By Elizabeth Stephens (auth.)
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Additional info for Queer Writing: Homoeroticism in Jean Genet’s Fiction
Sample text
Thus, words flee her, their meaning will be lost in other ears and will never return. … Divine eludes herself’ (292–3; original emphasis). For Sartre, the queens’ language is thus ‘fake’ because it is at odds with their biological ‘reality’: ‘[t]he word “woman” designates in prose a biologically and socially defined individual: Genet wrests it by force from its natural object’ (293). In Glas, Derrida argues that when Saussure felt his thesis about the arbitrariness of the sign endangered by the existence of onomatopoeic words, he responded with an anxious shoring up of his theory: ‘instead of taking an interest in the contaminated effects of onomatopoeia or of arbitrariness, in the drawing along of the language,’ Derrida writes, ‘he runs ahead of the “danger” in order to save the thesis of the sign’s arbitrariness’ (93b).
As such, his approach to writing also anticipates Lee Edelman’s idea of homographesis. Critiquing the idea that gay and lesbian specificity is ‘a determinate entity rather than an unstable differential relation’ (3), Edelman argues that writing about same-sex desire and relationships needs to take into account the extent to which inscriptions of (male) homosexuality occur ‘within a tropology that produces him in a determining relation to inscription itself’ (9). In response, Edelman develops the concept of writing he terms homographesis, which, as he explains, ‘would name a double operation: one serving the ideological purposes of a conservative social order intent on codifying identities in its labour of disciplinary inscription, and the other resistant to that categorisation, intent on de-scribing the identities that order has so oppressively inscribed’ (10).
Actively resisting the textual closure and containment Derrida identifies as imprisoning Genet in Saint Genet, Glas is impossible to read in a linear way: each column begins and ends in mid-sentence, with the last sentences linking back to the first. Instead of providing a self-contained analysis, then, Glas grafts itself onto other texts like an epiphyte, sends out shoots like a rhizome: ‘This text induces by agglutinating rather than demonstrating, by coupling and decoupling, gluing and ungluing [en accolant et en décollant] rather than by exhibiting the continuous, and analogical, instructive, suffocating necessity of a discursive rhetoric’ (75b).