Tragedy's New Ballast
From: Judith Shulevitz
To: Glen Gabbard, Margaret Crastnopol, Philip Ringstrom, and Joel WhitebookPosted Monday, Dec. 2, 2002, at 7:53 AM ET
Who are these people?
Dear all,
I feel quite bereft without my Melfi fix, so I consider myself lucky to have been asked to kick off this session with her excellent peers. But, hey, we haven't been totally abandoned. We may have lost a Jennifer, but we have gained a Carmela. And, oh, what a Carmela! It can't be much fun for this sainted mother to burst out of her calcified chrysalis all of a sudden like this, but at long last she gets to be real, to have an inner life as sexual and operatic as Tony's: a desperate longing for an encounter that she knows full well could only end in her lover's or husband's death; a total refusal to let that fact impinge on her determination to gratify her lust (do you think that at some level she was hoping that Furio would in fact kill Tony?); and an unbearable depression when she's thwarted. This manifested itself as a jealous fury at her own daughter for having escaped their claustrophobic little world and gotten a chance to be all the things she, Carmela, never even tried to be. I was stunned at how mean Carmela was to Meadow at lunch at the Plaza, at how frail and obsolete she seemed in her white gloves, and at how deluded and incongruous their little tea ritual now seemed, given what the man in their family had to have been up to back when the wife first started taking the little daughter to nibble delicacies off a tea tray. Carmela has been trapped inside her fortitude and patience as thoroughly as she's been trapped in a marriage and a culture unworthy of her. While the brilliant Falco has never let Carmela's ironclad dignity mask her tremendous self-awareness or very human vulnerability or even her occasional moments of callow snobbery (like back a couple of seasons ago when she treated her old friend, Artie's wife, like the hired help), on the whole she's had her sensibilities blunted by having to be such a model of forbearance at all times. Well, she is not forbearing now, and it's a pleasure to have her humanity front and center. She's always been a tragic character, but now her tragedy has ballast. She can suffer and grow till the cows come home, but, like Tony, no matter how rich her inner life becomes, I don't see how she can ever do anything to change her circumstances.
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Does psychoanalysis give us any insight into Paulie, or is he just the funniest psychopath ever written, so far gone as to be beyond the reach of psychology? With every episode this season he becomes ever more hilariously horrifying, as if the writers just want to see how far they can take a very sick joke. So, this time he kills his mother's friend (admittedly one of the most unpleasant old women to appear on television since Tony's mother died) to scrape under her mattress to steal a few bucks to give to Tony to win his love back after Paulie has repeatedly sold his boss out to the competition. I don't know. Maybe the way to understand Paulie is not as a character but as an homage to Scorsese and Joe Pesci, since they are past masters at making us laugh at this sort of exceedingly comical, gratuitously awful nut job.
Best,
Judith
Tragedy's New Ballast
From: Judith Shulevitz
To: Glen Gabbard, Margaret Crastnopol, Philip Ringstrom, and Joel WhitebookPosted Monday, Dec. 2, 2002, at 7:53 AM ETGlen O. Gabbard, M.D., is a professor of psychiatry at Baylor College of Medicine and author of
The Psychology of The Sopranos, inspired by this discussion. Philip A. Ringstrom, Ph.D., Psy.D., is a senior faculty member at the Institute of Contemporary Psychoanalysis in Los Angeles. Joel Whitebook, Ph.D., is on the faculty of the Columbia Center for Psychoanalytic Training and Research. Margaret Crastnopol, Ph.D., is on the faculty of the Northwest Center for Psychoanalysis. All are practicing therapists as well. Judith Shulevitz writes the "Close Reader" column for the
New York Times Book Review. Jodi Kantor is
Slate's New York editor.
Notes From The Fray Editor II:
Updating: wellmanswellman thinks Carmela is preggers. Syosset_Guy thinks there is too much emphasis on whacking and that no way is Tony gonna get it. And chango and rob_said_that have a nifty discussion of Tony's homophobia (or lack thereof).
Remarks From The Fray II:
Carmela reacts so strongly to allegations of Billy Budd being gay, because she has already cast Furio into the role of the tragic sailor. Furio's mutinous thoughts correspond, albeit imperfectly, to the plot of Billy Budd. The film version she has seen does not provide the gay subtext of the novel, so Carmela has a version perfectly edited for her own casting agenda. One can imagine the Billy Budd Furio, standing proudly erect on a ship's prow, with his luxurious locks flowing in the sea breeze. Reminiscent of a Fabio romance novel, no?
Surprisingly, it is Tony who tries to mediate the gay Billy Budd controversy, and even begs pardon for his son's use of the term "fag." Although it is clear that this open mindedness has more to do with anxiety about Meadow's male roommate than with sensitivity.
Or does it? Tony appears ambivalent to gays, which might be surprising considering his generally provincial worldview. Yet his handling of Ralphie's decidedly queer sexuality suggests Tony takes a pragmatic, laissez-faire view of sexuality. He might not understand the vagaries of sex, but he does not necessary condemn that which he does not comprehend.
Is it a coincidence that the episode following Tony's rejection of therapy shows him more stable, connected and together than any in recent memory? He shows an uncharacteristic empathy for Carmela and Meadow, even analyzing their relationship and conflict in surprisingly astute terms. Throughout the episode, Tony gives us a glimpse of his potential: a strong yet sensitive father and an efficient and pragmatic Boss. Could this New Tony presage a death made more tragic by his newfound inner strength?
And, speaking of tragic death, what comedy that AJ's second assignment should be yet another "gay" text: Death in Venice. Perhaps Carmela has seen the film version of this novella as well. Like the protagonist in Death in Venice, Furio flees to Italy for renewal (although in his case, it's Naples, not Venice). Will Furio find a metaphoric sexual epidemic awaiting him there? The graffiti transformation of a Venetian gondola into a penis suggests that the Death in Venice motif has only just begun.
-- chango
(To reply, click here.)
I had the same reaction when A.J. started reading the Thomas Mann. What a riot.
I have to disagree, however, that Tony "tolerates" gays. I think he tolerates them the way he tolerates blacks: they're all right as long as they don't try to enter his life. Remember that Tony didn't kill Ralphie until, finally, he had satisfied himself that Ralphie was some sort of "pervert." The horse was a provocation, sure, but with the sexual curtain open Ralphie was weak, a liability. He even paid Janice for the information, which suggests that his interest was more than mere curiosity: it was business, plain and simple.
I also think that the "gay" probing at dinner was Tony's blundering way of establishing whether Meadow was in harm's way sexually by living in a mixed-sex roommate environment. He actually seemed annoyed that the roomate *wasn't* gay, as if he might have to step in and wrestle with that situation now too. A gay man would pose no threat to his daughter's -- what, virginity? Honor?
Underneath it all, Tony is extremely traditional and violently reactionary. Remember how he belt-whipped the councilman who was diddling one of his former girlfriends? That scene seemed gratuitous at the time, but now it may be essential to an understanding Tony's character.
-- rob_said_that
(To reply, click here.)
Notes From The Fray Editor:
Even before our psychologists checked in, the Fray was busy debating Furio's fate and Johnny Sack's motivations. (The Sack thread is excellent and begins here.) GMG, one of our Sopranos regulars, captures the pathos of Furio's decision to leave while zinya (once Carolyn) neatly describes Meadow's "family secret."
Remarks From The Fray:
It is somewhat sad what Furio is giving up for Carmela's safety. He knows he could never kill Tony, the chopper incident proved that. So he cannot have her, his uncle's advice is sound, and she must not be allowed to pursue him. The only way to prevent that is to retreat to Italy, where Carm would be relatively helpless.
In spite of the fact that Furio loves her. In spite of the fact that he is obviously disgusted with the drunken, gambling Tony for cheating on her. (Carmela as Madonna figure to Furio?) In spite of the fact that (glancing sidelong while they both urinate) Furio doesn't think much of Tony's manhood.
He cannot simply move to Mineola or Minneapolis; Carmela would pursue him, find some reason. Napoli is much safer. So for her, he gives up the U.S. (which he loves, did you see the way his eyes fixed on the displays of flags at roadside gas stations) for Naples, which is no longer a place he wants to be. He returns to the female boss, the hamburger wrappers at the Naples Cathedral--a place where he will be unhappy, so that Carmela may live.
-- GMG
(To reply, click here.)
Tony is clueless about Furio, just as AJ is, despite all his firsthand evidence. Only Meadow puts the pieces together and deduces what's up with her mom, and giving Meadow too a family secret to now have to 'manage'. (That scene on the stairs of Tony and Meadow felt very real psychologically--especially Meadow's tracking of multiple new pieces of information, especially in the eyes, of both.)
-- zinya
(To reply, click here.)
(12/2)
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Notes From The Fray Editor II:
Updating: wellmanswellman thinks Carmela is preggers. Syosset_Guy thinks there is too much emphasis on whacking and that no way is Tony gonna get it. And chango and rob_said_that have a nifty discussion of Tony's homophobia (or lack thereof).
Remarks From The Fray II:
Carmela reacts so strongly to allegations of Billy Budd being gay, because she has already cast Furio into the role of the tragic sailor. Furio's mutinous thoughts correspond, albeit imperfectly, to the plot of Billy Budd. The film version she has seen does not provide the gay subtext of the novel, so Carmela has a version perfectly edited for her own casting agenda. One can imagine the Billy Budd Furio, standing proudly erect on a ship's prow, with his luxurious locks flowing in the sea breeze. Reminiscent of a Fabio romance novel, no?
Surprisingly, it is Tony who tries to mediate the gay Billy Budd controversy, and even begs pardon for his son's use of the term "fag." Although it is clear that this open mindedness has more to do with anxiety about Meadow's male roommate than with sensitivity.
Or does it? Tony appears ambivalent to gays, which might be surprising considering his generally provincial worldview. Yet his handling of Ralphie's decidedly queer sexuality suggests Tony takes a pragmatic, laissez-faire view of sexuality. He might not understand the vagaries of sex, but he does not necessary condemn that which he does not comprehend.
Is it a coincidence that the episode following Tony's rejection of therapy shows him more stable, connected and together than any in recent memory? He shows an uncharacteristic empathy for Carmela and Meadow, even analyzing their relationship and conflict in surprisingly astute terms. Throughout the episode, Tony gives us a glimpse of his potential: a strong yet sensitive father and an efficient and pragmatic Boss. Could this New Tony presage a death made more tragic by his newfound inner strength?
And, speaking of tragic death, what comedy that AJ's second assignment should be yet another "gay" text: Death in Venice. Perhaps Carmela has seen the film version of this novella as well. Like the protagonist in Death in Venice, Furio flees to Italy for renewal (although in his case, it's Naples, not Venice). Will Furio find a metaphoric sexual epidemic awaiting him there? The graffiti transformation of a Venetian gondola into a penis suggests that the Death in Venice motif has only just begun.
-- chango
(To reply, click here.)
I had the same reaction when A.J. started reading the Thomas Mann. What a riot.
I have to disagree, however, that Tony "tolerates" gays. I think he tolerates them the way he tolerates blacks: they're all right as long as they don't try to enter his life. Remember that Tony didn't kill Ralphie until, finally, he had satisfied himself that Ralphie was some sort of "pervert." The horse was a provocation, sure, but with the sexual curtain open Ralphie was weak, a liability. He even paid Janice for the information, which suggests that his interest was more than mere curiosity: it was business, plain and simple.
I also think that the "gay" probing at dinner was Tony's blundering way of establishing whether Meadow was in harm's way sexually by living in a mixed-sex roommate environment. He actually seemed annoyed that the roomate *wasn't* gay, as if he might have to step in and wrestle with that situation now too. A gay man would pose no threat to his daughter's -- what, virginity? Honor?
Underneath it all, Tony is extremely traditional and violently reactionary. Remember how he belt-whipped the councilman who was diddling one of his former girlfriends? That scene seemed gratuitous at the time, but now it may be essential to an understanding Tony's character.
-- rob_said_that
(To reply, click here.)
Notes From The Fray Editor:
Even before our psychologists checked in, the Fray was busy debating Furio's fate and Johnny Sack's motivations. (The Sack thread is excellent and begins here.) GMG, one of our Sopranos regulars, captures the pathos of Furio's decision to leave while zinya (once Carolyn) neatly describes Meadow's "family secret."
Remarks From The Fray:
It is somewhat sad what Furio is giving up for Carmela's safety. He knows he could never kill Tony, the chopper incident proved that. So he cannot have her, his uncle's advice is sound, and she must not be allowed to pursue him. The only way to prevent that is to retreat to Italy, where Carm would be relatively helpless.
In spite of the fact that Furio loves her. In spite of the fact that he is obviously disgusted with the drunken, gambling Tony for cheating on her. (Carmela as Madonna figure to Furio?) In spite of the fact that (glancing sidelong while they both urinate) Furio doesn't think much of Tony's manhood.
He cannot simply move to Mineola or Minneapolis; Carmela would pursue him, find some reason. Napoli is much safer. So for her, he gives up the U.S. (which he loves, did you see the way his eyes fixed on the displays of flags at roadside gas stations) for Naples, which is no longer a place he wants to be. He returns to the female boss, the hamburger wrappers at the Naples Cathedral--a place where he will be unhappy, so that Carmela may live.
-- GMG
(To reply, click here.)
Tony is clueless about Furio, just as AJ is, despite all his firsthand evidence. Only Meadow puts the pieces together and deduces what's up with her mom, and giving Meadow too a family secret to now have to 'manage'. (That scene on the stairs of Tony and Meadow felt very real psychologically--especially Meadow's tracking of multiple new pieces of information, especially in the eyes, of both.)
-- zinya
(To reply, click here.)
(12/2)