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Moral fiction and Vollmann’s whores. By moral I want to mean the shape of a human being. DFW called it “what it’s like to be a fucking human being.” “Moral” is not a set of prescriptions and proscriptions, but the experience of having a world and being the kind of thing that has a definite way of being in that world; and being-with. Being-with is an empathy. Martha Nussbaum’s work is concerned with the way in which our moral being, our shaping ourselves into the kind of human beings we are, is worked out through the experience of reading fiction. Her touchstones are the masters such as Austen and Proust. Reading their works is a practice in empathy, a moral schooling; learning to imaginatively project into the experience of others such that we come to understand them as, just as ourselves, projecting and experiencing a world, undergoing experience just as we do. Moral fiction, as a training in empathy, is not a setting down of rights and wrongs, but a field in which we practice taking/perceiving the other person as a person and become convinced that it matters how we are with-them in the world. There are also non-moral fictions. These are the kinds of books often taught in eighth grade English classes and sell hundreds of thousands of copies. They are didactic. They will preach to you what you already want to hear. They reinforce what you are and how you already experience the world. The other persons you meet in these novels are people you already know and already know what to do with them; you know how to manipulate them. Or they are people who are you, narcissistic; you can identify with them; no need to stretch your empathy. And these non-moral books teach you even better how to manipulate these other people just as the author manipulates your responses to the characters and to the pablum being preached. Even as the author suffocates you with his/her platitudes, so the reader learns that what matters most is to get other persons to submit to their credos, that x, that y, that z; and to identify the other as one’s own self, merely repeated, but not its own. A moral fiction, such as Vollmann’s Butterfly Stories, opens experience to the reader to find empathy on his/her own. Empathy is not directed by a nervous author but is left open as a mere possibility. Vollmann’s protagonists are not protagonists which one “can identify with” yet the moral task is precisely to identify with, to empathize with, because this creature, too, is a being in the world, human, however repugnant to the self-righteous or unflattering to the narcissist. But even this task is not so unguided because our journalist himself, whoring through Southeast Asia, is a human being empathizing with the human beings he encounters, allowing the whores whom he loves to have their being. He doesn’t want to fuck them but to be-with them, to leap in before them and save them from the coming Khmer Rouge slaughter; coming to their aid with stacks of bhat or buying them out. He is a moral actor. Butterfly Stories is part of Vollmann’s famous “Whore Trilogy,” merely thematically trilogized, including also Whores for Gloria and The Royal Family. Stylistically, my preference is for the long-form of The Royal Family while the other two whore books feel more akin to the shorter 13 Stories or to Rainbow Stories. Butterfly itself consists of several short pieces tied together by our journalist cum husband main character. The novel is weighted heavily by the two central chapters. The Thailand and Cambodia whoring story is written in a Hemingway-esque terseness of short sentences and direct recounting of events. This chapter needs to be waded through for the payoff of the following story, “The New Wife,” in which Vollmann reproduces the lostness of the journalist/husband upon his return to the states, his assignment to the Arctic, the experience of having lost his whore-love-wife, Vanna; reproduces this lostness by way of a prose disconnected and lost, surreal, contorting the heart lost to pain of aloneness and searching for a whore-love-wife, Vanna, most certainly eliminated by now by the Khmer Rouge, his searches (failed) for substitutes, a false hope found in hypnotism, a failed attempt to transcendentalize his whore-love-wife, Vanna. “I wouldn’t smile like that if I were you,” but he does because he is happy because he has AIDS.What is it about? It’s about whores. About whoring through Southeast Asia. It’s about the Khmer Rouge. It’s about taxi girls. About AIDS. About johns. It’s about a journalist and a photographer whoring through Thailand and Cambodia on the dime of a periodical you probably subscribe to. It’s about genocide. About a return. It’s about poverty. But mostly it’s a love story. It’s about salvation.
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