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"Who am I?" (57), Geryon asks himself, as he stands in Herakles' mother's dark, empty bedroom. As a red, winged monster in a world of humans, or so it seems, Geryon struggles to discover and accept who he is. Geryon is gay and struggles with the repercussions of his childhood sexual abuse when he enters a sexual relationship with an older boy, Herakles, who seems less emotionally invested and more physicallyinvested in the relationship than Geryon. The autobiography Geryon begins following his abuse acts as a mode of self-making and self-preservation, in that Geryon only includes "inside things" (29), or his own thoughts and feelings. His autobiography seems to be less concerned with word-based language and fact than with abstract modes of expression, like the sculpture he makes by "gluing a cigarette to a tomato" (34).
Part of Geryon's identity formation has to do with fact and skepticism of fact. During the professor's lecture on skepticism over white and black, Geryon wonders if he can "get some new information about red" (92). Though he obsesses over pieces of fact, like word definition, encyclopedia entries, and time, Geryon seems to be increasingly okay with occupying liminal spaces. Knowing that there may be "new information about red" (92) may help him come to a better understanding of himself and the world around him.
Geryon conceives of his thoughts and emotions as 'inside' things, while the actions and words of others are 'outside' things. Geryon's first interaction with the difference between 'inside' and 'outside' comes when he starts kindergarten. Literally, Geryon has a fear of walking through the "alien terrain" (24) of his school's hallway and instead chooses to walk around the red brick building's outside. This physical experience becomes internal when Geryon first notices the "difference between [the] outside and inside" (29) of his self after his brother sexually abuses him. Geryon realizes that 'inside,' or his mind, thoughts, and emotions, are his own. Faced with first sexual abuse and bullying by his brother, and, later, sexual exploitation by Herakles, Geryon often turns "all his attention to his inside world" (30), as when Geryon's mother leaves him alone with the babysitter and his brother.
Geryon's conception of inside and outside relates to his ideas about captivity and freedom. When Geryon's brother asks him what his favorite weapon is, he says "cage" (33). His brother dismisses this, saying a weapon has to "do something" (33), failing to understand Geryon's point: a cage contains, just as a fixed identity contains and provides some stability of being. Herakles tells Geryon that he wants him to be free because they're "true friends" (74). As Geryon has allowed his relationship with Herakles to define him, Geryon doesn't want to be free; he wants to be with Herakles, even if that means being held his captive, so to speak. When Geryon tries to talk to the tango singer about the beluga whales' captivity, she asks Geryon "whose tank" (103) he's in, which frustrates him.
From a young age, Geryon wants to know what time it is and what shape time has. When his mother leaves for the evening, Geryon wants to "keep the baby-sitter's voice out of him" (31) but he also needs to know what time it is, to know what time his mother will return. This sense of time provides some security to Geryon. As an adult, the unknown dimensions of time weigh on Geryon. On the airplane to South America, Geryon feels a "fear of time" (80) come at him as the plane moves through the "vast black and silver nonworld" (80). These moments in which he can't ground himself in timeseem to both exhilarate and terrify Geryon. He begins to ask anyone around him, including the philosophy professor in Buenos Aires, what time is "made of" (90). Geryon seems to lose his grip on time in such a way that every day is Saturday. In a dissociative episode triggered by the disorder of the classroom, "the slopes of time spin backwards" (91) and Geryon finds himself standing beside his mother, watching the streetlights come on.
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By Anne Carson