Hélène Cixous Quotes

Everything she wanted to tell her, was unable to tell her, because she was afraid of hearing her own voice come out of her heart and be covered with blood, and then she poured all the blood into these syllables, and she offered it to her to drink like this : “You have it.

What is the use of the colon? What is a colon? Generally it opens onto an explanation, but it is always done with the help of an interruption. It can be said that the colon is not the period, it is the period of the period, the canceling of the period. It is a moment mute and marked; it is the most delicate tattoo of the text. It is also in place of, instead of, everything that would be causal. For example, when we read: "It's simply that: secret." "Secret," is a sentence, it is the shortest sentence perhaps. But it is a sentence in one word. It is a sentence that is secret and that at the same time says its name. One could invert and say: "Secret: it is simply that." This is secret, the secret is the secret of this, it is a word which makes infinite sense all by itself, it is a sentence which performs the secret itself [Clarice Lispector, The Stream of Life, trans Elizabeth Lowe & Earl Fitz, Foreword by Hélène Cixous trans Verena Conley, Minneapolis: University of Minnesota Press, 1989]

This is what’s happening: together we are descending the stairs of the heart, which lead to the sources. (It is a secret staircase. I knew it existed. Which is why I avoided it. Because it leads to the other-life, deep, underground, the fluvial, the painful.)We are in the process of descending into the depths of the heart. To where bodies communicate with each other.

We are going toward the sea. I have swollen. I am carried away. Sometimes at night love comes up so quickly and so high, and if we have no little boat perhaps it is because we want to roll breathless under the ocean floor.

If one proceeds philosophically before proceeding poetically, and this is central to the philosopher, pleasure is crushed, But if one begins by having pleasure, it is like knowing how to swim: one never forgets it [Clarice Lispector, The Stream of Life, trans Elizabeth Lowe & Earl Fitz, Foreword by Hélène Cixous trans Verena Conley, Minneapolis: University of Minnesota Press, 1989].

If ever again we happened to lose our balance, just when sleepwalking through the same dream on the brink of hell’s valley, if ever the magical mare (whom I ride through the night air hollowed out into caverns and caves where wild animals live) in a crazy fit of anger over some word I might have said without the perfect sweetness that works on her like a charm, if ever the magic Mare looks over her shoulder and whinnies: “So! You don’t love me!” and bucks me off, sends me flying to the hyenas, if ever the paper ladder that I climb so easily to go pick stars for Promethea—at the very instant that I reach out my hand and it smells like fresh new moon, so good, it makes you believe in god’s genius—if ever at that very instant my ladder catches fire—because it is so fragile, all it would take is someone’s brushing against it tactlessly and all that would be left is ashes—if ever I had the dreadful luck again to find myself falling screaming down into the cruel guts of separation, and emptying all my being of hope, down to the last milligram of hope, until I am able to melt into the pure blackness of the abyss and be no more than night and a death rattle,I would really rather not be tumbling around without my pencil and paper.

Men still have everything to say about their sexuality, and everything to write. For what they have said so far, for the most part, stems from the opposition activity/passivity, from the power relation between a fantasized obligatory virility meantto invade, to colonize, and the consequential phantasm of woman as a “darkcontinent” to penetrate and to “pacify.” (We know what “pacify” means in terms ofscotomizing the other and misrecognizing the self.) Conquering her, they’ve madehaste to depart from her borders, to get out of sight, out of body. The way man hasof getting out of himself and into her whom he takes not for the other but for hisown, deprives him, he knows, of his own bodily territory. One can understandhow man, confusing himself with his penis and rushing in for the attack, mightfeel resentment and fear of being “taken” by the woman, of being lost in her,absorbed, or alone.

You only have to look at the Medusa straight on to see her. And she's not deadly. She's beautiful and she's laughing.