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Nicholas Royle

a way of reading Hélène Cixous, and in particular of exploring what she calls ‘writing blind’ (in the extraordinary essay of that title, first published in 1996), I am no doubt doing violence to her work. 4 But I am also finding it funny, already, the sense of a rapport that does away with words, this strange pleasure of losing myself, recognising how thoroughly she has already said everything, starting with the mole, burrowing away, and with laughter, the feelings evoked when she speaks, in the interview entitled ‘ “You race towards that secret, which escapes

in Hélène Cixous
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The joys of literature and the return of the dead
Nicholas Royle

Act 1 Hélène Cixous’s Dream I Tell You ( Rêve je te dis ) is unlike any other book. 1 Is it a book? It divides. It is a sort of joke-book, a double-booking, doubled up in pain anguish terror dread and in laughter joy gusto happiness. First published in French in 2003, then in English (translated by Beverley Bie Brahic) in 2006, it ‘ began as a joke ’ (7), Cixous says. There are some eighty dreams, jotted or jetted over a number of years (going back to at least 1990) and reproduced in apparently haphazard, non

in Hélène Cixous
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Nicholas Royle

figure of the side (‘What is a side?’ is perhaps the question of H.C. for Life , though at no point, it seems to me, does he formulate a notion of ‘side thinking’ as such), 16 additionally stimulated and provoked by Ginette Michaud who has already said a good deal on this topic, and with such subtlety and finesse, in her ‘Derrida & Cixous: Between and Beyond, or “what to the letter has happened”.’ 17 Things were coming together in my mind, the looming silhouette of a mighty vision, a network of thoughts, express or late arriving, gleaned from here and there going

in Hélène Cixous
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Nicholas Royle

. Here begins the dream, and here endeth the dream. But ‘dream in literature’ is not so simple. The frame of reference is trembling or already dissolving. Poe, Shelley, Shakespeare, Brontë – all are wonderfully canny engineers of making poetry or fiction and dream break through or give way to the other. But it is Hélène Cixous who, I want to suggest, provides the richest and most compelling contemporary examples of such engineering work, in both critical and creative respects. The following pages will turn around her writing, in particular the slender but extraordinary

in Hélène Cixous
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Nicholas Royle

I was finishing a book about Hélène Cixous. There is a time when you’re no longer writing, you’re finishing, it’s the end. But how is it possible, when you regularly wake up, first thing in the morning or middle of the night, with a phrase or image that provides, you believe, a crucial additional portal and you pick up your pen and you’re opening, O pen, another chapter of The Book I Do Not Finish ? Or you go to see, you go to the sea of the screen at your laptop before you’re properly awake, and stumble over some word that throws you overkeyboard anew

in Hélène Cixous
Nicholas Royle

? Are you – nobody too? 4 To awake, Shakespeare of the Night: in that conversation with the donkey called ‘Writing Blind’ Cixous says she nights, she says: ‘There is no more genre . I become a thing with pricked-up ears. Night becomes a verb. I night. I write at night. I write: the Night.’ 5 Derrida doesn’t night like this, and yet his writings on Shakespeare are strikingly concerned with what might be called a night Shakespeare, with the night in which Romeo and Juliet speak and exchange vows, the theatre of the night and the night of the name as he

in Hélène Cixous
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Shakespeare’s voyage to Greece
Richard Wilson

,4,237 ]; Othello whether ‘It is impossible’ a monster can be man [ 4,2,138 ]; Antony and Cleopatra whether ‘O Isis, ’tis impossible!’ for love to conquer [ 3,3,15 ]; and Pericles whether we credit ‘points that seem impossible’ [ 21,112 ], what Hélène Cixous says about Derrida comes to look equally applicable to the Elizabethan dramatist: ‘the scenarios of all his travels

in Free Will
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On sitting down to read a letter from Freud
Nicholas Royle

father): dreaming is the element most receptive to mourning, to haunting, to the spectrality of all spirits and the return of the ghosts … The dream is also a place that is hospitable to the demand for justice and to the most invincible of messianic hopes. 6 You receive the dream like a letter from the beyond. ‘Dreams await us in a country we can’t get tickets to’, remarks Hélène Cixous. 7 She stresses what so few notice, the might of the future in relation to dreaming. They wait for us, they are up ahead. There is no bus or taxi, no passport or

in Hélène Cixous
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Anne Sweeney

-annihilated individual who finds a new autonomy behind what had been a false face. Magdalen the whore, Joseph the cuckold, both reconstituted themselves by effacing their egos and giving themselves up to love – which in turn redefines them as lovable. Southwell submits them only to a metaphorical martyrdom; as Hélène Cixous said, the recreative, recombinative action of metaphor is the only possible voice of the

in Robert Southwell
Performing quacks at court
M. A. Katritzky

.) According to the printed programme, the four charlatans wore small pedlars’ packs, from which they distributed vials of perfume and printed handbills detailing their remedies, to the audience during their dance ( Recueil 1612 : 55–8; Cixous 2001 : 88–9). The Jesuit historian of theatre and spectacle, Claude-François Menestrier (1631–1705), records a Ballet des Alchimistes danced

in Transnational connections in early modern theatre