This article examines We So Seldom Look on Love, a short story collection by the Canadian author Barbara Gowdy who displays a strong interest in extreme forms of physical and mental deviance in relation to the act of looking. Discursive forms are analyzed that revolve around the tyranny of the normative gaze and the fear of deviance, the bounded bodily ideal as opposed to the body in pieces. Kaja Silverman's psychoanalytic theory of the field of vision in relation to deviant bodies throws light on these recurring issues in Gowdy's short stories. Additionally, contemporary theories of the grotesque inform the analysis of the Gothic-Carnivalesque, a subversive strategy with which the author provokes our perception and classification of humans, identities, and sexes. The collection will be shown to culminate in the final story that contains a scene in which a female protagonist bestows “the productive look” (Silverman) upon her transsexual husband.

中文翻译：

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芭芭拉·高迪 (Barbara Gowdy) 中的越轨和颠覆性怪诞我们很少看爱情

本文探讨了我们很少看爱情，这是加拿大作家芭芭拉·高迪 (Barbara Gowdy) 的短篇小说集，她对与观看行为相关的极端形式的身心异常表现出浓厚的兴趣。分析了围绕规范凝视的专制和对偏差的恐惧、有限的身体理想而不是碎片化的身体的话语形式。卡娅·西尔弗曼 (Kaja Silverman) 关于异常身体的视野的精神分析理论揭示了高迪短篇小说中这些反复出现的问题。此外，当代的怪诞理论为哥特式狂欢节的分析提供了信息，这是一种颠覆性的策略，作者通过这种策略激发了我们对人类、身份和性别的感知和分类。