, and The Jungle aiming actions and criticisms at a clear system, whether it was companies creating pesticides or producing harmful meat, it was clear who society needed to take down. Critiquing social complexities is an important part of transgressive fiction. Using this characteristic of the genre to create change just requires writers to make some adjustments in order to be very clear so that readers' understandings of the topic, and their anger to propel change align. By making the conflict and opposition clear, it’s easy for readers to understand who to fight.

Additionally, effective craft choices in the three books that changed society include relatable characters, which aligns with culture and how it impacts our choices. As mentioned previously, communities are rooted in culture. To stay in our community, we must maintain its cultural beliefs and values or we risk being pushed out. Amidst our efforts to remain in our community and avoid being pushed out, many people adopt the group’s beliefs. The culture that then develops in the group becomes what’s known as group identity (Dovidio et al., 2009; McRaney, 2022; Tankard & Paluck, 2016). In David McRaney’s (2022) book, How Minds Change: The Surprising Science of Belief, Opinion, and Persuasion, McRaney compiles evidence for why minds make decisions based on group identity, why people keep the ideas that they do, and what changes their minds despite group identity. He spends time discussing the process of deep canvasing to explore a method that has worked in getting people to change their minds on typically controversial topics. In deep canvasing, a volunteer speaks to people at their homes with the goal of shifting their minds (for example, having conversations with people on gay marriage beliefs before an election where this is on the ballet). Laura Gardiner, the national mentoring coordinator for the LAB, explained that the first step in this process is having the volunteer build rapport with the homeowner. Then, the volunteer describes his or her own relation to the topic at hand. Finally, the majority of the mind-changing conversation should be based in the homeowner’s own story. The volunteer reflects feelings and asks probing questions that prompt the other individual to reflect. Reflection is incredibly important because providing facts isn’t what changes minds; rather, the person has, oftentimes, never thought about the causes of his or her beliefs before and then realizes what caused the original belief and reconsiders it. By facilitating a conversation that puts the listener in the driver’s seat of a controversial topic and forces them to consider what has caused this belief, the volunteers are able to show that other beliefs do exist. Similarly in storytelling, when writers offering readers a relatable character, writers speak to their readers’ sense of community and identity. For example, in Uncle Tom’s Cabin, Harriet Beecher Stowe wrote a narrative that engaged general readers in something they could relate to. She made her characters seem real, even drawing on factual incidents. By creating characters that readers feel are real mimics a sense of community. Writers then must provide readers opportunities to reconsider their own beliefs and the other possible beliefs that exist. When a reader reflects, writers are able to facilitate change. When Silent Spring wrote about the hazard of pesticides entering the food chain and damaging the environment, readers were exposed to a truth that existed in their own lives. Additionally, when Uncle Tom’s Cabin portrayed the evils of slavery, readers were confronted with another reality that they lived in.

The three change-making stories also incorporated positive contact, which is a way to expose people to their adversaries. Positive contact is another mind-change technique described by both McRaney (2022) and Dovidio et al. (2009). When people have positive contact with a group they oppose, the contact can help people learn and understand the group more. This breaks down initial misconceptions, and the new and positive interactions reshape people’s prior experiences and understandings. The positive experience can change people’s minds about the opposing group. Positive contact can be achieved in storytelling through serial writing. The three texts successful at creating change were published in short installments in magazines before full publication in book format. Shorter meant easier to read, and if it hooked readers’ attention, it spread their attention out over time. McRaney (2022) acknowledges that building rapport can sometimes take multiple times. Tankard and Paluck (2016) also explain how individuals’ attitudes tend to develop over a long time and may be tied to personal experience and beliefs and thus can take longer time to change. By publishing writing serially, the readers get multiple points of contact with the characters who, if done right, should give readers realistic insight into a world that will upset their values and cause them to make change.

It seems, then, that transgressive fiction should be a great avenue for social change, as its characteristics align well with ways that social change occurs.  In order to accomplish it though, it is very important for writers to be very intentional about the ways they craft their stories. One of the craft choices that is common to transgressive fiction that D’Hont points out is the violation of the body. This characteristic offers writers many ways to develop imagery, conflict, and plot, which can be used in the way they identify a specific problem for readers. D’Hont also acknowledges the way that transgressive fiction frequently uses the “other” character. This character-type, paired with identifying social complexities, can also be a part of writers addressing specific social problems, and also a way in which they create relatable characters. The “other” character can also get folded into the writer’s use of positive contact.

There is so much more research to be done in order to develop a very specific plan that could use transgressive fiction for social change; however, after my initial research, considering aesthetic characteristics of contemporary transgressive fiction, literary techniques that have seemingly accomplished social change before, and what causes minds to change, I am proposing some craft and structure that can help writers write transgressive fiction with the purpose of not just re-imagining social norms, but also acting as a key point in social activism. This includes: identifying and giving a name to the offender, using characters in a way that both builds rapport and a sense of community, causing the reader to reflect on his or her own thinking, and publishing the text as a series. Transgressive writers can use violating the body, the “other” in the social injustice situation, and the resulting social complexities to drive stories that use methods that change minds and culture. These are just some of the techniques that mirror past efforts in change, and if thoughtfully and effectively used, can most likely support future change. In Mack’s (2011) book How Literature Changes the Way We Think, he says, “The moment when art has come to have a ‘life of its own’ it clearly ceases to be mainly representational. It does no longer mirror the world but contributes to the plurality of the world by its unique form and power of animation” (p. 167). By incorporating elements that re-imagine social rules, create a new, real world for the reader, and force them to reflect on their own thinking, transgressive fiction can become its own life and support people in redesigning the one we exist in.
 
(Other possible techniques based on my reseach that may impact change but not yet discussed include:) 

• Consider and research intended audience
• Incorporate performance (in characters, form, etc.)
• (but) Make message clear
• Align writing with current movements
• Define important words
• Consider techniques to help reader reflect (2nd person POV, build your own adventure, etc.)
• Be careful with developing characters (and pay attention to intended audience when doing so)
• Speak to reader’s values/prior experiences

Read about using narrative identity theory in transgressive fiction to create social change (a sequel to this blog post)

References
 
The American Crisis. (n.d.). United States: Library of Alexandria.

Bergh, A. E., Johnston, R. H., Jefferson, T. (1905). The writings of Thomas Jefferson. United
States: Issued under the auspices of the Thomas Jefferson Memorial Association of the
United States.

Blanco Núñez, J. M. (2018). The American Revolution: A World War. United
Kingdom: Smithsonian.

Boston Tea Party Ships & Museum. “American Revolution History & Time of the Revolutionary War.” Boston Tea Party Ships, Boston Tea Party Ships and Museum, 19 Aug. 2022, https://www.bostonteapartyship.com/american-revolution.

“Upton Sinclair's The Jungle: Muckraking the Meat-Packing Industry” Constitutional Rights Foundation, Constitutional Rights Foundation, https://www.crf-usa.org/bill-of-rights-in-action/bria-24-1-b-upton-sinclairs-the-jungle-muckraking-the-meat-packing-industry.html.

Chirot, D. (2020). Revolution as Tragedy. In You Say You Want a Revolution?: Radical
Idealism and Its Tragic Consequences (pp. 1–11). Princeton University Press. https://doi.org/10.2307/j.ctvp7d46f.4

D'Hont, C. (2020). Extreme States: The Evolution of American Transgressive Fiction 1960-
2000. United Kingdom: Taylor & Francis Group.

Dovidio, J.F., et al. (2009) “Commonality and the Complexity of ‘We’: Social Attitudes and Social Change.” Personality and Social Psychology Review. https://doi.org/10.1177/1088868308326751.

Foust, C. R. (2010). Transgression as a mode of resistance rethinking social movement in an era of corporate globalization. Lexington Books.

How People Learn II: Learners, Contexts, and Cultures. (2018). United States: National
Academies Press.

Mack, M. (2011). How Literature Changes the Way We Think. United Kingdom: Bloomsbury Publishing.

McNamara, R. (2020). “Uncle Tom's Cabin Made Slavery a Personal Issue for Millions.” https://www.thoughtco.com/uncle-toms-cabin-help-start-civil-war-1773717.

McRaney, D. (2022). How Minds Change: The Surprising Science of Belief, Opinion, and
Persuasion. United States: Penguin Publishing Group.

“The Story of Silent Spring” NRDC, NRDC, 13 Aug. 2015, https://www.nrdc.org/stories/story-silent-spring.

Tankard, M.E., and Paluck, E.L. (2016). “Norm Perception as a Vehicle for Social Change.” Social Issues and Policy Review. https://doi.org/10.1111/sipr.12022.

Stalking: uncertainty over your privacy and safety, being watched at any given moment, continued harassment (sounds kind of like social media, eh?).

Stalking is considered abnormal, wrong, and bad by most people, unless they at first think of it as endearing or a form flattery, I guess. But most people think of it as bad. This alone makes it transgressive, but we’re going to up the transgression ante: female stalkers. (I will use genders described as male and female in this article just because that’s what’s referred to in the data I pulled).

The typical stalker is portrayed as a male. We might also imagine these male stalkers as being in their 30s or 40s, angry over a rejection, and maybe unhinged. This isn’t the only scenario though… women also stalk.

I was scrolling through my husband’s Netflix (which happens once a year — we don’t watch TV or movies more than that — he pays for it for his mom) and found the docuseries I Am a Stalker. I didn’t even end up watching it (ended up watching some other crime, murder, docuseries) but I was mulling over ideas for a new fiction piece at the time. I realized that a stalker story was perfect (because I was playing with a new fiction form based on a villanelle poem, where the structure is based on repetition; it would make complete sense that someone so focused on something, someone — stalking, would repeat things like I was going to have to do).

The story I ended up writing is called “I Used to Live on the Tenth Floor” and can be read here.

In order to write a story about a stalker, I did a little research that would support my character development. Below you can see some of the research I found (all sections are linked in the headers with where the information came from). Feel free to use it in your own transgressive writing.

The definitions of transgressive/transgression: involving a violation of moral or social boundaries. An act that goes against a law, rule, or code of conduct; an offense.

Stalking can be:
Violent
Scary
Uncomfortable
Always nonconsenting
Obviously it goes against social boundaries and the law.

This makes it a perfect topic to finagle and write into a transgressive story. I did the work so you don’t have to; here are the facts and statistics I gathered before I started writing my story so its plot would relatively reflect statistics accurately. I first give you stalking facts in general, and the source that I got them from, and then I provide statistics specific to female stalkers. Many of these links include more information that I’m not listing here, so I’d recommend checking them out if you’re interested.

Stalking: Define the Crime
Stalking is a repetitive pattern of unwanted, harassing or threatening behavior committed by one person against another. Acts include: telephone harassment, being followed, receiving unwanted gifts, and other similar forms of intrusive behavior. All states and the Federal Government have passed anti-stalking legislation. Definitions of stalking found in state anti-stalking statutes vary in their language, although most define stalking as “the willful, malicious, and repeated following and harassing of another person that threatens his or her safety” (1).

Stalking:
· Men commit stalking the most
· 4 out of 5 victims are women
· Stalking occurs most frequently between people who know one another
· Women are most likely to be stalked by someone they were/are intimate with
· Less than ¼ of women are stalked by strangers
· Less than 1/3 of men are stalked by strangers
· The majority of women stalked by intimate partners report having been physically assaulted by them (1/3 also report having been sexually assaulted by them)
· Most stalkers are not psychotic (but often suffer from other mental health conditions including depression, substance use, and personality disorder)

And from Safe Horizon:
· 7.5 million people are stalked every year
· About 1/6 women have experienced stalking at some point
· About 1/17 men have experienced stalking at some point

While female stalkers occur less, statistics do provide trends for them. Statistics show differences between who they stalk and how they do it compared to their male counterparts (although many characteristics are similar among both).

Female Stalkers are:
· Less likely to have criminal offenses or substance abuse diagnoses
· Less likely to stalk a stranger
· More likely to pursue a prior profession conflict
· Often motivated by a “desire to establish a close and loving intimacy with the victim”
· Females are less likely to threaten and then assault
· Slightly less likely than males to assault (just 1 out of 5 female stalkers attacked their victim)
· Ages vary from teens to above middle age
· Many female stalkers seem to be single women in their mid-30s (comparable to male stalkers)
· Education and IQ appear to be higher in female stalkers than female criminals in general
· Females are less likely to follow their victims
· Female stalkers threaten their victims at about the same rate as males (50–75%)
· Violent female stalkers target males 67% of the time
· On average, female’s victims were men at least a decade older than the female victims of male stalkers
· Women are more likely than men to engage in same-sex stalking

Because this research is one study and less than fifty people, I don’t plan to generalize here other details the researchers discuss, but I do suggest reading it. It includes data on 33 female stalkers, including their mental health, sexuality, who they stalked, motivations for stalking, criminal history, pursuit, threats, violence/deaths, escalation, and victims’ demographics. The researchers include data from their study, as well as data from other studies in their discussion.

While females do stalk females, they also stalk males. In addition to female stalkers being less common and therefore less heard of, men being stalked is equally cut from the social narrative. It does happen though. This article offers a great personal account of a man’s experience, which helps provide story to the female stalker statistics.

The short story (“I Used to Live on the Tenth Floor”) inspired by this research ended up being about a woman stalking her professor.

Other ideas for people a woman might stalk:
· Her counselor
· Her best friend
· A former coworker or boss she wants revenge on
· A former lover
· Previous maid/nanny
· Physical trainer/coach
· Lawyer
· Family doctor

For more information on female stalkers, check out The American Journal of Psychology’s “A Study of Women who Stalk”.

This behavior has a wide-reaching deep dive you could jump into if you’re interested. The information I collected here helped me develop my character for the story I wrote. Like I mentioned, I was using a form that required repetition, and so having a character focused on a man allowed me to explore that. Next post, I’ll be talking about the form I used for this story (and how I really enjoy playing with different narrative forms in my prose).

This past Wednesday, I made a post about Bodies and Permissions: Breaking Rules & Conduct. In that post, I introduce the use/abuse of the body in transgressive fiction and why it makes sense. In this post, I briefly talk more about how bodies can be used to break boundaries and create social commentary in transgressive fiction, and provide some specific plot points and statistics that could be used in creating a story that uses the body as a tool.

Coco D’Hont (2020) discusses Chuck Palahniuk’s deviation from the term transgressive fiction, and his comment on how it is no longer received well or exists post America’s 9/11. D’Hont thinks transgressive fiction is still alive though and she critically explores transgression “As a philosophical concept, moving beyond simplistic definitions of the concept as an umbrella term for any type of shocking or socially unacceptable behaviour, or fictional renderings of this. Instead, transgression is explored as a mechanism which (re)develops central social ideologies” (D’Hont, 2020, p. 8).

I agree that transgressive fiction isn’t, or shouldn’t be, shocking for pure shock value. I suppose someone could write those stories, but I believe they’re way stronger when they have purpose behind them. What message is the author trying to send to a reader through this imagery?

And that’s where craft comes in. D’Hont (2020) explores a variety of craft choices that five transgressive novels employ. One that she discusses frequently is seen across the five texts: the use of the body. Like, she specifically calls out the body as a craft choice. As I mentioned earlier this week, body violation is common in transgressive literature — but it makes sense; it is one of the only things that we will permanently own during our lifetime and the act of violating our body disrupts that. This act can symbolize multiple forms of loss that are relevant to a variety of American ideals making it a strong example of transgression.

The interesting thing, though, is that even the other craft choices she identifies in transgressive fiction still revolve around the body.

She also explores constructed hierarchies through the use of an “other”.
In the novel Hogg, for example, she describes the character Hogg who is portrayed as physically filthy and running a rape business (which relates back to what I discussed in my post on Wednesday regarding the IBM layout of hierarchy).

Then, she discusses the ways in which the novels explore societal complexities.
This includes Beloved’s redevelopment of the perception of race and gender.

The body keeps coming up. It’s used to create pictures, meaning, and messages.

(Side note: D’Hont argues that these three craft choices demonstrate transgression’s role in shaping society, and how it calls attention to situations by creating exaggerated, aesthetic systems where the authors reveal, destruct, interrogate, and reform “the ideological structures of their extra-textual content” (p. 16) but that it doesn’t create change. The research I do considers how to use techniques like these three in combination with others to write stories that can create/impact social change. I haven’t yet discussed it on my blog — I will soon!)

In the meantime, here are some ideas for destroying/harming the body to get you started writing a transgressive story. As I offer plot points and statistics below, I do it in hopes that you may incorporate them into a broader discussion, rather than just a dark story for dark story’s sake. BUT I also recognize you’re your own author and can do whatever you’d like.

So here you go. Just a *few* examples of ways the body can be damaged or crossed to demonstrate transgression.

Examples/Plot Points

• Self-immolation or ‘necklacing’ — placing a petrol-soaked tire around a victim and setting it alight — (the individual is fully conscious and gas inhalation does not decrease the level of consciousness)
• Getting skinned alive (and then sell the skin on Ebay?!)
• A body being ripped in half by a rope
• ‘Sitting in the tub’ — laying a person in a wooden tub with only their head sticking out. Their faces would be painted with milk and honey and soon flies would begin to feed on them. Historically, the victim was also fed regularly and would end up swimming in their excrement. After a few days, maggots and worms would devour their body as they decayed alive
• Dissolved with sulfuric acid
• A woman filming herself in sexual videos with her infant daughter on her cellphone and sharing the videos online
• Cold aerosol burns (‘frosties’) are self-inflicted or peer-inflicted injuries sustained from the spraying of aerosol onto the skin. A frostbite injury occurs because of subsequent freezing of the tissues, commencing at approximately –2˚C to –10˚C and despite short exposure periods, these injuries are often severe. Cluster injuries occur as the result of a mutual ‘test of courage’.

Some Relevant Statistics

from RAINN:

• Every 68 seconds another American is sexually assaulted.
• 1 out of every 6 American women has been the victim of an attempted or completed rape in her lifetime (14.8% completed, 2.8% attempted).
• About 3% of American men — or 1 in 33 — have experienced an attempted or completed rape in their lifetime.
• From 2009–2013, Child Protective Services agencies substantiated, or found strong evidence to indicate that, 63,000 children a year were victims of sexual abuse.
• A majority of child victims are 12–17. Of victims under the age of 18: 34% of victims of sexual assault and rape are under age 12, and 66% of victims of sexual assault and rape are age 12–17.
• 48% were sleeping, or performing another activity at home
• 29% were traveling to and from work or school, or traveling to shop or run errands
• 12% were working
• 7% were attending school
• 5% were doing an unknown or other activity

(Visit the site for more statistics)

From NCADV:

• On average, nearly 20 people per minute are physically abused by an intimate partner in the United States. During one year, this equates to more than 10 million women and men.1
• 1 in 4 women and 1 in 9 men experience severe intimate partner physical violence, intimate partner contact sexual violence, and/or intimate partner stalking with impacts such as injury, fearfulness, post-traumatic stress disorder, use of victim services, contraction of sexually transmitted diseases, etc.2
• 1 in 3 women and 1 in 4 men have experienced some form of physical violence by an intimate partner. This includes a range of behaviors (e.g. slapping, shoving, pushing) and in some cases might not be considered “domestic violence.” 1
• 1 in 7 women and 1 in 25 men have been injured by an intimate partner.1
• 1 in 10 women have been raped by an intimate partner. Data is unavailable on male victims.1
• 1 in 4 women and 1 in 7 men have been victims of severe physical violence (e.g. beating, burning, strangling) by an intimate partner in their lifetime.1
• 1 in 7 women and 1 in 18 men have been stalked by an intimate partner during their lifetime to the point in which they felt very fearful or believed that they or someone close to them would be harmed or killed.1
• On a typical day, there are more than 20,000 phone calls placed to domestic violence hotlines nationwide.9
• The presence of a gun in a domestic violence situation increases the risk of homicide by 500%.10
• Intimate partner violence accounts for 15% of all violent crime.2
• Women between the ages of 18–24 are most commonly abused by an intimate partner.2
• 19% of domestic violence involves a weapon.2
• Domestic victimization is correlated with a higher rate of depression and suicidal behavior.2
• Only 34% of people who are injured by intimate partners receive medical care for their injuries.2
• A study of intimate partner homicides found that 20% of victims were not the intimate partners themselves, but family members, friends, neighbors, persons who intervened, law enforcement responders, or bystanders.3
• 72% of all murder-suicides involve an intimate partner; 94% of the victims of these murder suicides are female.8
• 1 in 15 children are exposed to intimate partner violence each year, and 90% of these children are eyewitnesses to this violence.5
• The cost of intimate partner violence exceeds $8.3 billion per year.6
• Between 21–60% of victims of intimate partner violence lose their jobs due to reasons stemming from the abuse.6
• Between 2003 and 2008, 142 women were murdered in their workplace by their abuser, 78% of women killed in the workplace during this timeframe.4
• Women abused by their intimate partners are more vulnerable to contracting HIV or other STI’s due to forced intercourse or prolonged exposure to stress.7

(Visit the site for more statistics)

With about 8% of the American population being blind, the other 92% of people will often first be introduced to other humans through sight. What does this mean? It means when I meet you, I first see what I think your gender is. What your skin color is. What your age is. If you use any assistance for disabilities. How you dress. If you have piercings or tattoos. Your size (relevant to height and weight). The kind of face you’re making (do you look pleasant or angry?) (among other things).

So now that I’ve looked at you, all of these things I just saw connect to previous assumptions I’ve made about people who look like that. This shows how “Human bodies are both biological and social in nature.”

Bodies and Permissions: Breaking Rules & Conduct

Now that I’ve used your body to assign you an identity in my mind, I decide what permission that gives me, and this, folks, is what makes bodies so usable in transgressive fiction.

Transgression is an act that goes against a law, rule, or code of conduct; an offense. If I’ve determined how I should interact with you or what I am allowed to do to you or the ways I can treat you based on your identity (or perceived identity), this may not align with what’s fair to you. This may, in fact, be harmful to you and could be an “offense”, right? It could act against an expected conduct, like the conduct of just being a decent human being who doesn’t hurt others.

But by invading others’ bodies, by showing those bodies damaged or destroyed, in the way that transgressive fiction often does, those stories are sending a message about identity and permissions.

This website talks about identities and permissions with IBM (International Business Machines), a technology company. It’s not talking about humans at all, but it breaks down the definitions and boundaries from a technology standpoint so well that it coincidentally aligns perfectly with what I’m talking about! So even though we’re talking about humans here, I want to look at IBM’s discussion.

We start with roles:

“Role hierarchy --

Roles can be hierarchical. One role might act as a parent role to another role. This role hierarchy is provided by this query subject. It can provide the role details like ID, name, description; and it provides similar details for the parent role.”

And then we talk about how the hierarchy of roles offers details about identities:

“Identity role attachment

This query subject provides details about identities that belong to a role. These roles are associated to a project”

And then we start diving into entitlement and membership qualifiers. With membership qualifiers, they say, “The users, who qualify based on those attributes and values specified in the rule, are part of the role or are associated with that role.” So what happens to those who don’t qualify for the group? This is where using the body to create identities can turn transgressive–

How do people react to others who do not belong to their group?

IBM says that “Permissions are part of or are associated to a role. Permission can exist in a hierarchy.”

And often times, people will decide what permissions they have based on the identity they’ve assigned you.

So as transgressive writers, the body is a perfect tool for exploring the breaking of permissions, of transgressive acts, of autonomy and social structures.

Examples of using the body in transgression include:

Tampa by Alyssa Nutting
Explicit description of sexual acts with an adult woman using a child’s (multiple children’s) body for pleasure. This story makes us consider power, manipulation, and what does or doesn’t count as permission.

American Psycho by Bret Easton Ellis
The main character, seemingly put together and doing well (as an investment banker) by American standards, repeatedly brutally murders a variety of people in the novel. The horror of all this isn’t because of what the novel itself writes about, but the society it reflects.

Boy Parts by Eliza Cark
The easily hate-able narrator uses men’s bodies in her photography to flip gender roles and demonstrate her own self-destruction.

Fight Club by Chuck Palahniuk
The story shows multiple acts of violating/harming the body: male strangers fighting for the sake of fighting, using lye to create burns in the skin, the threat of death through project mayhem catastrophes… This book considers the body, consumerism, and what is important in life before we die.

Hogg by Samuel R. Delaney
This novel shows multiple characters who participate, graphically, in murder, child molestation, incest, necrophilia and rape among other things. All of which deal with power and permissions (/lack thereof) of harming another’s body.

And so many more.

Violence and sex are often used as tools in creating a transgressive novel because it’s easy to abuse the body. Use someone else’s body to harm them, hurt them, damage them — physically, psychologically, and emotionally. Many laws or social rules of conduct can be broken through these behaviors, which is why oftentimes transgressive fiction employs these acts.

What are other examples of body-violation in transgressive fiction that you can think of?

Check out my follow-up post with graphic ways the body can be used in transgressive fiction.