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• W2470043229 abstract "Le Toucher, le cafard, or, On Touching – the Cockroach in Clarice Lispector’s Passion according to G.H. Irving Goh In this essay, I am concerned with the question of touch in Clarice Lispector’s Passion according to G.H. (1964). As will be shown, Lispector goes far with touch in that text, transgressing limits to the point of even committing violence against an animal other. In that regard, her text stands apart from contemporary theories of touch as proposed by French thinkers such as Jean-Luc Nancy, Luce Irigaray, and Hélène Cixous. Without going into details, let it be said that whenever touch is in question, these thinkers would call for a respect for limits. Nancy has constantly argued that touch must always be a matter of tact, which is to say, touch must always know when to withdraw itself. It is via such touch that there can effectively be a respect for the limits separating the bodies in contact, limits that safeguard the integrity, dignity, and well-being of the involved bodies, as well as their freedom to detach themselves from any established contact. Touch cannot be a permanent grip, therefore. Otherwise, it turns into something other than what it is: a wound, or even a penetration, especially in the case of an overly tight grip.1 Irigaray’s insistence on the respect for limits in touch [End Page 461] comes by way of her reading of Sartre’s take on touch in relation to subjectivity. In Being and Nothingness, Sartre claims that it is due to the male subject’s caress that the female subject comes into being. Irigaray opposes such a claim and argues that a female being is fully capable of establishing her subjectivity through her own initiation. According to Irigaray, female subjectivity is already in formation the moment she breathes, or else, in Irigaray’s term, in female breath. Her subjectivity is “materialized” when that breath reaches or touches another being; it is then the responsibility of the other being (the male subject, in Irigaray’s discourse) to acknowledge that touch and recognize or (re)affirm the female being as a subject in her own right. Upon that recognition, Irigaray states that the female must withdraw, and this is where the respect for limits is in effect. It is in that withdrawal, which she also calls the female subject’s “self-affection” or her movement of “coming back home,” that female subjectivity will not be appropriated by the male other, allowing the female subject to reconsolidate her subjectivity in her own terms and according to her desires.2 Cixous, on her part, is interested in elucidating a particular touch that enables the event of writing to take place. According to Cixous, that touch is not contingent upon the conscious or sovereign decision of the writing subject, but is left to the desire of the animal other, the animal other that is always free to come and go.3 Here, like in Nancy and Irigaray, one could speak of an ethical imperative to respect the limit that distinguishes the singularity of each being—in Cixous’s case, the limit between human and animal beings—by never presuming to permanently grasp the animal other in her possession or control but let it be free in its existence and movement. To reiterate, the ethical imperative to respect limits when touch is in effect is almost absent in Lispector. Touch in The Passion even tends to be audacious or excessive. Yet I argue that it is via such touches that the narrator in The Passion is able to inscribe for herself a radical subjectivity, one that not only brings her close to what could be called the deconstruction of anthropocentric and anthropomorphic subjectivity but also to a mode of living that is no longer delimited by the codes of either civic or religious morality. Put another way, it is via audacious or excessive touches that the narrator attains a life without [End Page 462] limits. Before going further, I should say that literary scholars, including Cixous—herself a keen reader of Lispector, have always recognized a deconstruction of subjectivity at work in Lispector’s works.4..." @default.
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• W2470043229 title "Le Toucher, le cafard, or, On Touching – the Cockroach in Clarice Lispector’s Passion according to G.H." @default.
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• W2470043229 doi "https://doi.org/10.1353/mln.2016.0030" @default.
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