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Naoya Makino
100106040
English 1127
Section 005
Trevor Newland
Langara College
1 August 2007
Stephen Millhauser has written a short story titled “The Knife Thrower”,
describing a knife throwing show in a small and peaceful town. Hensch—a knife
thrower—is famous for an excessive show, and the audience is fascinated with his
controversial show; its show ends up with a possibility of death of a young woman’s
numbness to violence in the real world in many stages: the progression of the knife
thrower’s act as harmful media in society, the passive and voyeuristic audience response
in the theatre as society’s lack of active response and voyeuristic behavior in society,
questionable activities.
throwing approaches to the climax. Generally speaking, a knife thrower is not supposed
to harm people, and harming people is controversial in society: however, he purposely
“crosses the line” (11) because he knows that “the realm of forbidden things” (11) grab
audience’s attention. This indicates that Hensch shows harmful knife throwing to get
people’s attentions; often media broadcasts violent shows to grab people’s attention.
James Potter states that “extraspecies fighting … generates energy”: “the media often
represents such stimuli” (11). This means that media broadcasts aggressive shows to
hold people’s attentions, and Hensch uses the same way to catch the audience’s
Even though Hensch, and media in society, progress excessively, the audience,
and people in society, respond passively. When Susan Parker stands up to participate in
the show, the audience “[remains] silent” (12). While the audience knows that stabbing
other words, even though the audience thinks this harmful show is morally debatable,
no one stands to stop the show. This audience’s response shows that the audience
watches stabbing the participant without being involved: “an onlooker” (Gabler par.7).
This disengaged behavior applies to people in society. In Galber’s article “Behind The
involvement” (par.11). This is especially true when people are watching broadcasts;
they watch TV shows passively without being involved in its events. Metaphorically,
the story connects the inactive audience in the show and those people in society who
Not only does the audience watch the show passively, the audience’s behavior
is voyeuristic, signifying people’s voyeuristic that of society. For instance, while the
audience watches the knife throwing, they tend to behave “like pretending [he/she has
not] noticed” (6); the audience watches his aggressive show secretly as every audience
is fascinated with a “faint flutter of anxious excitement” (8). That is, the audience gets
excited about watching the participants’ suffering. Therefore, instead of involved in the
This audience’s voyeuristic behavior represents that people in society enjoy watching
and get excited about ethically problematic TV shows. As an example, one of the most
popular TV shows “Survivor” and “Big Brother” are “making the other side of glass
accessible to anyone who is willing to barter his or her privacy for it”(Gabler par.5).
This popular TV programs let people watch others’ privacy and suffering, fascinated
with “the wicked kick of peering through the keyhole”: voyeuristic behaviors (Gabler
par.8). People in society and the audience in the theater “fulfill [their] desires of”
people in society and the audience in the theater indicate that both of them
others. Millhauser says symbolically that both the audience in the story and people in
human desires of belonging to an elite group support the knife thrower’s success and
questionable activities. In the story, many young women volunteer to participate the
knife thrower’s show, wanting to be “wounded by the master and to bear his scar
proudly” (4). This desire implies that young women beautify his harmful shows. They
know involving in this harmful show is contentious; nevertheless, they are “eager to”
(13) take part in “master[’s]” controversial activities (4). Therefore, those people
support his dangerous show by encouraging him and glorifying the activity. Due to the
desires of being famous, these women get behind “forbidden things” (11). Like those
young women in the theatre, many people in society support morally questionable
websites everyday; in 2000, Robert McNatt reports on the Business Week that sex
industry in U.S. “generates over $1 billion annually” (10). This case proves that those
morally questionable groups, like the knife thrower, are able to continue their activities
because of a crowd of supporters (like the young women and the audience).
Figuratively, Millhauser tells the reader that plenty of supporters—the audience and the
young women—allow the knife thrower and morally questionable groups in society to
In summary, Millhauser argues in his story “The Knife Thrower” that society’s
throwing, the audience’s passive as well as voyeuristic attitudes, and the audience’s
and their desires, his show and media in society have “really gone too far” (18).
Millhauser asks whether people let media become more aggressive with their inner
desires or if they should close eyes and open mouth with courage; still today, a silent
Gabler, Neal. "Behind the curtain of TV voyeurism. (Cover story)." Christian Science
Monitor 92.158 (07 July 2000): 1. Academic Search Elite. EBSCO. [Langara
<https://ezproxy.langara.bc.ca:2443/login?url=http://search.ebscohost.com/logi
n.aspx?direct=true&db=afh&AN=3292815&site=ehost-live>.
McNatt, Robert. "EVERYTHING HAS A PRICE..." Business Week (10 July 2000): 10-
10.
Ponce, Pedro. ""a game we no longer understood". Theatrical Audiences in the Fiction
<https://ezproxy.langara.bc.ca:2443/login?url=http://search.ebscohost.com/logi
n.aspx?direct=true&db=afh&AN=21409710&site=ehost-live>.
Potter, W. James. On Media Violence. Thousand Oaks, CA: Sage Publications, 1999.