Morrissey and Daoism: Easy Wandering, <i>Wuwei</i>, and the Aesthetics of Awkwardness

In this article, the author draws attention to “Daoist” themes in Morrissey’s art and personality. The link between Morrissey and Daoism can be established via Oscar Wilde, whose relationship with Zhuangzi’s philosophy has been much commented upon. Morrissey’s worldview and art have been shaped by Wilde, whose Complete Works Morrissey received from his librarian mother at the age of eight. The self-estranging irony, the incorrect behavior, as well as the conviction that aesthetics is more important than ethics, are emblematic of Zhuangzi, Wilde, and Morrissey. Linking themes of East Asian philosophies to Morrissey’s art is historically justified. There is an affinity between Daoism/ Buddhism and the subcultural context from which Morrissey emerges. Morrissey becomes the Oscar Wilde of post-punk. Morrissey rejects all taints of rock’n’roll machismo and plays up to social awkwardness of the misfits and the outsider. The article also deals with the following themes : strength arising from weakness, uselessness, aimless wandering, language skepticism, identity, authenticity, handicap, camp, and finally, the aesthetics of awkwardness. Awkwardness transcends mere clumsiness (which is no aesthetic quality at all) and becomes potentially attractive. Morrissey’s wuwei strategy of non-pretentious acting creates an aesthetics of awkwardness.