‘You May!’

'You May!'
‘You May!’

‘Rule Girls’ are heterosexual women who follow precise rules as to how they let themselves be seduced (accept a date only if you are asked at least three days in advance etc). Although the rules correspond to customs which used to regulate the behaviour of old-fashioned women actively pursued by old-fashioned men, the Rule Girls phenomenon does not involve a return to conservative values: women now freely choose their own rules – an instance of the ‘reflexivisation’ of everyday customs in today’s ‘risk society’. According to the risk society theory of Anthony Giddens, Ulrich Beck and others, we no longer live our lives in compliance with Nature or Tradition; there is no symbolic order or code of accepted fictions (what Lacan calls the ‘Big Other’) to guide us in our social behaviour. All our impulses, from sexual orientation to ethnic belonging, are more and more often experienced as matters of choice. Things which once seemed self-evident – how to feed and educate a child, how to proceed in sexual seduction, how and what to eat, how to relax and amuse oneself – have now been ‘colonised’ by reflexivity, and are experienced as something to be learned and decided on.

The retreat of the accepted Big Other accounts for the prevalence of code-cracking in popular culture. New Age pseudo-scientific attempts to use computer technology to crack some recondite code – in the Bible, say, or the pyramids – which can reveal the future of humanity offer one example of this. Another is provided by the scene in cyberspace movies in which the hero (or often the heroine), hunched over a computer and frantically working against time, has his/her ‘access denied’, until he/she cracks the code and discovers that a secret government agency is involved in a plot against freedom and democracy. Believing there is a code to be cracked is of course much the same as believing in the existence of some Big Other: in every case what is wanted is an agent who will give structure to our chaotic social lives.

Even racism is now reflexive. Consider the Balkans. They are portrayed in the liberal Western media as a vortex of ethnic passion – a multiculturalist dream turned into a nightmare. The standard reaction of a Slovene (I am one myself) is to say: ‘yes, this is how it is in the Balkans, but Slovenia is not part of the Balkans; it is part of Mitteleuropa; the Balkans begin in Croatia or in Bosnia; we Slovenes are the last bulwark of European civilisation against the Balkan madness.’ If you ask, ‘Where do the Balkans begin?’ you will always be told that they begin down there, towards the south-east. For Serbs, they begin in Kosovo or in Bosnia where Serbia is trying to defend civilised Christian Europe against the encroachments of this Other. For the Croats, the Balkans begin in Orthodox, despotic and Byzantine Serbia, against which Croatia safeguards Western democratic values. For many Italians and Austrians, they begin in Slovenia, the Western outpost of the Slavic hordes. For many Germans, Austria is tainted with Balkan corruption and inefficiency; for many Northern Germans, Catholic Bavaria is not free of Balkan contamination. Many arrogant Frenchmen associate Germany with Eastern Balkan brutality – it lacks French finesse. Finally, to some British opponents of the European Union, Continental Europe is a new version of the Turkish Empire with Brussels as the new Istanbul – a voracious despotism threatening British freedom and sovereignty.

We are dealing with an imaginary cartography, which projects onto the real landscape its own shadowy ideological antagonisms, in the same way that the conversion-symptoms of the hysterical subject in Freud project onto the physical body the map of another, imaginary anatomy. Much of this projection is racist. First, there is the old-fashioned, unabashed rejection of the Balkan Other (despotic, barbarian, Orthodox, Muslim, corrupt, Oriental) in favour of true values (Western, civilised, democratic, Christian). But there is also a ‘reflexive’, politically correct racism: the liberal, multiculturalist perception of the Balkans as a site of ethnic horrors and intolerance, of primitive, tribal, irrational passions, as opposed to the reasonableness of post-nation-state conflict resolution by negotiation and compromise. Racism is a disease of the Balkan Other, while we in the West are merely observers, neutral, benevolent and righteously dismayed. Finally, there is reverse racism, which celebrates the exotic authenticity of the Balkan Other, as in the notion of Serbs who, by contrast with inhibited, anaemic Western Europeans, still exhibit a prodigious lust for life. Reverse racism plays a crucial role in the success of Emir Kusturica’s films in the West.

Because the Balkans are part of Europe, they can be spoken of in racist clichés which nobody would dare to apply to Africa or Asia. Political struggles in the Balkans are compared to ridiculous operetta plots; Ceausescu was presented as a contemporary reincarnation of Count Dracula. Slovenia is most exposed to this displaced racism, since it is closest to Western Europe: when Kusturica, talking about his film Underground, dismissed the Slovenes as a nation of Austrian grooms, nobody reacted: an ‘authentic’ artist from the less developed part of former Yugoslavia was attacking the most developed part of it. When discussing the Balkans, the tolerant multiculturalist is allowed to act out his repressed racism.

[Extract. Appeared in London Review of Books on March 18th 1999.]

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