Stigmata: Escaping Texts (Routledge Classics) by Hélène Cixous

By Hélène Cixous

A 'wilful extremist' in accordance with the London instances, H?l?ne Cixous is hailed as the most ambitious writers and thinkers of our time. Acclaimed through luminaries equivalent to Jacques Derrida, her writing has still been misunderstood and misinterpret, to a stunning quantity. With the inclusion of Stigmata, one in all her maximum works into the Routledge Classics sequence, this is often approximately to alter. Questions that experience lengthy involved her – the self and the opposite, autobiographies of writing, sexual distinction, literary concept, post-colonial concept, demise and lifestyles – are explored the following, woven right into a wonderful narrative. exhibiting a notable virtuosity, the paintings of Cixous is heady stuff certainly: intriguing, robust, relocating, and unsafe.

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Additional resources for Stigmata: Escaping Texts (Routledge Classics)

Example text

Thus, my first memory brings together the imagined death of my mother and school. And since then, I have never ceased crying, going to school, learning, crying, exchanging. Pouring out and taking in. Never ceased forgetting, getting over the loss of my mother’s body. Or on the contrary: not getting over it. Inventing it. Picturing to myself the horror of that loss. All the while asking myself who’s crying. Curiously, I know that it’s not my mother whom I lost; it’s my father who died and whom I didn’t weep for, my father whom I loved.

I love the Kafka of the Journals, the executioner-victim, I love the process a thousand times more than the Trial process (no, a hundred times more). I want the tornados in the atelier. And what I love best are Dostoevsky’s notebooks, the crazy and tumultuous forge, where Love and Hate embrace, rolling around on the ground in convulsions which thwart all calculation and all hope: no one knows who will be born of this possessed belly, who will win, who will survive. I want the world of pulses, before destiny, I want the prenatal and anonymous night.

Drawing is the emblem of all our hidden, intestine combats. There we see the soul’s entrails. What is the page of a book? What remains of a sheet of paper becomes a field of battle on which we, writing, drawing, have killed each other ourselves. A flagstone of paper under which a carnage effaces itself. In writing, all is disputed, and sacrificed. As soon as Kafka took his pen in his right hand, his left hand jumped on it (on his right) and the combat raged. This made for such drafts that, in the inability to give reason to the one hand or the other, Kafka dreamed of dragging into the fire, with himself, the innumerable traces of his hostilities.

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