Gothic
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Description: Postmodern criticism on the Gothic.
EDWARD SCHIZOHANDS: THE POSTMODERN GOTHIC BODY by RUSSELL A. POTTER Dept. of English Colby College _Postmodern Culture_ v.2 n.3 (May, 1992) Copyright (c) 1992 by Russell A. Potter, all rights reserved. This text may be freely shared among individuals, but it may not be republished in any medium without express written consent from the author and advance notification of the editors. A schizophrenic out for a walk is a better model than a neurotic lying on the analyst's couch. A breath of fresh air, a relationship with the outside world . . . while taking a stroll outdoors . . . he is in the mountains, amid falling snowflakes, with other gods or without any gods at all, without a family, without a father and a mother . . . .^1^ --Deleuze and Guattari, _Anti-Oedipus_ [1] A schizophrenic out for a walk . . . thus Deleuze and Guattari frame the peripatetic, or as they would say, the nomadic position of their classic critique of Freud's Oedipus complex. The world of this schizo subject is profoundly machine-made, "everything is a machine. Celestial machines, the stars or rainbows in the sky, alpine machines--all of them connected to those of the body."^2^ And it is in just such a way that Edward Scissorhands, in Tim Burton's film of the same name, enters the world; left alone and unfinished in the huge gothic mansion of his dead Inventor, not born but built, his only company other dusty machines, filling his days trimming intricate ornamental hedges with his bladed hands. And yet Edward's own mark is that of the wound, for everything he touches is cut, severed, disjointed. In contrast, down below the mountain on which his mansion stands dwells a sedately postmodern collection of pastel-hued modular homes, each with its nuclear, Oedipal family, its pastel-hued automobile, and its well-watered, neatly manicured lawn. [2] And yet to simply construe _Edward Scissorhands_ as an incarnation of Deleuze and Guattari's schizo would be to do both texts an unwitting violence, for like the prose
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