Butch Commies and the Jouissance Kids

I don't know if we've got one final blog to do. If we do, this is it, I guess. If we don't, then this one's unofficial. If it falls short of the word count, the unofficial status is the reason why. This one feels short.
Regarding Stone Butch Blues, in class I expressed interest in Grant's angry penchant for calling others of her/his own circle Communists (125). Well, I found my thoughts I originally jotted down concerning Grant's sudden McCarthyist alarmism--its a stab at normative behavior. Grant's Red paranoia doesn't so much stem from her/his frustration over a brother's death in Vietnam as it does from an attempt to approximate the cultural fears of "real" males. In a society and a time when current events and cultural worries are the domain of men (worries far removed from fears of whether the police or a gang of gassed hillbillies are going to beat the shit outta you every night--worries oddly similar to fearing the shit beat outta you if you're outted as a Commie), Grant's alarm over perceived Communist threats are expressed in order to place her/his mind in a psychological mold nearer to that of the male sex.
Grant's Communist alarmism, branding other butches as the political enemy, is also very Lacanian. Think "name-of-the-father." As a butch, doesn't Grant, approximating male ("the father") traits, engage in the Lacanian male attribute of "naming" things, in this case, labeling her/his own kind as Communists? You could really go all over the map with Lacan's idea of lack here. A reversal erupts here--Grant, the butch, a metaphorical "father," can "name" all she/he pleases, but something, some signifier, is still lacking . . . ahem . . . down there.
Lacan stirs up more ideas in Stone Butch Blues--his idea of jouissance, for one. For Lacan, jouissance is "anything too great for an organism to bear" and also "eroticism bordering on death." In Feinberg's book, the transgenders represent for society something 'too great" for the masses (straight "organisms") to "bear." Persecution, beatings, harassment result for the transgenders; their sexual lot exists in a state "bordering on (potential) death."
Perhaps the transgenders represent also Barthes's idea of jouissance, the idea of the "erotic glimpse." Maybe the masses see in Jess's kind a destabilization of formerly concrete gender norms, the fragility of what gender really is--they see this "glimpse" and maybe its strangely erotic. fluid, malleable, claylike. They see it, and they see its eroticism, and they know the erotic is heady, intoxicating, destabilized--a disorienting experience. They see danger.
They look in disgust.
They pick up a bat, or a gun.
They turn a blind eye.
They go home.
They turn on the tv.