Front cover of Patrick McCabe’s Breakfast on Pluto (1998)
Patrick McCabe’s Breakfast on Pluto is an unusual “coming-of-age” story (I’m using this term very loosely) focused on the growth and development of Patrick “Pussy” Braden, the illegitimate child of a priest and his teenage housekeeper. Due to his illegitimate birth, Patrick’s mother places her child in a Rinso box and abandons him in front of a foster home. Patrick grows up under the loose guidance of “Whiskers,” a foster mother with a penchant for drinking and chain smoking. From an early age, Patrick is characterized by his affinity for the dramatic, and he is also shown to develop a taste for dressing in women’s clothing and for actively sharing the fact that he is literally the son of a preacher-man. Pussy Braden is the narrator of her own story, and the novel itself is approached as a text that her psychiatrist, Dr. Terence, orders her to write to cope with the instabilities and heartbreaks of her life. Given the fact that the novel is a narrative fabricated by Patrick, one must remain skeptical in terms of the content that she shares. Not only is Pussy Braden a very scattered and disorganized writer, but there are also times when she deliberately writes about imaginary events or characters.
As an adult, Patrick “Pussy” Braden embodies behaviors, attitudes, and practices that definitely cast her off as a marginal character. First and foremost, it is difficult to categorize her in terms of gender and sexuality. Pussy Braden fluctuates between representing herself as a man and representing herself as a women, she engages in sexual activity with members of both sexes, and other characters are ambiguous in terms of how they approach her–some characters even refer to her as a he and a she within the same sentence. Although the safest label to apply to Pussy Braden would be queer due to her open and unabashed embrace of non-normativity, the novel ultimately suggests that she thinks of herself as female. She often recognizes the difficulties that she has in terms of finding a man, and constantly faces heartbreak when she confronts the impossibility for her to bear children of her own. To further complicate Pussy Braden’s marginal identity, she works as a prostitute, and towards the novel’s conclusion, she is accused of planting a bomb that killed a British soldier that she was flirting with–the fact that she dresses as a woman leads the British forces to deduce that she is in disguise.
Breakfast on Pluto is a very queer novel in that it explores the difficulties of living in a life between borders or binaries. Pussy Braden, for instance, is born in the small Irish town of Tyreelin but later moves to London during the 1970s; however, she soon comes to notice that she does not fit in either place. The period in which the novel takes place is particularly important because it is a time where the tension between Ireland and London was at its peak. The unexpected changes within the global economy affected all societal sectors in London: shops and factories closed, the unemployment rate doubled, and the Irish Republican Army was engaging in an active and sustained bombing campaign focused on weakening the British Army’s earnestness to remain within Ireland. Thus, Pussy Braden is not only caught in the midst of a war between two countries, but she is also caught in a limbo-like state between two genders. Her illegitimate birth also places her within the outskirts of normativity and social acceptance.
Breakfast on Pluto is not your average novel of development. Although we do trace Patrick’s birth and experiences over a significant span of time, Pussy Braden is ultimately unable to find a place of belonging throughout her journey. The novel thus becomes a statement on Pussy’s inability to fit in a society that offers no comforts for alternative or hybrid modes of existence that deviate from the cultural dominant. The narrative is focused on Pussy’s resistance towards cultural norms, and a value of individualistic desires over the wants and demands of society. This is evidenced early in the novel, when a thirteen-year old Patrick writes essays in school describing his father’s affair with his mother. Although his teacher, Peepers Egan, tries to convince him to stop engaging in antisocial behavior and to try to “fit in,” Patrick adamantly replies “Oh, no. I haven’t the slightest intention of stopping it, Peeps, or trying to fit in either!” (11).
Although I thought the political strands discussed within the narrative were interesting, I thought that Pussy Braden’s gender and sex-related struggles were particularly illuminating in terms of illustrating her non-normative position within society, and the heartbreak usually associated with being caught in the borderlines between two worlds. She usually dreams about how different her life would be if she were born a biological female, but she recognizes how a “vagina all of [her] own” (36) is indeed an impossibility.
Pussy’s biological struggles are linked with her desire to bear children despite her impossibility to do so, and she goes as far as to state the following: “if I did somehow manage to get a vagina, one think I was certain of, and I didn’t care even who it was with, was that I wanted at least ten of a family” (40). This desire to have many children is fueled mostly by the fact that Pussy Braden wants, first and foremost, to be loved–yet she finds it difficult to find love due to the temporary relationships she forms through the act of prostitution. This desire to raise children is rooted on the fact that she believes that even when she is ill and dying, they would travel far and wide to see her one last time before she passes away–and she takes this as a sign of true love. Despite Pussy’s selfish nature, her views toward love are very open and surprisingly unselfish. Although she wants children so she can love them and so that they can love her, she also knows that this love will continue to thrive even when she is no longer alive: “Everyone would my children love for they themselves knew love and shared it” (41). She also believes that when other people see the love she has for her children, no one would question whether or not they are hers because of her lack of a vagina:
There would be no one. And as my eyelids slowly closed and the tears pressed their way into the world, I’d clasp each hand and say goodbye, to each one adieu bid, safe in the knowledge that baby one and baby two, right up to baby ten, had all their lives been given it, and to the very end received it, that wonderful thing called love. (41)
On one hand, it can be said that children will enable Pussy to embrace a sense of motherhood and femininity that her biology prevents her from possessing. On the other hand, it becomes blatantly obvious that love is a power that Pussy craves to possess. Love becomes the thing that Pussy has always wanted, and it becomes the thing that is constantly denied to her. Her parents abandon her, thus preventing parental love to manifest; Pussy’s foster mother doesn’t show emotion or affections towards her, and she raises Pussy in atrocious living conditions; Pussy is unable to bear her own children to love; even when she grows attached to a man in her life, they somehow manage to die (her politician boyfriend, for instance, is brutally murdered; the soldier she flirts with at a bar explodes due to an IRA bombing; even Dr. Terence abandons her in the middle of her treatment).
Her thirst for love leads to potentially awkward and uncomfortable situations. For instance, Pussy dates a man she calls Bertie, who lives with his landlady, Louise. Louise lost her son due to a tragic bus accident, and her husband consequently abandons her. Pussy comforts Louise, and during this comforting, Louise kisses Pussy–and thus commences a very complicated relationship and love triangle between Pussy, Louise, and Bertie.
Pussy and Louise’s relationship is a strange mixture of maternal and sexual love. Louise asks Pussy to dress in her dead son’s jacket and short trousers. She also asks Pussy to address her as “Mammy,” and Pussy usually ends up sitting on Louise’s lap to suck on her nipple in order to simulate the act of breastfeeding. Although this first made Pussy uncomfortable, she eventually grows accustomed to her strange relationship with Louise: “After a while, I started to really like it, just sitting there on her knee and being engulfed by all this powdery warm flesh. I never wanted to get up in fact” (91). As can be expected, Bertie catches Pussy sucking on Louise’s nipple one day, and thus, both relationships are instantly dismantled. Not only does this uneasy and strange relationship add more fuel to Pussy’s limbo-like status within the world, but it also exemplifies the extent to which she desires to love and be loved.
One of the most heartbreaking instances in the novel is when Pussy is behind a creamery, searching for evidence to determine whether or not a woman named Martina slept with a man named Tommy McNamee. Pussy begins to imagine a lifetime of heartbreak for Martina if she sleeps with Tommy, mostly because she believes that “all he cared about was pleasuring himself and walking away then to boast about it” (105). She goes as far as to imagine Martina getting pregnant from her one-night stand with Tommy. Despite Pussy’s pleas, Martina sleeps with Tommy behind a creamery. Pussy goes behind the creamery hoping to find no semen, to thus rest assured that Tommy used a condom during sex. Much to Pussy’s dismay, she finds some semen spilled over a dockleaf, which causes her to have a breakdown:
I think it was because it seemed so ridiculous that such a minuscule amount of liquid could cause so much heartache. But which it did, as I’d always known, and consequently belonged in a world thousands of miles from the one I’d written of and dreamed for Terrence. Oh which he spoke so highly, saying that never before had he read anything like it. (107)
The passage above is significant for two reasons: first and foremost, it illustrates the fragility of Pussy’s perspective towards love, and how she laments the fact that small actions can have major consequences over the lives of people. After all, semen was the cause of Pussy’s existence, which can only be characterized as an existence repleted with sorry, angst, and heartache. Secondly, it demonstrates how Pussy is aware that her own writing, and even her hopes and expectations, deviate immensely from the reality that she is living. In due course, the novel makes it absolutely clear that the social conditions that Pussy finds herself in ultimately prevent her from having an easy or a livable life. One could only hope that the society we live in today is at least somewhat more evolved, open, and safe–that it is a society in which Patrick Pussy Bradens do not have to feel ashamed, alone, or unloved.
McCabe, Patrick. Breakfast on Pluto. London: Picador, 1998. Print.