norm –an anti-anaesthetic’ (My Beloved
Wager p. 161).
From the outset, écriture au féminin shows the influence of Hélène
Cixous and Luce Irigaray, both of whom were instrumental in
theorising what Cixous would later, in ‘Laugh of the Medusa’, call
écriture féminine or feminine writing. Ecriture féminine is, in a general
sense, a kind of writing that is anti-logocentric and anti-phallic. I use
Cixous’ theory in its broader sense; that is, I do not see it as a static
theory that is limited to formulating a very specific kind of writing that
is marked by gender
People: Native American Gender Identity, Sexuality, and Spirituality,
ed. Sue-Ellen Jacobs, Wesley Thomas, and Sabine Lang (Urbana and
Chicago: University of Illinois Press, 1997), pp. 100–18, at p. 103.
Ibid., p. 104.
Gary Kinsman, The Regulation of Desire (Montreal: Black Rose Books,
1996), p. 93.
R. W. Gray, ‘“…in my writing I see myself as a community worker”: An
Interview with Gregory Scofield’, Arc 43 (1999): pp. 21–9, at p. 23.
Jamieson, ‘Âyahkwêw Songs’, p. 60.
Morag Shiach, Hélène Cixous: A Politics of Writing (London and
and fear of each other (Cixous, 1993). The problems of responding to suffering bring us up against the limits as well as the strengths of the available mechanisms and presumptions regarding rights and ethics – whether liberal or other models. And the closer we come to the ‘face of the victim’ the more obdurate the problems can be. A change of government, or of particular laws, or a significant increase of resources can sometimes remove certain kinds of harm. The legal system, or a process of reconciliation, can be a public recognition of abuse, and may offer some