A Wilderness of Queer Theorists? A Review of Titus Andronicus – Sound the Sirens
In Cormac McCarthy’s masterly novel Blood Meridian, the main antagonist, the Judge, has some dispiriting reflections on the human condition and its permanent and inflexible capacity for barbarism:
“It makes no difference what men think of war . . . War endures. As well ask men what they think of stone. War was always here. Before man was, war waited for him. The ultimate trade awaiting its ultimate practitioner.”
This bleak vision of the American West and its new and old inhabitants invites comparison with Shakespeare’s Rome, “a wilderness of tigers” as Titus Andronicus calls it. His military victory over the Goths has left twenty-one of his sons dead, and now, as ever, another war awaits him: a family struggle of revenge against Tamora, her children, and those who would rule Rome.
There are some scenes in McCarthy’s novel that defy retelling or summary. Words like violent and terrifying come to seem pallid and banal when set against the depravity and real horror of McCarthy’s world. Similarly, the practitioners of war in Shakespeare’s first tragedy treat us to decapitation, filicide, dismemberment, and cannibalism. It’s difficult even to imagine Blood Meridian being filmed or staged, and directors taking on Titus Andronicus have often felt the same. A particularly gory 2014 production at the Globe Theatre in London left a few audience members collapsing and vomiting.
While Blood Meridian is undoubtedly McCarthy’s masterpiece, Shakespeare’s tragedy has almost always been considered a shameful aberration, undeserving of mention in the same breath as Hamlet or Macbeth. The scholar Harold Bloom went so far as to wish that this “poetic atrocity” had never been written in the first place. Interestingly, many modern viewers, occasionally wiser than verbose academics, have finally come to agree with Shakespeare’s Elizabethan audience, who bloody well loved it. Their hobbies, it must be noted, also included attending public hangings, so they weren’t exactly the squeamish types. Nor are we, I suppose, accustomed as we are to the daily brutality served up on TV, social media, and the news.
Can Titus Andronicus be rescued from neglect and disfavour? Bell Shakespeare’s production at the Sydney Opera House, in the hands of director Adena Jacobs, has made an audacious attempt to do so.