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masterpiece. Even though there is a general consensus about this point, the
cut. The objective of this essay is to explore if there is any kind of literary
kinship between Ignatius Reilly´s tour-de-force and the Southern Gothic genre.
Keywords
2
Index
1 - Introduction
I - Rationale…………………………………………………………………………Page 4
II - Objectives………………………………………………………………………Page 5
I - Synthesis……………………………………………………………………Page. 8
I – Setting……………………………………………………………………………….Page 17
II – The Grotesque…………………………………………………………………..Page 20
IV – Dark Humour…………………………………………………………………….Page 28
5 - Conclusions
6 - Bibliography
Works cited…………………………………………………………………………Page 38
3
1 - Introduction
I - Rationale
Would it be a mistake to claim that the main reason behind the selection of A
Confederacy of Dunces as subject for this essay are the countless hours of
Perhaps that would be the case if amusement was the only reason, but aside
from its trenchant hilarity, Toole´s work comprises multiple layers of meaning
that make it suitable for in-depth analysis. How can A Confederacy of Dunces
be described?
These manifold definitions display the complexity of the subject. Following this
multifaceted nature, among the various paths we could trace when examining A
Confederacy of Dunces, one of the most baffling it is its ascription to genre. The
novel has been analysed under the light of Swift, Chaucer, Boethius, Cervantes,
a grotesque.
4
All these definitions are valid and highly enlightening but generate a new path of
sixties, a period of agitation and turmoil in America. It was the decade that
Gothic.
Susan Castillo and Charles L. Crow appeal to the image of a crossroad in their
attempt to depict the current state of the studies in the field (Pos. 316). There is
still much debate over the boundaries of a genre that it is indeed problematic.
Under the Southern Gothic label it is possible to find novels that use modernist
Sound and the Fury, vampire stories such as Anne Rice´s Interview with the
Vampire and even theatre plays like A Streetcar Named Desire, by Tennessee
Williams.
1
The Southern Gothic it is refered indistinctly as a genre or as a subgenre. This literary mode
emerged from the American Gothic, which again evolved from the English Gothic literary
tradition. To clarify, in this essay we will refer to it as a genre.
5
Taking into consideration its uniqueness, and the fact that remains as the sole
production of an author (or at least the only writing he was willing to publish 2)
deceased at an early age, A Confederacy of Dunces can also take up his place
at a crossroad of its own. Thus, its liminal position with regards to genre and
II - Objectives
The aim of this essay then is to explore if (and how) John Kennedy Toole´s
appraised novel can be included within the Southern Gothic canon. The scope
of this paper does not leave aside the concern with genre. The first stage will
Southern Gothic has become more and more influential and popular. According
to Castillo and Crow (pos. 316), there has been an explosion of scholarship on
It is equally important to note that Southern Gothic has been neglected in the
syllabus of the Grade of English Studies of the UNED and especially in the
2
There is not evidence that Toole ever wanted to publish The Neon Bible, a short novel that he
wrote for a literary contest when he was sixteen years old. Moreover, after his death, Toole´s
mother, Thelma, try to reassure that this work never came to light. After a legal suit presented
by distant relatives it was finally published in 1989.
6
The topic might as well be relevant as a chance to approach writers (perhaps
with the exception of Faulker), which are still widely unknown among Spanish
readers.
some core features. Some of them will probe to be helpful for the task and
others wont. Thus, as a baseline, the delimitation of the traits that can support
the main idea of this essay will be carried out. Among the features examined to
get a grasp on the genre we can enumerate its settings, its deprecation of
characters.
the genre, like The Palgrave Handbook of the Southern Gothic (Street and
understand the convergence of the Gothic and the Grotesque. Likewise, on this
In addition, there were websites that contributed in this research like the Oxford
7
useful in order to gather some information about this writer. It has a
Regarding the second stage. The first step would be a close reading of A
influences. In order to do so, the main tools used were the bibliographic
databases to which the Central Library of the U.N.E.D. grants access through
LINCEO.
Also, the biography of John Kennedy Toole, Butterfly in the Typewriter: The
Tragic Life of John Kennedy Toole and the Remarkable Story of A Confederacy
author´s life.
were also gathered to perform the analysis. The complete list it is on the
bibliographic references.
8
2 - A Confederacy of Dunces, a Peculiar Book
I - Synthesis
The narration is located in New Orleans during the sixties. It mainly follows
Ignatius Reilly, a lazy jobless scholar in his thirties who is willingly secluded
from the world. He despises modern society and, in line with his Medievalist
leads a quiet life. He enjoys going to the movies and drinking Dr Nut. At the
the ultimate indictment against modern life, until a minor car accident generates
9
This financial strait will force him to search for a job, but since he is neither
comfortable nor prepared to face society, every single one of his ventures will
end in disaster.
First, Ignatius will find a position as a clerk in the decadent garment factory Levy
Pants. After a few days of unproductive work he is fired, not for his poor
performance but for his attempt to lead the black employees at the production
lines into a revolt against patronage. In his next job, as hot-dog vendor he is
vendor he probes to be equally inefficient and, of top of that, he eats more than
infiltrate the Army and the Government with homosexual men in order to
achieve world peace. To scheme this plan he manages to get invited to a gay
party at the French Quarter but after a quarrel with some of the guests he is
expelled.
At the same time, Irene Reilly, Ignatius´ mother, and whom he constantly
desecrates, carries out a subplot that will eventually converge with Ignatius’
progress. As the story unfolds, Irene’s lady friend, Santa Battaglia, tries to
incident at the Night of Joy, a low class cabaret, Irene decides to institutionalize
him. But his mother´s suspicious behaviour makes Ignatius foresee her plans.
When it seems that there is no way out from confinement, the appearance in
extremis of Ignatius´ lady friend Myrna Mirkof, whom up to that point was living
in New York, provides Reilly an escape route from New Orleans. The novel
ends with Ignatius and Myrna heading towards New York City.
10
Even thought Ignatius is the point of attention, the narration also take heed of
other odds characters which crosses paths with Reilly: Patrolman Mancuso, a
goofy undercover cop who wears ridiculous disguises while trying to catch
suspicious figures in order to ingratiate with his superior; Lana Lee, the
dictatorial owner of the nightclub “Night of Joy” and model for pornographic
pictures; Burma Jones, a black character bounded to accept a low paid job as a
porter in that cabaret to prevent been arrested for vagrancy; Dorian Greene, a
acquaintance in the outer world, and several other personages which render an
Toole finished the novel in 1964 and send it to senior editor Robert Gottlieb,
who had Tomas Pynchon and Joseph Heller as clients. They sustained a
lengthy exchange of letters regarding the novel, but they never reach an
agreement, “The book does not have a reason”, Gottlieb observed on a letter to
Toole (McLauchlin, pos. 3038). The rejection had a deep impact on Toole, a
Extremely disappointed, he put the novel (and his writing efforts) aside and
continued working as English lecturer for the next five years. But on March 26th
of 1969, he decided he had had enough. He stopped his car outside Biloxi,
11
hose from the running exhaust pipe to the window. He was 31 years old. As a
result of familiar and financial problems, in his final years he became depressed
In the car he left a suicide note for his family. The only person who had access
to it was his mother, Thelma, who never gave a detailed account of its contents.
But after the mourning and confident in John´s talent, Thelma keep trying to
publish the novel. She was rejected over and over until in 1976 she managed to
Percy himself in the foreword to the novel renders the rest of the story. In his
own words, when he first read it, he though that “it was not possible that it was
so good” (Percy, pos 8). But Percy´s approval was not enough to publish the
work. Three more years were needed to get a small 2.500 copy printing
supported by Louisiana State University Press. The book was finally released in
masterpiece. One year later, Tooled was posthumously awarded the Pulitzer
Prize. Fortuna had spun towards success, but unfortunately he was not there to
witness.
“When a true genius appears in the world, you may know him by this sign, that
12
the dunces are all in confederacy against him”, is the quote that inspired the
Subjects, Moral and Diverting. Swift was one of the greatest satirist of the
eighteen-century.
writer actively supported Thelma Toole´s efforts to publish the novel and can be
termed as the “critic zero”. In the preface (Percy, pos. 8-35), although he claims
that Ignatius Reilly lacks “progenitor in any literature I know of”, he brings forth
The links with Rabelais, Shakespeare, Cervantes and, especially, Swift were
Tale of a Tub, Simmons (p. 37) discusses how Ignatius Reilly embodies the
concept of Grotesque.
In a similar vein, David McNeil (p. 33) analyses the novel´s debt to satire,
Arthur´s Court, American Colonial literature, Swift and the English Renaissance.
especially, in his affected speech style. Rudnicki (p. 282) stresses the sway of
and Flannery O´Connor (p. 281), considered a capital figure in the Southern
Elizabeth Bell keeps the Middle Ages in sight. She concentrates on the several
13
picaresque, the parody, the pilgrimage, the quest and above all, the allegory.
According to Bell (p. 15), Toole has drawn from the artistic fabric of that age to
Coincidentally, this distrust about the modern age was analysed by Peter
scholar, the forced insertion of Ignatius into the workforce parallels and, at the
same time, inverts the chronicles of the voluntary withdrawal from the society
written by Thoreau.
this novel walk through the same paths over and over again. If we focus on the
We mention the work´s debt with Walker Percy, the renowned author who
critics, this is not the only link between the two writers. In “Kennedy Toole and
Keller Simon (p. 100) analyses the multiple relations between Binx Bolling, the
main character in Percy´s 1962 novel The Moviegoer, and Ignatius Reilly. The
connection was first noticed by Robert Regan (qtd in Simon, p. 100), shortly
after the first publication of the novel, on his article “The return of the
Even though, Percy was largely considered as a Catholic Writer some of his
work was analysed in relation with the Gothic tradition. Chiefly Lancelot, a novel
14
that, according to Charles Crow (p.158) employs many themes of this genre
such as the declining family, the forlorn Mansion, a genealogical secret and
murder.
also well documented. According to Rudnicki (p. 281), the author of Wise Blood
“became one of Toole´s heroes during his short life”. There is still another
central feature, also pointed out by Rudnicki, in which these two writers
deals by and large with the subject. Her definition of grotesque, and especially
what has been termed as Southern Grotesque, seems more than adequate to
and its creators, “are typical Don Quixotes, tilting at what is not there”(O,Connor
, par. 11). This observation, linking Ignatius Reilly and Alonso Quijano´s stands
against the world, seems valid enough to start a discussion on the matter.
15
3 - The Southern Gothic, a problematic genre
As Castillo and Crow acknowledge, the task of defining the Southern Gothic is
certainly “not for the faint of heart”(pos. 316). Moreover, when we face this
genre and its complexities, the image of a crossroad does not seem to fit as
gender and race are mixed with forlorn states, haunted houses and
with Monsters.
To start discussing this genre is necessary to look back to the 18th century.
Southern Gothic evolved from American Gothic which in turn emerged from the
(Ærvold Bjerre, p. 2). To question its age, the Gothic dwelt on the past. Gothic
The Gothic became extremely popular between the 18th and in the 19th
century. Novels like Mary Shelley´s Frankenstein, Bram Stoker´s Dracula and
Ann Radcliffe´s The Mysteries of Udolpho arise from this literary strain.
16
In 1798, Charles Brockden Brown´s Wieland established the basis for the genre
features that spring from the particularities of the American newborn society. In
addition to its lack of confidence in the power of reason and progress, Gothic
writers like Washington Irving, Nathaniel Hawthorne and Edgar Allan Poe
explored subjects predominantly American like race, the frontier and the Puritan
legacy.
By all accounts, Poe is considered the forefather of the Southern Gothic. In his
values, contradictions and myths” (Wright in Street and Crow, pos. 484).
Moreover, in some of his work he renders his concern with issues that will
become pervasive in the fore coming Southern Gothic like familial decay and
Some of Poe stories like The Fall of the House Usher are not placed in any
landscapes that were likely to be found in the American South. In this fashion,
he was the first to establish the link between region and genre.
themes like the memory of slavery past and class differences. In addition,
the South. Faulkner deals with uneasy subjects like necrophilia (A Rose for
17
Emily), rape (Sanctuary), suicide (The Sound and the Fury) and incest
Faulkner but also by other writers inscribed in this trend, lead scholars to belittle
this mode of writing. In fact, the term Southern Gothic was coined in 1935 by
academics referred to this literary mode as “peopled by monsters and sub men”
(qtd. in Ærvold Bjerre, p. 7), while termed some of its most prolific authors as
In the second half of the 20th century, and in spite of the academics
deprecation, the genre maintained his vitality among southern writers. Authors
and Truman Capote are considered to be part of the Southern Gothic tradition,
in occasions even against their will, like in the case of Welty´s famous remark,
The Grotesque, one of the most recognizable (and at the same time maligned)
features of the Gothic, can be identified in the works of several of its renowned
Grotesque. The Grotesque relies heavily in freaks and physically deformed and
marginal figures that are placed outside the so-called “normality”. Handiccaped
Country People or the mute John Singer in Carson McCullers’s The Heart is a
18
To our purpose we will follow Charles Crow clarification about the juxtaposition
of Gothic and Grotesque, considering that the latter “is a quality that overlaps
with the Gothic, but neither is necessary or sufficient for the other” (Crow, p.
129).
The Southern Gothic also includes supernatural horror that, in most cases,
make visible the past sins of the region, especially slavery. Vampires, zombies
and ghosts inhabitate this imagined space. In Interview with the Vampire, Ann
Rice uses a Louisiana plantation during the 18th century as background for the
stories of the undead Louis and Lestat, thus connecting the vampires with the
slavery system (Gelder in Castillo and Street, pos. 9374). Similarly, in Barry
Hannah´s Yonder Stands Your Orphan, zombies walk among regular people
The concern with gender and sexuality is also recognizable on Southern Gothic
authors. Browsing among its productions is not unlikely to find characters that
does not adequate to the generic role expected of them. The androgynous Mick
Kelly in Carson McCullers´ The Heart is a Lonely Hunter or the eccentric Emily
Grierson in Faulkner´s A Rose for Emily, they both subvert the social fabric of
the region in the first half of the 20th century. Dorothy Allison´s Bastards Out of
Carolina transports this particular topic to the edge of the new millennium by
19
In the last years, and in parallel with a renewed interest of the academics, the
genre has become more and more popular. Contemporary Southern Gothic
authors like Cormac McCarthy, Tom Franklin and Colson Whitehead are among
The Southern Gothic has even jumped to a different language with considerable
success: Films and series draw heavily on its contents. Movies like No Country
for Old Men (2005), The Road (2006) (both of them based on McCarthy`s
novels) and TV series like True Blood, True Detective and The Walking Dead
20
4 - At the crossroad, A Confederacy of Dunces as
Southern Gothic
“For the contemporary period, you should study some selected comic books. I
Dorian Green during their exchange in the French Quarter. The allusion to the
(comic books both as serial magazines and funny novels) is making the
Southern Gothic and the comical converge, thus supporting the thesis of this
21
Perhaps the main reason behind the shortage of studies connecting A
Confederacy of Dunces and the Southern Gothic is that the former lacks the
indulgent glimpse towards the past and a distrust of the modern age. There is
also an outstanding parade of freaks and queer characters. And last but not
I - Setting
Toole´s choice of New Orleans as a setting for his novel had to do in large part
with his extensive knowledge of the city and his people. Whether or not he
paper, but his choice for place (along with his Southern idiosyncrasy) support
“Within the South, it is difficult to imagine a city with more potential as a gothic
site than New Orleans”, reflects Sherry Truffin in her essay New Orleans as
Gothic Capital. She identifies the city as a place of excess, masquerade and
trickery. She also stresses the presence of issues like the chronic transgression
of sexual and social taboos and the replacement of moral with aesthetic values.
Ignatius would have agreed at a great extent with Truffin description of the city.
Early in the novel he scorns its excesses and disreputable moral, “This city is
22
litterbugs, and lesbians,” he argues when approached as a “suspicious
The selection of a low class cabaret as site for the story´s denouement
because of his failure at raising an army of gay men, Ignatius hurries towards
the Nigh of Joy, where he expects to see Southern Belle, Miss Harlett O´Hara,
but he became instead the victim of a Latin B-girl, a cockatoo and a streetcar in
that order.
Southern Gothic traits. Even if Toole´s renders a satiric vision of the city, he still
draws from typical locations of the genre. As a matter of fact, forlorn mansions
The decadence of Constantinople Street mirrors Ignatius’ derelict house. “It was
block that had moved into the twentieth century carelessly and uncaringly – and
with very limited funds” (Toole, pos. 640). The outside of the Reilly´s household
And no birds sang” (Toole, pos. 640). In addition, the presence of a dead tree
and a Celtic cross, signalling a dog´s burial place transforms the yard into a
graveyard.
descends all over the ambience, “Like every room in the house, it was dark; the
greasy wallpaper and Brown wooden mouldings would have transformed any
23
light into gloom, and from the alley very little light filtered anyway”(Toole, pos.
684).
With regards to Levy Pants, another important location in the novel, two major
fashion building, the Factory also exhibits a threatening image that, at some
It was two structures fused into one macabre unit. The two smokestacks
that rose from the factory´s tin roof leaned apart at an angle that formed
workers mostly (and aside from ironic remarks) resembles Ignatius of slavery
work:
The scene which met my eyes was at once compelling and repelling. The original
sweatshop has been preserved for posterity at Levy Pants. It is a scene which
combines the worst of Uncle Tom´s Cabin and Fritz Lang´s Metropolis. It is mechanized
Negro slavery; it represents the progress which the Negro has made from picking
The comic elements are ubiquitous and Truffin is aware of it, in fact she terms A
24
Nevertheless she acknowledges the novel´s gothic sensibility. (Truffin in Street
fated to alienation, madness and confinement” (Truffin in Street and Crow, pos.
4782). Her depiction of Ignatius concurs with another of the Gothic qualities that
she identifies in New Orleans: Its geographical isolation and its position
Ignatius voluntary seclusion has to do with his reluctance for the outdoors. He
does not want to leave his room and neither his city. In fact, he constantly
recalls his trip to Baton Rouge as “a pilgrimage through the swamps” and later
he describes that journey as an “abysmal sojourn into the swamps to the inner
station of the ultimate horror”. Aside from its obvious hyperbolic purpose, the
quote strengthens the gothic mood of both the location and the character.
The last big joke, ironically, is that to avoid institutional confinement, Ignatius
must flee from his secure place. In fact, he does not seem contrived to head
towards a crepuscular and industrial New York City and hurries Myrna; “The
scent of soot and carbon in your hair excites me with suggestions of glamorous
pos. 6425).
II - The Grotesque
To explore the Grotesque in the Southern Gothic is, at a great extent, to focus
Southern novels that readers have come to accept — indeed, expect — his
25
appearance as a kind of convention of the form". Characters with physical
deformities like the hunchback Lymon in Carson McCullers´ The Ballad of the
Sad Café, Criminals like The Misfit, the murderous villain in Flannery O´Connor
Truman Capote´s Other Voices, Other Rooms support Spiegel´s analysis and
“blue and yellow eyes”. Words like “elephantine”, “mammoth” and “huge paws”
constant references to his mysterious anatomy, and specifically his pyloric valve
which seems to have prophetic powers, boost the idea of Ignatius´ monstrous
nature, a condition traditionally related with the Gothic. (Truffin in Street and
Although the Greek lacks Ignatius´ wit and eloquence, they are both depicted as
sloppily into his trousers in front and hanging loose behind” and a “shapeless
grey sweater”. (McCullers, page. 7). The description resembles Ignatius sloppy
26
outfit. As an instance, during his first appearance in the novel, in front of D.H.
Moreover, they are both rendered as ravenous. “Except drinking and a certain
solitary secret pleasure, Antonapoulos loved to eat more than anything else in
greedy, “Ignatius loves his cakes”, Irene Reilly confesses at the store counter.
Also, his love for Dr. Nut and hotdogs are continuously referred to throughout
the story. There is even a similarity in those two characters gestures after they
have finished eating, and while the Greek “slowly lick over each one of his teeth
with his tongue”, Ignatius will “send his flabby pink tongue over his moustache
In addition to this, they both display an inability to cope with the so-called
normality of everyday life and little care for polite manners, a behaviour that will
has also a counterpart in Ignatius tastes for masturbation, “He had almost
developed it into an art form, practicing the hobby with the skill and fervour of an
presented as prone to give himself pleasure while having fantasies with his
dead dog.
Ignatius manipulated and concentrated. At last a vision appeared, the familiar figure of
a large and devoted collie that had been his pet when he was in high school. “Woof!
27
Arf!” Rex looked so lifelike. One ear dropped. He panted. The apparition jumped over a
fence and chassed a stick that somehow landed in the middle of Ignatius´s quilt. As the
tan and White fur grew closer, Ignatius´ eyes dilated, crossed, and closed, and he lay
wanly back among his four pillows, hoping that he had some Kleenex in his room
loneliness relates him with another Southern Gothic grotesque figure like
thirties that still lives with her mother. Hulga resembles Ignatius not only upon
her penchant for solitude but also because of her gigantic size and appalling
appearance. She is described as “large hulking Joy” (O´Connor, page 220) and
“bloated, rude, and squint-eyed” (O’Connor, page 226). She also shares
Ignatius’ attitude of deprecation for her mother and the rest of the town, “Had
not been for this condition, she would be far from these red hills and good
country people. She would be in a university lecturing to people who knew what
Remarkably, for the people around them, Ignatius and Hulga´s abnormality has
to do with their scholar backgrounds. “She could not help but feel that it would
have been better if the child had not taken the Ph. D.” Hulga´s mother broods
“You could tell by the way that he talked, though, that he had gone to school a
long time. That was probably what was wrong with him”(Toole, pos. 4783).
28
The mention to O´Connor is highly relevant since she wrote a substantial body
Grotesque in Southern Fiction" she makes a case for the genre and provide
In that essay, she connects the Grotesque with the Southern Gothic by
asserting that at some point the former merges with the uncanny and the
mysterious, one of the Gothic´s main features. In this vein, and referring to a
His kind of fiction will always be pushing its own limits outward toward the limits of
mystery, because for this kind of writer, the meaning of a story does not begin except at
a depth where adequate motivation and adequate psychology and the various
determinations have been exhausted. Such a writer will be interested in what we don't
understand rather than in what we do. He will be interested in possibility rather than in
probability. He will be interested in characters who are forced out to meet evil and grace
and who act on a trust beyond themselves–whether they know very clearly what it is
they act upon or not. To the modern mind, this kind of character, and his creator, are
The absurdity of Ignatius behaviour is, from this point of view, completely
not have chivalric romances but the medieval philosophy of Boethius and
Hroswitha instead. He might not attack windmills but will try to destroy
capitalism by raising an army of gay men. Ignatius fixation with the past links
him with a lunatic Don Quixote (a connection first made by Percy in the novel´s
prologue) and, at the same time, signals the character´s Gothic sensibility.
29
Nevertheless, as essential as Ignatius Reilly is to the story, he is not the only
grotesque figure wandering around the novel´s pages. The association between
relevant in this context. Disguises and bizarre outfits spread through the
narration, from Ignatius´ pirate disguise during his time as hot-dog vendor up to
Darlene´s Southern Belle nightdress, Timmy´s sailor outfit and even Dorian
tights and a yellow sweater, a costume which the sergeant said would enable
him to bring genuine, bona fide suspicious characters” (Toole, pos. 488).
B - “A police motorcycle in the block was an event, especially if its driver wore
C - “George looked at the monocle and the beard at his elbow” (Toole, pos
3207).
D - “Lana Lee looked at the silk suit, the hat, the weak insecure eyes. She could
spot a safe one, a soft touch all right. A rich doctor? A Lawyer She might be
able to turn this little fiasco into a profit” (Toole, pos. 5583).
30
Precisely Lana Lee embodies grotesque femininity (Lansky, page 62), a
femininity. Although the term was coined in relation with Miss Amelia Evans, the
Lee, the owner of The Night of Joy, a dark and gloomy cabaret, is described as
a “statuesque woman” with a body “covered with a black leather overcoat that
glistened with mist”. While the term statuesque deprives her of her femininity
and even of her humanity, it also hints to a symbol of both the Grotesque and
the Gothic: The gargoyle. The black leather outfit and the mist that surrounds
her apparition suggests she is another figure, heavily linked with the Gothic:
In addition, her dominant attitude and his dictatorial manners makes her a
Burma Jones brings out early in the novel, “For twenty dollar a week, you ain
Likewise, Mr. Watson, a confident of Jones counsels him, “That Lee woman ain
´t treatin you right, Jones, one thing I don like to see a colored man make fun of
hisself for bein colored. That what she be doin with you fix up like a plantation
“Ignatius said ‘Is the Nazi proprietess of this cesspool around here every night?’
‘Who? Miss Lee? No’ Jones smiled at himself” (Toole, pos. 5000).
31
The fact that she is model for pornographic pictures does not make her a victim
of patriarchy but instead, been herself in charge of selling the goods at the best
offer, the one who takes the advantage of this illicit activity. In this fashion she
performs the figure of the outlaw, another recurrent type in the Southern Gothic.
Southern Gothic engage with the Grotesque and the uncanny in order to
authors address, and at the same time subvert, the region´s official narratives of
Southern Gothic brings to light the extent to which the vision of the idyllic South rests on
massive repressions of the region’s historical realities: slavery, racism, and patriarchy.
In this way, Southern Gothic texts mark a Freudian return of the repressed: the region’s
historical realities take concrete forms in the shape of ghosts or grotesque figures that
highlight all that has been unsaid in the official version of southern history. (Thomas
Even though is true that Ignatius Reilly’s critique is not directed specifically
towards the region injustices and inequalities but to the entire history of
32
gained control of Europe calling their insidious gospel ‘The Enlightenment’”
(Toole, pos. 511). Later, when he organizes his political rally with Dorian
Greene, he counsels some readings “to understand the crises of our age”
among he refers the necessity to, “skip the Renaissance and the
Thus, in addition to his Gothic fixation with the past, Ignatius reveals a critical
eye for the present. Moreover, he not only scorns modernity but also commits
scandalize Myrna Minkoff) as they are, his initiatives are directed towards
righteous ends, namely, get better work conditions for the workers of Levy
Pants by organising “The Crusade for Moorish Dignity” and achieve world
peace by infiltrating the Army and the Government with gay men.
“What had once been dedicated to the soul was now dedicated to the sale”, he
writes. Pages later, as an echo of this statement, Lana Lee perform a parody of
Lana started making sound, like the imprecations of a priestess, over the bills that the
boy had given her. Smoke like incense rose from the cigarette in the ashtray at her
elbow, curbing upwards with her prayers, up above the host which she was elevating in
order to study the date of his minting, the single silver dollar that lay among her
offerings. Her bracelet tinkled, calling communicants to the altar, but the only one in the
Temple had been excommunicate from the Faith because of his parentage and
33
Granted that Ignatius constant discredit of the modern age has comical
purposes, it is also evident that the author, by using humour, is challenging the
system.
However, in stark contrast with Ignatius´ pompous declamations against the ills
of our age, the author inserts other, perhaps more subtle, critiques by exposing
hysterical) whim of Mrs Levy, but underneath it might hint to how scant the
pensions for the elderly are and their necessity to keep working once their time
to retire is due. Toole was familiar with this particular situation, since his parents
witness of the story´s development. His trenchant comments and his vernacular
Jones also plays the part of the victim since he is practically forced to get a low-
paid job under penurious work conditions. In his case, he is driven towards
exploitation by forces both inside and outside the law, the police force and Lana
Lee. “This was really a deal, like a present left on the doorsteps. A colored guy
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who would get arrested for vagrancy if he didn´t work. She would have a captive
porter whom she could work for almost nothing, It was beautiful” (Toole, pos.
580).
The black porter also notices the bargain he becomes for Lee, “ ‘Yeah’ Jones
answered, ‘She ain exactly hire me. She kinda buying me off the auction
But Ignatius is not the only anti-establishment figure on the story, Myrna
society,
Her logic was a combination of half-truths and clichés, her worldview a compound of
misconceptions deriving from a history of our nations as written from the perspective of
a subway tunnel. She dug into her large black valise and assaulted me (almost literally)
with greasy copies of Men and Masses and Now! And Broken Barricades and Surge
which he was a most active member: Students for Liberty, Youth for Sex, The Black
Muslims, Friends of Latvia, Children for Miscegenation, The White Citizens´ Councils.
Myrna was, you see, terrible engaged in her society. I, on the other hand, older and
The allusion to the history of the nation as written from the “perspective of a
subway tunnel”, is clearly directed to hint her engagement with the unofficial
version of the story by referring to the Underground Railroad, the secret network
35
of white men, that during the early to mid-19th century, helped African slaves to
escape from captivity in the South to the free states in the North.
The figure of Dorian Greene, whose name is a brilliant homage to gay Irish
writer Oscar Wilde (and to the central figure of his novel The Picture of Dorian
Gray, which, by the way, has an unequivocal gothic flair), is also central in the
In the examination of, once again, Carson McCullers´s fiction, Rachel Adams,
addresses this particular topic. She contends that, “Freaks and queers suffer
because they cannot be assimilated into the dominant social order, yet their
account of his sexual inclinations, but in accordance with Adams´ statement, his
presence, along with his troupe of gay friends, endows the narration with an
homosexuals were not as tolerated as they are in present day. In fact, the Gay
Liberation Movement only emerged towards the end of that decade. Another
point to understand how provocative was the topic is that just in 1973, the
If we take into account that Toole´s first novel The Neon Bible (written when he
was sixteen) also dealt with this controversial topic, is not unlikely to estimate
that he was from his early years interested in the realities of those strange
characters that decided to live outside the mainstream social norms or failed to
36
adapt to the status quo. Toole wrote The Neon Bible in 1953 and submitted to a
literary contest that he lost. The story renders the story of David, a boy growing
Even when homosexuality is not the main subject of the story, through the main
character´s parents fail to become a strong figure for him, he ends up idealizing
one of his school teachers: Mr Farney, a character that the author suggests is
homosexual.
Although David never mentions that Farney is gay, he is such a clichéd queer—
interested in poetry, music, design, and fashion—that only the most obtuse reader
would not recognize it. One of the first descriptions of Farney is that “[h]e walked more
like a woman who swayed her hips. You could always tell Mr. Farney by his walk” (98).
The next is: “He could recite anything in the line of a poem or something from a famous
book, and no one else in town even read poems or many books. Sometimes he wrote
poems himself” (99). The stereotype continues in another description: “Mr. Farney . . .
liked violets more than anything else because he told us they were shy and delicate”.
In this fashion, Toole´s early efforts with the The Neon Bible foreshadows his
concern with social critique by, “exposing hypocrisy in a few of the many forms
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IV – Dark Humour
Several comic devices, some of them already addressed as satire and parody,
infuse the narration with an all-pervading dark humour. Closely related with
social criticism, this subversive kind of humour is another feature that links
Rudnicki contends that dark humour, along with the aforementioned Grotesque,
are, “paths that have been applied with success to A Confederacy of Dunces “
by scholars like Michael Kline and Jonathan Simmons (page. 281). Rudnicki
For the scholar, Toole´s evolution from The Neon Bible to A Confederacy of
Dunces has to do, at a large extent with his discovery of humour, “Trading the
tragic vision for the comic universe, the backwater town for the Bacchanalian
city, the innocent narrator for the experience one, Toole perhaps learned that
Satire and outright burlesque were better suited to his literary talents and
realized that “bigotry, hypocrisy, and zealotry are best-illustrated through the
Thus, dark humour, with his irreverent, sometimes offensive, style is one of the
With the description of Dr. Talc, Ignatius and Myrna’s British History professor
at Tulane, Toole mocks University life. As the name suggests, while this
38
unprepared to teach, “As a lecturer Dr. Talc was renowned for the facile and
sarcastic wit and easily digested generalizations that made him popular among
the girl students and helped to conceal his lack of knowledge about almost
The fact that he had five years of unreturned essays accumulated in his drawer
implies his laziness. Moreover, his lack of moral it is also hinted by rendering his
disreputable intentions with his students, “Talc´s voice was important, pedantic.
Should he invite this charming creature to have a drink with him?” (Toole, pos.
395).
Students are also part of Ignatius´ scorn. His position as lecturer in that very
“There was even a small demonstration outside the window of my office. It was rather
dramatic. For being such simple, ignorant children, they managed quite well. At the
height of the demonstration I dumped all of the old papers – ungraduated of course –
out of the window and right onto the students´ heads. The college was too small to
accept this act of defiance against the abyss of contemporary academia” (Toole, pos.
910).
The anecdote concludes with a harsh twist, a signature of dark humour, “I also
told the students that, for the sake of humanity´s future, I hope that they were all
39
of the clergy, “I do not support the current Pope. He does not at all fill my
his mother. Later, when he reprimands her by the car accident, he will round up
his idea, ”If he is my type of priest, the penance will no doubt be rather strict.
However, I have learned to expect little from today´s clergyman” (Toole, pos.
924). Interestingly, and in line with his medieval outlook, Ignatius condemns the
Church not for being too strict but for the opposite.
“I guess so”, Mrs Reilly said, “Some people got it harder than me, I guess. Like my poor
cuosin, wonderful woman. Went to mass every day of her life. She got knocked down
by a streetcar over on Magazine Street one morning while she was on her way to
Finally, the morbid origins of Ignatius´ quarrel with the Church add up to the
pervasive gallows humour. Here again, a very thin line separates the comic and
the tragic.
“Ignatius is got the dog laid out in his momma´s front parlor with some flowers stuck in
its paw. That´s when him and his momma first started all that fighting. To tell you the
truth, I think that´s when she started drinking. So Ignatius goes over to the priest and ax
him to come say something over the dog. Ignatius was planning on some kinda funeral.
You know? The priest say no, of course, and I think that´s when Ignatius left the
Church. So big Ignatius puts on his own funeral. A big fat high school boy oughta know
40
better. You see that cross?” Mr. Levy looked hopelessly at the rotting Celtic cross in the
While this excerpt sheds new light to understand Ignatius and Irene dispute, it
signals another issue profusely explored thought the author´s cynical eye:
‘Graduated Smart’, Ignatius repeated with some pique. ‘Please define your terms.
- Oh, he treat me bad sometimes – Mrs. Reilly said loudly and began to cry” (Toole,
pos. 407).
Ignatius also makes sardonic remarks regarding her taste for liquor, a habit, the
author implies, helps Irene cope with her pitiful circumstances. The image of a
judgement and, in addition, by his disregard for the memory of his dead father,
- I see – Ignatius said calmly. “Knowing that you are congenitally incapable of arriving at
a decisions of this importance, I imagine that that mongoloid law officer put this idea
- Me and Mr. Mancuso talked like I used to talk to your poppa. You poppa used to tell
- Mancuso and my father are alike only in that they both give the impression of being
41
It has been argued that Toole used several details of his own life to compose A
which eventually fester into a full-blown mental illness, that relegated him to the
In this manner, Toole was placing himself and his family as target. There was
Like Carson McCullers and Flannery O´Connor, Toole resorts to dark humour to
´Connor fictions are packed with moments that are oddly unsettling in their
hilarity” (Savoy in Street and Crow, pos. 3388). His analysis of O´Connor fiction
image or a detail that is grossly incongruent and out of place, and yet that “thing” is, at
the same time, ironically and inevitably in its place. The comic is unsettling not only
because it finds itself poised between laughter and unease, but also because it points
The description might fit like a glove in the opening scene of Toole´s novel:
Huge sloppy blue-and-yellow-eyed Ignatius stands out from the crowd outside
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D.H. Holmes. No wonder he attracted the “two sad covetous eyes” of the police
officer Mancuso. Ignatius is out of place, not only in that scene but also in the
whole story, and that is perhaps one of the main sources of laughter in the
novel. But at the same time, he belongs to New Orleans. It is almost impossible
Moreover, the novel is full of these incongruent images like the ones addressed
by Savoy. Images that both amuse and disturb: Mancuso, in disguise, bounded
to the lavatories of the bus station, a decrepit Mrs. Trixie “working” in the office
of Levy Pants, Timmy disguised as sailor shackled and chained to the wall,
Darlene performing her ludicrous erotic act with the cockatoo and so on.
But, in Savoy´s analysis there is still another feature of O´Connor that can be
the characters fail to recognize how their actions will be counter-productive for
themselves.
As an instance, Lana Lee´s eagerness to make profit at all cost will blind and,
eventually, backfire on her: First by hiring Jones, who will sabotage her;
Second, giving Darlene permission (even against their own instincts) to perform
her wicked show with the cockatoo and, in the end, trying to seduce undercover
officer Mancuso.
43
Another example is Mr. Gonzalez, the Office Manager at Levy Pants. He
appraises Ignatius work attitude, in spite of the many signs of his poor
demonstration against Levy Pants. The irony is brilliant and devastating at once:
The impossible had happened: life at Levy Pants had become even better. The reason was Mr.
Reilly. What fairy godmother had dropped Mr. Ignatius J. Reilly on the worn and rotting steps of
Levy Pants?
He was four workers in one. In Mr. Reilly competent hands, the filing seems to disappear.
And while the manager is exultant in account of Ignatius efficiency, he does not
realize that he is making the files “disappear” because he is tossing them to the
garbage can.
Gus Levy can be part of that catalogue of sightlessness as well. His deliberate
harmful legal suit against the company. Ignatius threatening reply to a minor
claim of a buyer for a wrong order of trousers will became a source of great
introduce another of the features that links Toole´s novel with the Southern
Gothic universe: Violence. For our purposes we will focus on the last paragraph,
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We do not wish to be bothered in the future by such tedious complaints. Please confine
your correspondence to orders only. We are a busy and dynamic organization whose
mission needless effrontery and harassment can only hinder. If you molest us again, sir,
you may feel the sting of the lash across your pitiful shoulders.
Yours in anger,
violence. It is true that violent actions, like those performed by The Misfit in A
named Desire do not take place in the story. However, while there is no Real
Violence, there is, though, a lot of Repressed Violence. The last sentence in the
above paragraph, “You may feel the sting of the lash across your pitiful
B- To Myrna Mynkoff: “This liberal doxy must be impaled upon the member of a
C - When he was leading the Crusade for the Moorish Dignity: “Attack! Attack!
Ignatius cried again, even more furiously.” And “Someone must attack
Gonzalez” he surveyed the warrior´s battalion, “The man with the brick, come
over here at once and knock him a bit about the head”
45
D - When he was watching Television: “The children on that program should all
E - In his missive to Dr. Talc: “Your total ignorance of that which you profess to
delivery boy: “Now get away from me before I run over you with this cart”
set, arisen from his more strict and authoritarian worldview, they are signs of his
impotency to cope with life. From that point of view he becomes a pathetic
Southern Gothic Writers like O´Connor and McCullers. O´Connor argued that
the grotesque production “is going to be wild, that it is almost of necessity going
McCullers, who, coincidentally, was concerned with the theoretical behind the
fictional. In her 1940 essay, “The Russian Realists and Southern Literature”,
she stresses a similar creative tension, “The technique is briefly this: a bold and
outwardly callous juxtaposition of the tragic with the humorous; the immense
46
with the trivial, the sacred with the bawdy, the whole soul of a man with a
Thus, in this manner, the kind of humour displayed in the novel reinforces the
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5 - Conclusions
would it be right to support the idea that John Kennedy Toole´s novel belongs to
Yes, because the several connections made visible between the Southern
Yes, since after the examination of multiple critical work analysing Southern
Gothic works in terms of race, gender and setting to name a few, that analysis
Yes, since when contrasted with two of the most outstanding Southern Gothic
writers like O´Connor and McCullers, the literary kinship with Toole seems
inevitable.
Yes, because the novel draws on many of the conventions of the literary
Dunces solely as Southern Gothic. As stated in the prefatory chapter, the novel
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can also be catalogued as picaresque, an allegory and a satire. After an
exhaustive exploration of its contents, the only certainty is that its network of
this point, the expression coined by Richard Simon to describe the work as
“A playful and devious tour of literary history that puts into question the
traditional distinctions we make between life and literature, and enlarges our
Nevertheless, and returning to the relation between the work and the genre, we
can only hypothesize which were John Kennedy Toole´s intentions with A
Confederacy of Dunces.
Did he feel part of the Southern Gothic School? His visit to the home of
Flannery O´Connor shortly after his demise might suggest he feel somewhat
No matter which the answers to these questions might be, one fact is
Gothic lies there. And while, John Kennedy Toole has long decided which way
to go and Ignatius lingers at the crossroad, for the rest of us: students, readers
49
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