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61 pages 2 hours read

Jordy Rosenberg

Confessions of the Fox

Fiction | Novel | Adult | Published in 2018

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Part 3, Chapters 8-13Chapter Summaries & Analyses

Part 3, Chapter 8 Summary

Jack is locked up in prison and scheduled for execution due to his past crimes. He is celebrated by all the other inmates a legend and treated to food and alcohol by the other men.

Voth continues to realize all the ways in which the manuscript has been edited by people past and present. The wolf metaphors used to describe Jack’s genitals were likely added by a “chimera caucus,” an intersex activist group in the 1970s. Voth postulates that the frequent, graphic sex within the manuscript and the focus on vulvas is a direct response to an art installment entitled Étant Donnés (“Given”) by French artist Marcel Duchamp. The art installment allows viewers to see the spread legs of a cisgender woman through a voyeuristic peephole with the subject’s genitalia at the center of the art piece. Voth posits that this art piece only arises from a cisgender, heterosexist dichotomy of shame and desire around sex and genitals; Confessions represents a transgender, non-heteronormative view of “spread legs.” Voth tells the audience of a book he found in his friends’ archives titled Make a Picture of Shadows Cast. This book reveals a hidden back room to Étant Donnés. In this back room, the viewer does not gaze abstractly from a distance but instead performs oral sex on the subject of Étant Donnés.

Part 3, Chapter 9 Summary

Jack refuses to read from the Bible and give his confessions before his execution. Eventually, Aurie arrives disguised as a priest to free Jack. He slips Jack a file that Jack then uses to once again break out of an impossible-to-escape prison. When Jack makes his way outside, he contemplates throwing himself from the prison walls to his death due to his heartbreak. While contemplating this, he spots the Poor Maria drifting into the river Thames.

Part 3, Chapter 10 Summary

Jenny and Bess’s plans work out as they make their way to the Poor Maria to inspect it. Bess is hidden inside Jenny’s boat; she is still liable to be arrested on site for being of south-Asian descent. Jack also makes his way to the ship by diving under the water and breaking into the lower decks of the ship. Jack finds the ship empty, with no commodities or strength gravel calling out to him. Bess also finds nothing of value. The two have a brief reunion before they must evade the police officers on the water and go looking for Jenny, who has gone missing in the ship’s lower holds.

Jack finds a rusted shut door leading to the ship’s gunpowder room. He manages to break it open but severely mangles his leg in the process. Inside, he finds the Lion-Man, who has taken Jenny hostage. The Lion-Man has betrayed Jack and Bess to Wild’s crew in exchange for his freedom. The Lion-Man quotes Locke to Jenny and Jack to flaunt his victory. Wild and his crew arrive shortly after, detaining Bess, Jack, and Jenny. Wild leads them to an inner chamber beyond the gunpowder room to reveal his master plan. This room contains all the tools and apparatuses to dissect and extract organs from human corpses. Wild intends to travel the seas purchasing criminals and convicts from the nation-states of Europe in order to harvest these criminals’ testicles. Wild has found a way to replicate the strength gravel of Okoh’s pirate band using human testicles as fodder. Wild considers it a means of recycling the “refuse” of society and making them useful to the pursuit of profit. Wild intends to hang Jack publicly and harvest his body afterward. Jenny and Bess create a distraction; Bess gives Jack a small metal rod and a sheaf of papers while Jack ignites the gunpowder, hoping to blow up the ship and kill Wild. Both Wild and Jack survive. Wild drags the severely injured Jack to shore and takes him in immediately for hanging.

Voth continues to uncover contributors to the manuscript, like the infamous LGBTQ+ writer Oscar Wilde. Voth believes the manuscript gives insight into the nature of commodities and how humans can sometimes become commodities (such as in the case of Wild purchasing convicts and using them as property to make profit from). Mandeville was notoriously in favor of the use of the corpses of convicted criminals for the profit of medical science; Mandeville’s view was a popular one amongst intellectuals of the 18th century. Voth concludes that a view of commodities as “voiceless” inanimate objects ignores how marginalized peoples’ bodies are often treated as commodities for the profit of the state and the medical industry.

Part 3, Chapter 11 Summary

Chapter 11 is a broadside declaring the capture of Jack and the aftermath of the ship’s explosion. Only Wild, Jack, and Bess made it out alive; every other person, including Jenny, died in the explosion. The death of the Lion-Man is treated as a grave offense on Jack’s part due to popular belief that the Lion-Man is an exotic, inhuman creature.

Part 3, Chapter 12 Summary

Chapter 12 returns to the scene of Jack’s hanging, where the narrative began in Chapter 1. The chapter is broken into eight subsections. One third of London’s population gathers for Jack’s execution and follows the execution train to Tyburn. The crowd is barely containable and almost spills over into a revolt against Jack’s sentencing. Many in the crowd wear the signature greens of the Levellers, a resistance movement from the 17th century that called for equity, religious tolerance, and democracy. When Jack is hanged, the crowd rushes the stage and saves his body from the state; the crowd fears that their folk hero will be taken from them in the name of medical science.

Jack is paraded through town and his body is treated to drinks all day. The people bury him at St. Martin-in-the-Fields at night. Aurie digs up Jack after the crowd disperses and carries him to a surgeon’s office. The two had previously decided that if Jack were hanged, Aurie would bring his body to a surgeon in an attempt to save him from death. Aurie and his boyfriend Tommy leave Jack with the surgeon and return several hours later to find Jack alive and well. Jack had swallowed the metal rod and papers Bess gave him in order to stop the rope from snapping his neck and obstructing his windpipe. Wild tries to dig up Jack’s body and instead finds an empty grave.

Part 3, Chapter 13 Summary

Jack and Aurie hide out in a barn on the outskirts of town. As a legally dead man, Jack can no longer show his face in London. Aurie helps Jack through physical therapy to heal his legs, which were mangled in the explosion. While the two hide in the barns, they write down the original copy of Jack’s confessions. Jack returns from his exercises one day to find Bess waiting for him. She reveals that the papers she gave Jack were a precise recipe for making strength gravel from pig urine, just as Okoh’s people made it. The two decide to leave London and return to Bess’s fens. They plan to muster up the remnants of the Fen-Tigers and defend the fens from the encroaching surveyors while they recreate the strength gravel for Jack. The two disappear “into a flying Cloud,” just as Okoh did previously (310).

Part 3, Chapters 8-13 Analysis

Chapters 8 to 13 of Part 3 reveal Jack’s true fate. He survives his execution and, like Okoh and Voth, disappears without a trace. The language that obscures the escape of these rebels is lifted from Frederick Douglass’s My Bondage and My Freedom, in which Douglass describes his escape from slavery. Douglass declined to use specific, concrete details about his escape and instead said he escaped in a “flying cloud” (260). Douglass obscured the details of his escape to leave his route to freedom secret and open for other enslaved people to use. Okoh escapes into this “blooming cloud of debris” (255), while Jack and Bess escape non-specific fens (311), and Voth escapes into a place where “if you are you—the one I edited this for, the one I stole this for,” then a map isn’t necessary to find him (313). All three men are fugitive rebels who cover their tracks. The lack of specificity surrounding destinations directly contradicts P-Quad and Sullivan’s demand for specificity in the manuscript. Sullivan has constantly demanded that Voth illuminate several missing pieces of the text, particularly those describing Jack’s body. Sullivan wants Voth to fabricate details to titillate and entertain readers, whom Sullivan imagines as not having the kinds of bodies depicted in the text. For Voth, his readers are only the kinds of people contained within the manuscript, who would not want to read voyeuristic descriptions of their own bodies. The battle over specificity and detail within the manuscript is a battle over respect and keeping marginalized people safe. Rosenberg frames the demand for specific, concrete details and labels as a dehumanizing desire. This dehumanizing desire is also unsafe, threatening to reveal the routes of escape that people like Jack take to live safely. Rosenberg positions metaphor, flowery language, and vagueness as a more authentic and respectful way to navigate the experience of marginalized gender identities and bodies.

Voth adds a single line to the Sheppard manuscript: “And go with her,” attached as the final line in Jack’s story (311). Voth’s choice to add a line here reflects his regret over his past relationship with the unnamed ex. Voth wishes to add his own life experience and regrets to the narrative of Jack, whose relationship with Bess reflects his own past relationship. Voth writes in the footnotes, “The body has two histories. […] There is the history that binds us all. […] The second history is love’s inscription” (311-12). Voth argues that both histories shape the body, who we are, and our relationships; the history of love occurs inside of the legacy of imperialism. These two kinds of history are “heterogeneous shards” in a pile of debris (311). Voth presents history as a messy jumble of the personal and the political. Both intimate personal experience and grand histories of empires and countries are tangled together. Voth’s imagery of the debris pile presents history as chaotic and difficult to piece together. Voth’s addition to the manuscript complicates Sheppard’s history. There is no way to know whether Jack actually went with her. While Jack’s singular story is obscured, it serves as a way for Voth to reinforce the understanding of love and intimacy within the LGBTQ+ community by asserting that Jack must have gone with Bess. Questions of authenticity around Jack’s story become difficult to answer as countless people like Voth have put their own histories and lived experiences into the manuscript.

With Jack and Voth’s final words, Rosenberg argues for a collective view of history. Rather than trying to separate Jack’s “authentic” experience from the parts of the manuscript that were written by others, Voth views the manuscript as a communal history. Voth’s vivid image of the debris pile of history makes piecing together the “authentic” and “original” story of Jack nearly impossible. What Voth values more is what his community has understood and gleaned from the manuscript over the years, and consequently what that community has added to the manuscript in return. Rosenberg’s argument poses consequences for the real Jack Sheppard’s story. Little is known about Sheppard—while there is no evidence that he was a transgender man as depicted in the novel, neither is there any evidence that he wasn’t. Most of the surviving detailed material on Jack’s life takes the form of ballads, plays, novels, and the ghostwritten biography. These surviving materials necessarily come with the biases and assumptions of their authors, in the same way that Jack is assumed to be a transgender man in Confessions. Rosenberg offers a suggestive view of history as a communal understanding as the “debris” pile up, instead of a search for the most “authentic” shards in the pile.

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