I love Dick (1997) by Chris Krauss made an appearance on my Twitter feed thanks to Elizabeth Morris’ account last Autumn when she gushed about the book and the upcoming TV adaptation. She highlighted how the book dwells on women, sex, agency, and art:
Have just finished rereading I LOVE DICK ahead of tonight! It's just amazing on women & art, & most importantly 'who gets to speak & why'.
— Elizabeth Morris (@elizabethmoya) November 3, 2016
I was sold from that same minute. Not only because the book promised to be a landmark in my feminist reading, but because I had been reading about rape culture and forensics for three months and I craved something different. This hype about the book, along with Wallace Yovetich’s series on romances novels for Book Riot I realised the ‘something different’ that I wanted was a story about female desire. So, when M and I decided to exchange books in Christmas instead of splurging on presents, I knew what I wanted: I love Dick.
Even though I finished reading the book some weeks ago, I haven’t been able to put my thoughts in a coherent order. Reading I Love Dick parallels the main characters’ chaotic descent into her desire for Dick, a man she met during a networking dinner with her husband. The woman is named after the author after – as gossip goes – she had a relationship with art critic Dick Hebdige. This much was said after the book’s cool reception twenty years ago, but after the rise of the unlikable female character, all the Nasty Women, and a constant fight to be human and not perfect, I Love Dick was rediscovered by pop culture as a chant to freedom and female agency.
As an academic the book posted some interesting and complex questions about who gets to speak in specific contexts and why. Chris is an experimental artist married to Sylvère, a professor who embodies all the post-structuralist and post-modernist theories that I live by, and that I write about. However, as the couple goes to dinner with Dick, Chris finds herself unable to join the conversation. She feels an outsider to a world – Academia – that is masculine, theoretical and patronising to women and women’s experience. As the novel progresses, we learn about Chris’ past as an artist in NYC, and the many lived experiences that have shaped her into the person that falls immediately head over heels in love with a stranger.
Sylvère keeps socializing what I’m doing through with you. Labeling it through other people’s eyes – Adultery in Academe, John Updike meets Marivaux… Faculty Wife Throws Herself At Husband’s Colleague. This presumes that there is something inherently grotesque, unspeakable about femaleness, desire. But what I’m going through with you is real and happening for the first time.
The novel is divided into two parts. The first one – ‘Scenes from a marriage’ – presents the reader with a third-person narration of the events the set the plot in motion and how Chris shares her infatuation with Sylvère and they jointly decide to start writing letters to Dick. In them, they describe how the stranger is profoundly changing the way they relate to each other with desire taking central stage, as the couple had given up on sex for a few years now. Their sexual relationship relinked, they wonder how the introduction of a third person may change their identity as a couple, but also individually (*). The author’s vast knowledge of literature and postmodern theory allows for references to every unfaithful partner in literature, as well as even more dark references that can only be gasped at during second or third readings. Because if there is something that characterises I Love Dick that is the impossibility to control the text and pin it down to references known by the reader, a process that mirrors the beautiful yet chaotic event of falling in love and seeing your life turned upside down and blurry for a period of time.
The second part of the book is called ‘Every letter is a love letter’ and it takes place after Chris abandons Sylvère and reappropriates the relationship the couple had with him as hers only. During this period she is travelling across the United States and she presents herself to Dick by sharing her past with him: How she worked at a strip club, how she is dismissed because of her art, her constant struggle against anorexia, and how she ended up marrying Sylviere. As someone interested in the representation of eating disorders, I was shocked by the blunt description of Chris’ necessity to stop eating sometimes and the happiness that comes with the restrain and the supposed control derived from the starving. The main character’s lived experience emerges in this part of the book as her own, and she unties herself from Sylvères-wife through her desire for Dick. This does not mean that the main character replaces one partner from another as Dick is just a recipient for her letters and the only voice that we hear is hers. Instead, the return of her sexual desire brings back her desire to live and to exist outside institutions and discourses that deem her a secondary character, a side-passenger. The ending, as it happens with every infatuated state, is a crash against reality reminded the reader that the process is as important as the goal.
The fact that Chris Krauss (author) and Chris Krauss (main character) seem to be the same person posts a lot of question about women in the arts and how we have been told to dismiss the female voice and avoid questioning why it is not being heard. I Love Dick challenged the status quo and inscribes two women’s lived experience as a female artist in pop culture: the fictional Chris’, and the real-life Chris’. With the upcoming television adaptation starring Kathryn Hahn as Chris and Kevin Bacon as Dick, the wold is about to be taken by storm by a tour de force on what it means to be a woman and dare to have any kind of desire for one’s self.
In short, I Love Dick by Chris Krauss is an essential read for anyone interested in women’s agency in art, feminism, female desire, relationships and postmodernism. It is not an easy read, and the process will be plagued with chaos, infatuation with the book, hate towards the book, and a necessity to run back home to read one more chapter. But that is exactly the power of the book: Its ability to make us feel like Chris does, with no Dick whatsoever.