A review of Greg Bechtel’s “The Smut Story (III)” in Boundary Problems (Freehand Books, 2014)
By Derek Newman-Stille
We are made up of stories. We are created from sex. In “The Smut Story (III)” Greg Bechtel interweaves the sexual with notions of the construction of self through narrative. After an erotica reading series at a bookstore on Mother’s Day, the media is driven wild with interest in a situation that seems to defy explanation. It has all of the earmarks of a good media story – sex, scandal, confusion, and hype from right wing pundits…. the only problem is that none of the narratives about the events from this particular night align.
Tales of the night are slippery (and not just with lube). Each participant describes a person named T. Boop differently – man, woman, trans, androgynous… but all agree that T. Boop is the most beautiful person they have ever seen. His/Her/Their appearance shifts depending on the teller, and the story T. Boop tells changes with the re-telling. The story told is intensely sexual, and incredibly personal to the listener. Starting in the second person, each reader hears a story that speaks directly to them, evoking their deepest sexual fantasies… even ones they don’t care to admit to themselves or others. The stories and T. Boop’s appearance shift with the sexual preferences of the listener, slide with the performance of erotica.
This narrative and identity slippage points to the power of stories to shift in the act of perception, to become more than a single narrative, a unitary utterance.
Bechtel illustrates the power of the re-telling of fantasies to draw the listener in, constitute them, but also to challenge them, particularly those who fear the revelation of their sexual fantasies, the desires that they hide from themselves and others.
Character Peter Smith launches a media campaign against the events of that Mother’s Day and the sexual excesses he believes occurred (because he likely participated in them). His retreat into hate doctrine and intolerance comes from his insecurity about the slippage that occurs when he confronts something about his own psycho-sexual identity.
Bechtel draws gender categories into his work, using the body of T. Boop to illustrate the permeability of sexual identities, the ability for narrative and individuality to challenge traditional assumptions about gender binaries, and the perception that sexualities are fixed and unchanging. T. Boop evokes the power of a shifting voice, literally because each audience member hears a different tone, and socially because each telling of a singular story is different, shifting with the diverse perceptions, the different ears, of the audience. Narratives shift because each sexual telling is both intensely personal and private, but also collective and public since sexuality is something that is socially created and shaped by social mores. This slippery story is one that invites the reader to play with notions of gendered identities, question the social messages that have been projected upon our society, and challenge any identity of fixity.
To discover more about the work of Greg Bechtel, visit his website at http://gregbechtel.ca/ .
To read more about Boundary Problems, visit Freehand Books at http://www.freehand-books.com/authors/greg-bechtel