Cirrus@Austlit

'From ‘the Wolf’ Wolfe in Quentin Tarantino’s Pulp Fiction to the laundress in Kate Grenville’s Joan Makes History, the act of nettoyage is called into service as an intertextual gesture toward decoding all that is virtuous (or not), all that is filthy (or not). As an inevitable repetition or agent of redundancy, complete with all the recursive energies of concealment and discovery, cleaning and the cleaner serve a parodic practice that has been entirely overlooked in its representation in various forms of narrative (fiction, film, and image). Parody may be, as Hutcheon claims, ‘a more restricted form, in pragmatic terms, than allusion or quotation’ (1985: 50), but it has also not been accorded the power that it wields in a quotidian presence, its gestural and recitative marking performing a contestation that is ignored because it is ‘unmarked’ (60). In short, its association with the erotic and the criminal, erasure and commodification, make nettoyage a transgressive site in disguise. Scouring and laundering’s ‘transcontextualizing’ power resides in its invisibility, and its work as an ‘authorized transgression’ (Hutcheon 1985: 101) enunciates a persistent parodic presence in an aesthetically incognizant world. The play of disinfectant as part of Foucault’s ‘writing of things’ thus alludes to parody’s most powerful affect: its connection to the most ordinary and quotidian of gestures, doubled by cultural aesthetic and instructional pragmatism.' (Publication abstract)