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Book
Mary Gaitskill · 1988
Mary Gaitskill's Bad Behavior (1988) is the story collection that made her reputation — spare, unsparing tales in which desire is inseparable from humiliation and the self's uneasy bargaining with its own hunger. The famous story behind the film Secretary is here, and it is colder and stranger than the movie made it.
Sequence ladder
Narrative Intelligence sources live outside the figurative image sequence ladder. Adaptive placement applies to image sequences, not this reading library.
Appears in
What this book knows
Desire in Gaitskill's world is inseparable from power, humiliation, and the self's uneasy negotiations with its own hunger.
erotic-as-power
He thought of Beth, naked and bound, blindfolded and spread-eagled on the floor of her cluttered apartment. Her cartoon characters grinned as he beat her.
BBMG-RC-056They actually think they can buy you for a hundred and fifty dollars. They can pay you to do certain things. But they can't buy anyone.
BBMG-RC-014Deep down, I'm afraid I'll fall in love with you, that I'll need to be with you and fuck you…forever.
BBG-RC-035shame
She was so hurt by this that she had difficulty answering. 'I can be very sexual or very unsexual depending on who I'm with.'
BBG-RC-025She was, for several unpleasant moments, the isolated, lonely, insecure person she had been just three years earlier, a social blunderer.
BBG-RC-110self-and-identity
She had lived hand to mouth, working menial jobs that made her feel isolated and unseen, yet strangely safe.
BBG-RC-066Illuminates
Editor’s framing
Gaitskill writes the transactional edges of desire — sex work, sadomasochism, the power plays of office and bedroom — without judgment and without titillation, in a prose so flat and exact that the cruelty and the tenderness register at the same temperature. Her characters want things they are ashamed of and pursue them anyway, and the collection's achievement is to render that pursuit without either condemning it or pretending it is liberating. The desire here is rarely clean; it is mixed up with loneliness, contempt, and the difficulty of being seen.
What to attend to: the refusal of the redemption arc — Gaitskill's characters do not learn their lessons, and the stories are truer for it. The precision about power: who has it, who wants to give it up, and how rarely either party gets what they thought they wanted. The way humiliation works here not as degradation imposed from outside but as something the self half-seeks.
In Vela's reading Bad Behavior sits in the contemporary register of the erotic canon, beside the writers for whom desire is a problem to be examined rather than a force to be praised. We read it on the erotic-as-power and shame axes, close to the unflinching clarity the corpus prizes — the writer who shows you the hunger and the shame in the same flat light.
Featured passage
It had seemed like a good idea at the time, but now he felt an irritating combination of guilt and anxiety. He thought of his wife, making breakfast with her delicate, methodical movements, or in the bathroom, painstakingly applying kohl under her huge eyes, flicking away the excess with pretty, birdlike finger gestures, her thin elbows raised, her eyes blank with concentration. He thought of Beth, naked and bound, blindfolded and spread-eagled on the floor of her cluttered apartment. Her cartoon characters grinned as he beat her with a whip. Welts rose on her breasts, thighs, stomach and arms. She screamed and twisted, wrenching her neck from side to side. She was going to be scarred for life. He had another picture of her sitting across from him at a restaurant, very erect, one arm on the table, her face serious and intent. Her large glasses drew her face down, made it look somber and elegant. She was smoking a cigarette with slow, mournful intakes of breath. These images lay on top of one another, forming a hideously confusing grid. How was he going to sort them out? He managed to separate the picture of his wife and the original picture of blindfolded Beth and hold them apart. He imagined himself traveling happily between the two. Perhaps, as time went on, he could bring Beth home and have his wife beat her too. She would do the dishes and serve them dinner. The grid closed up again and his stomach went into a moil. The thing was complicated and potentially exhausting. He looked at the anxious girl on the corner. She had said that she wanted to be hurt, but he suspected that she didn’t understand what that meant. He should probably just stay in the pizza place and watch her until she went away. It might be entertaining to see how long she waited. He felt a certain pity for her. He also felt, from his glassed-in vantage point, as though he were torturing an insect. He gloated as he ate his pizza. At the height of her anxiety she saw him through the glass wall of the pizza stand. She immediately noticed his gloating countenance. She recognized the coldly scornful element in his watching and waiting as opposed to greeting her. She suffered, but only for an instant; she was then smitten by love. She smiled and crossed the street with a senseless confidence in the power of her smile. “I was about to come over,” he said. “I had to eat first. I was starving.” He folded the last of his pizza in half and stuck it in his mouth.
It had seemed like a good idea at the time, but now he felt an irritating combination of guilt and anxiety.
Read alongside · the magazine
Gaitskill names the mix of desire, humiliation, and loneliness with a flatness that makes the knot legible — the essay's territory.
6 published passages · book excerpt · research analysis
Reader resonance signals for text sources are not wired to this view yet.
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Outline of a Theory of Practice
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