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A poetics of passing out
Naomi Booth

to see literature as words that call truth into question, including literature's own truth: the ground beneath our feet and the words on the page become equally unstable and ‘[l]anguage then becomes the experience of the loss of mastery of the self’. 23 Much twenty-first century work that has followed on from Blanchot and Bataille continues to describe reading, writing and criticism as processes of destabilisation. In Insister of Jacques Derrida ( 2007 ), Hélène Cixous

in Swoon
Naomi Booth

Shades novels highlights the failure of a radical or liberatory charge to self-shattering in the female subject, when an imputed propensity to shatter becomes the pretext for the patriarchal status quo to protect (control) female bodies. And this reveals to us that it's necessary to inflect Bersani's claims for the radical potential of ‘self-abolition’ with a bathetic counter-history of the exploitation of woman's imputed ‘masochism’ and lack of self-possession. 28 Hélène Cixous warns us that: ‘One can, of course

in Swoon