By Helene Cixous
This publication bargains a chain of notable textual reviews of significant literary figures and "emergent" authors. Written in an obtainable, direct variety the texts will be learn as thought for Helen Cixous's fictional and significant practices. They not just introduce readers to writings from Brazil, Russia and japanese Europe, in addition they supply new, incisive insights into vintage works reminiscent of Joyce's "Portrait of the Artist" and Kafka's "Before the Law". whereas the choice of texts displays Cixous's ongoing difficulty with the beginning of writing, with questions of affection and the reward, and her insistence on excitement, additionally they display her curiosity in difficulties of heritage. The juxtaposition of texts throughout centuries and nationwide boundaires opens up fascinating probabilities of a number of and fluid readings. Drawing on philosophy and psychoanalysis, this quantity of readings will be learn facet through facet with "Reading With Clarice Lispector" as an ongoing meditation on ethics and poetics
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Additional resources for Readings: The Poetics of Blanchot, Joyce, Kakfa, Kleist, Lispector, and Tsvetayeva
Example text
The schema has the shape of a key and turns like one. In the ' 'Marionette Theater," in the part of the story organized around a center, there is a dialogue on the mystery of dance. Then there is a second moment in the text with the story concerning the young man with a thorn in his foot. "2 The sentences beginning ' T said that" and ' 'He said that" reproduce the movement of the pendulum in the text: "He said that it would be impossible for man to come anywhere near the puppet. Only a god could equal inanimate matter in this respect; and here is the point where the two ends of the circular world meet" (241).
It can also function as metaphor for the phallus and hide another libidinal economy that does not have limits like a tree trunk. And, furthermore, it is also — and that is where Clarice Lispector would go a step further—the danger of repressing the tree at the same time as the forest. Kleist makes an incisive critique of seduction. He continues to insist on the necessity of transparence, of the greatest lightness possible in language, so that what he calls the "idea" may appear. Kleist would like to be able to compose a poem by extracting from his own heart the very "idea" that inhabits him in order to deposit it with his hands into the heart of the other.
In a letter, Kleist writes: Nur weil der Gedanke, um zu erscheinen, wie jene fliichtigen, undarstellbaren chemischen Stoffe, mit etwas Groberem, Korperlichen, verbunden seiri muss: nur darum bediene ich mich, wenn ich mich dir mitteilen will, und nur darum bedarfst du, um mich zu verstehen, der Rede, Sprache, des Rhythmus, Wohlklangs, usw. und so reizend diese Dinge auch, insofern sie den Geist einhiillen, sein mogen, so sind sie doch an und fiir sich, aus diesem hoheren Gesichtspunkt betrachtet, nichts, als ein wahrer, obschon nattirlicher und notwendiger Ubelstand; und die Kunst kann, in bezug auf sie, auf nichts gehen, als sie moglichst verschwinden zu machen.
