I’ve always loved satire, and I’d like to think that I’m far more subversive than conservative, but my self-image as a camp, tongue-in-cheek, irreverent has been somewhat shaken by Gore Vidal’s 1968 novel Myra Breckinridge.
Set in the 1960s, Myra makes her way to Hollywood to seek the inheritance she’s owed by her dead husband’s Uncle Buck. Attractive, intellectual, and sexually complex, Myra is convinced that the golden days of the US came and went with the Golden Age of Hollywood.
I am seated in front of a French cafe in a Montmartre street on the back lot at Metro. … Over a metal framework, cheap wood has been arranged and painted as to suggest with astonishing accuracy a Paris bistro. … From the angle where I sit I can see part of the street in Carvel where Andy Hardy lived. The street is beautifully kept up as the shrine it is, a last memorial to all that was touching and – yes – good in the American past, an era whose end was marked by two mushroom shapes set like terminal punctuation marks against the Asian sky. (p. 30-31)
The book is written largely as a memoir – Myra’s confessional with a preening eye always to her audience; with snippets of Uncle Buck’s suspicion-filled memos. In his 1995 autobiography Palimpsest, Vidal said that he found inspiration for Myra’s lofty tone in the “megalomania” of Anaïs Nin’s diaries – which I’m not sure is quite fair, but certainly did give me a giggle to discover. I can’t say I found Anaïs Nin’s short stories or diaries particularly enjoyable to read, but that opinion doesn’t seem to be particularly popular.
Is it possible to describe anything accurately? That is the problem set to us by the French New Novelists. The answer is, like so many answers to important questions, neither yet nor no. The treachery of words is notorious. I write that I ‘care for’ Mary-Ann. But what does that mean? Nothing at all because I do not care for her at all times or at any time in all ways. To be precise (the task set us in the age of science), as I sit here…I can say that I like her eyes and voice but not her mouth (too small) or hands (too blunt). I could fill many pages of yes-no and still not bring the reader to any deep knowledge of what it is I feel at 7.10pm, March 12. It is impossible to sort out all one’s feelings at any given moment on any given subject, and so perhaps it is wise never to take on any subject other than one’s own protean but still manageable self. (p. 116)
I appreciate the topics that Vidal broaches in Myra Breckinridge, and the panache with which Vidal broaches them – generational attitude changes in America, masculinity, feminism, transsexuality, homosexuality, heterosexuality, pornography, intellectualism, hypocrisy. There’s still truth to be found in plenty of Vidal’s barbs, but the language used is certainly (and thankfully!) far outdated.
Most human beings, however, prefer the short duet, lasting anywhere from five minutes with a stranger to five months with a lover. Certainly the supreme moments occur only in those brief exchanges when each party, absorbed by private fantasy, believes he is achieving mastery over the other. The sailor who stands against the wall, looking down at the bobbing head of the gobbling queen, regards himself as master of the situation; yet it is the queen (does not that derisive epithet suggest primacy and dominion?) who has won the day, extracting from the flesh of the sailor his posterity, the one element in every man which is eternal and (a scientific fact) cellularly resembles not at all the elixir of victory, that which was not meant for him but for the sailor’s wife or girl or simply Woman. (p. 80)
Even though my love for Gore Vidal knows no bounds, and there was plenty I enjoyed about Myra Breckinridge, I can’t fully enjoy (or really recommend) any book that uses rape as a key plot point. That’s not to say Vidal didn’t write it well – it’s deeply disturbing, a severe counterpoint to the frippery of much of the book – but I still feel like rape is rarely more than a cheap narrative device.
Myra Breckinridge is dated, nearly entirely silly, and certainly has issues. It may not be quite what it was 40 years ago but it’s certainly a good snapshot of a particular American era, with a few eternal truths thrown in for good measure.
But then it is out peculiar fate to destroy or change all things we touch since (and let us never forget it) we are the constant and compulsive killers of life, the mad dogs of creation… Death and destruction, hate and rage, these are the most characteristic of human attributes… (p. 122)