South of the Slot

At its core, “South of the Slot” is a dual-identity narrative in the tradition of many superhero narratives that include a secret identity (e.g., Batman, Superman, Spider-Man). This subgenre is a common one whose roots can date back to Biblical times and continues into contemporary literature and film in “body switch” comedies (Freaky Friday [2003]) and popular films and television shows like Fight Club (1999) or Alias (2001-2006). The lasting popularity of these types of stories is compelling in and of itself but seems to have reached a certain peak around the late-19th and early 20th centuries in Anglophone literature. A number of canonical works take up a similar structure at this moment: The Strange Case of Dr. Jekyll and Mr. Hyde (1886), The Importance of Being Earnest (1895), and Captains Courageous (1897). Readers might ask why this is. One contributing factor is that much of the Western world witnessed large-scale growth in urban areas, which created a new combination of social factors that would lead to concerns about identity, anonymity, and responsibility in artistic production.

“South of the Slot” takes place in an urban setting, and the dividing line (the cable car tracks, aka “the Slot”) between the wealthier area and the industrialized area of San Francisco proves to be quite porous. While the residents may like to think of the boundaries as firm, they are based on custom and inhibition much more than any physical barrier. Residents of the north and south of the Slot, as evidenced by Freddie/Bill, can actually cross the Slot at will and intermingle with the other “half” of the population. When Freddie crosses south of the Slot, he seems to enjoy the newfound anonymity. Anonymity, however, is not solely a condition of the working class. Just as Freddie is anonymous in the south, so is Bill anonymous in the north.

Even within the upper echelons of the city, characters like Freddie find themselves obscured by societal expectations and the confines of their own class. The dual nature of identity is underscored as Freddie contends with the complexities of his own existence, highlighting the universality of the struggle for self-discovery in a society defined by rigid class and social boundaries. Narratives of this nature often exploit the thrill of the search for anonymity or release from typical social regulations. It can be freeing to put on a “mask” of some sort, regardless of what that mask may be (clothing, a costume, an accent, etc.).

As the narrative develops, the intersection of anonymity and class struggle amplifies the major thematic principles. Freddie/Bill navigates the blurred lines between societal expectations and individual agency, grappling with the challenge of asserting their identities in a world that often seeks to keep them anonymous. This can be seen in the labor riot sequence as well. It encapsulates the clash between anonymity and visibility. The collective action of the union members becomes a powerful assertion of identity, a rebellion against the dehumanizing conditions imposed by those who exist comfortably north of the Slot. The riot is a manifestation of the working class removing the mask of anonymity, demanding recognition, and challenging the status quo.

Anonymity, and its relation to class struggle, is amplified through the dual constructions of masculinity within the story. The contrasting characters of Freddie and Bill offer a nuanced examination of societal expectations and individual expressions of masculinity. Freddie, initially a symbol of traditional upper-class masculinity, is defined by his intellectual pursuits, disdain for physical labor, and adherence to societal norms. However, as he ventures south of the Slot and engages in manual labor, his perception of masculinity undergoes a transformation. The narrative challenges the notion that associates masculinity solely with intellectual prowess and class privilege.

On the other hand, Bill Totts represents a working-class masculinity forged in the crucible of labor struggles. Bill’s masculinity is defined by physical strength, resilience, and a sense of solidarity with fellow workers. His unapologetic shirking of societal expectations stands in stark contrast to Freddie’s initial adherence to them. The takeaway from this duality of masculinity underscores the multifaceted nature of gender, suggesting that it is not confined to a singular archetype and, more so, what one group considers masculine may not be true for another. The argument London appears to be making is that we are products of our environments, even when it comes to very internal, subjective aspects of our identities, like gender.

These themes of anonymity, gender, social responsibility, class struggle, and others complement the larger literary movement known as Naturalism. London is a practitioner of this aesthetic, and his themes can be understood as exemplary topics for the era. The basic tenets of Naturalism claim that human life is defined by a deterministic worldview that emphasizes the influence of external forces on our minds and dispositions. Stemming from the broader naturalist philosophy, literary naturalism posits that individuals are shaped by their environment, heredity, and socioeconomic conditions, often with a focus on the darker aspects of human existence. It is easy to see how a story about switching roles or social positions would help an author to illustrate these concepts. If Freddie can “transform” into Bill, then what prevents the other “Bills” of the world from transforming into “Freddies” or upper-class intellectuals. Much of the rationale for class divisions in society was founded upon ideas of superiority and inferiority of families and breeding. Naturalism pushes against this premise by demonstrating how humans often respond to their environments in very similar ways and the large effect that culture has on their personalities and choices.