Dear Bracha
I have enjoyed dipping into your writing. I like that fact that your Flickr photos show you hanging out with groovy people like Jean-Francois Lyotard, Judith Butler, Emmanuel Levinas and a bunch of other people I’ve mostly never heard of, but who are no doubt very interesting as you bother to take their photos. I found your take on sexual difference via matrixial borderspace interesting, and a useful complement to spatial metaphors such as Anzaldua’s borderlands and Deleuze’s rhizome. I like the fact that your lack of fame relative to, say, Butler or Irigaray, means that citing you gives my readers the impression I am far better read in these areas than I actually am.
But sometimes, Bracha, I haven’t got the foggiest idea what you’re talking about. Take your recent article, Fragilization and Resistance in Studies in the Maternal. You state, for example:
The human capacity for inspiration revealed in artworking begins with an archaic transconnectedness by psychic strings, that bounds each I, as presubject, to its particular non-I(s), and first of all to its pre-maternal transubject – its archaic m/Other. Desire, born out of the kind of transmission that the string allows, doesn’t seek for objects. It languishes for specific almost-lost links. In jointness, I and non-I differently feel-know in-and-by inspiration-transpiriting by which they are differently transformed. In each jointness that succeeds to tremble a borderlinking string, different I(s) and non-I(s) will start, restart and continue to feel-know with-in one another and with-in forms, images and encounter-events, by way of sharing with-in new and older psychic webs while also imprinting and engraving their traces in them in shareable threads. Traces are cross-inscribed and transinscribed between transubjects and between transubject and transject. (pp. 11-12)
That’s easy for you to say.
In Fragilization and Resistance you use the prefix “trans” 216 times, which is over double the usage in Weaving a Woman Artist With-in the Matrixial Encounter-Event, published five years previously; you refer in some way to “spirit” 78 times in the new paper, and only 5 times in the older (the pdf reader counted those, not me: that would be a bit odd, wouldn’t it?).
Here’s my theory, which I allude to in Numen, Old Men, which was revealed to me via Griselda Pollock’s vision of your matrixial borderspace:
of madness, of psychosis, with no signifiers to relieve phantasms and hallucinations that bleakly register both the trauma and the solace of what we now come to recognise as the matrixial dimension
To which I wrote:
Is this not another, darker weaving of a place we have heard of before? Of sacramental mystery? Ātman? Non-dual awareness? The “thresholds of I and non-I emerging in co-existence”?
Bracha, I believe through all this you want to speak freely about spirituality, but feel embarrassed by it; but it’s nothing to be ashamed of. Lots of people eventually get tired with a secular-Leftist and psychoanalytically-informed worldview and make this turn: just read Irigaray’s work of recent years.
But I think the spiritual (as opposed to the psychoanalytic) dimension of your matrixial borderspace is better served by your painting than theory: it is, after all, pre-verbal (via the Real or, more accurately, trans-verbal). I think you could make a great living among the intelligentsia of Paris and Tel Aviv painting matrixial auras around them: oceans of bruised purple, brown and black. I’d seek you out if you did this.
Just my two cents,
Joseph.