Gaston Bachelard from The Poetics of Space (full text here)
Tag: theory
The vulnerability of precious things is beautiful because vulnerability is a mark of existence.
In women’s writing, language seems to be seen from a foreign land; is it seen from the point of view of an asymbolic, spastic body? Virginia Woolf describes suspended states, subtle sensations, and above all, colors-green, blue-but she does not dissect language as Joyce does. Estranged from language, women are visionaries, dancers who suffer as they speak
Simone Weil from Gravity and Grace
I can easily imagine that [God] loves that perspective of creation that
can only be seen from the point where I am. But I act as a screen.
I must withdraw so that he might see it.
I must withdraw so that God might enter into contact with the
beings whom chance places in my path and so that he might love me.
My presence is indiscreet, as though I found myself between two lov-
ers or two friends. I am not the maiden who awaits her betrothed but
the unwelcome third who is with the two lovers and who ought to go
away so that they can really be together.
If I only knew how to disappear, there would be a perfect union of
love between God and the earth I tread, the sea I hear …
That I might disappear so that those things that I see may become
perfectly beautiful from the fact that they are no longer things that I
see.
I do not in the least wish that this created world should no longer
be perceptible, but that it should no longer be me to whom it is per-
ceptible. To me it cannot tell its secret which is too high. That I might
leave, then the creator and the creature will exchange their secrets.
To see a landscape as it is when I am not there …
Writing is precisely working (in) the in-between, inspecting the process of the same and of the other…not fixed in sequences of struggle and expulsion…but infinitely dynamized by an incessent process of exchange from one subject to another… a multiple and inexhaustible course with millions of encounters and transformations of the same into the other and into the in-between, from which woman takes her forms (and man, in his turn)

Virginia Woolf, A Room of One’s Own
From Virginia Woolf’s “A Room of One’s Own”
“Anger had snatched my pencil while I dreamt. But what was anger doing there? Interest, confusion, amusement, boredom—all these emotions I could trace and name as they succeeded each other throughout the morning. Had anger, the black snake, been lurking among them? Yes, said the sketch, anger had. It referred me unmistakably to the one book, to the one phrase, which had roused the demon; it was the professor’s statement about the mental, moral and physical inferiority of women. My heart had leapt. My cheeks had burnt. I had flushed with anger. There was nothing specially remarkable, however foolish, in that. One does not like to be told that one is naturally the inferior of a little man—I looked at the student next me—who breathes hard, wears a ready-made tie, and has not shaved this fortnight. One has certain foolish vanities. It is only human nature, I reflected, and began drawing cartwheels and circles over the angry professor’s face till he looked like a burning bush or a flaming comet—anyhow, an apparition without human semblance or significance. The professor was nothing now but a faggot burning on the top of Hampstead Heath. Soon my own anger was explained and done with; but curiosity remained. How explain the anger of the professors? Why were they angry? For when it came to analysing the impression left by these books there was always an element of heat. This heat took many forms; it showed itself in satire, in sentiment, in curiosity, in reprobation. But there was another element which was often present and could not immediately be identified. Anger, I called it. But it was anger that had gone underground and mixed itself with all kinds of other emotions. To judge from its odd effects, it was anger disguised and complex, not anger simple and open.
Whatever the reason, all these books, I thought, surveying the pile on the desk, are worthless for my purposes. They were worthless scientifically, that is to say, though humanly they were full of instruction, interest, boredom, and very queer facts about the habits of the Fiji Islanders. They had been written in the red light of emotion and not in the white light of truth. Therefore they must be returned to the central desk and restored each to his own cell in the enormous honeycomb. All that I had retrieved from that morning’s work had been the one fact of anger. The professors—I lumped them together thus—were angry. But why, I asked myself, having returned the books, Why, I repeated, standing under the colonnade among the pigeons and the prehistoric canoes, why are they angry? And, asking myself this question, I strolled off to find a place for luncheon. What is the real nature of What I call for the moment their anger? I asked. Here was a puzzle that would last all the time that it takes to be served with food in a small restaurant somewhere near the British Museum. Some previous luncher had left the lunch edition of the evening paper on a chair, and, waiting to be served, I began idly reading the headlines. A ribbon of very large letters ran across the page. Somebody had made a big score in South Africa. Lesser ribbons announced that Sir Austen Chamberlain was at Geneva. A meat axe with human hair on it had been found in a cellar. Mr justice —— commented in the Divorce Courts upon the Shamelessness of Women. Sprinkled about the paper were other pieces of news. A film actress had been lowered from a peak in California and hung suspended in mid-air. The weather was going to be foggy. The most transient visitor to this planet, I thought, who picked up this paper could not fail to be aware, even from this scattered testimony, that England is under the rule of a patriarchy. Nobody in their senses could fail to detect the dominance of the professor. His was the power and the money and the influence. He was the proprietor of the paper and its editor and sub-editor. He was the Foreign Secretary and the judge. He was the cricketer; he owned the racehorses and the yachts. He Was the director of the company that pays two hundred per cent to its shareholders. He left millions to charities and colleges that were ruled by himself. He suspended the film actress in mid-air. He will decide if the hair on the meat axe is human; he it is who will acquit or convict the murderer, and hang him, or let him go free. With the exception of the fog he seemed to control everything. Yet he was angry. I knew that he was angry by this token. When I read what he wrote about women—I thought, not of what he was saying, but of himself. When an arguer argues dispassionately he thinks only of the argument; and the reader cannot help thinking of the argument too. If he had written dispassionately about women, had used indisputable proofs to establish his argument and had shown no trace of wishing that the result should be one thing rather than another, one would not have been angry either. One would have accepted the fact, as one accepts the fact that a pea is green or a canary yellow. So be it, I should have said. But I had been angry because he was angry. Yet it seemed absurd, I thought, turning over the evening paper, that a man with all this power should be angry. Or is anger, I wondered, somehow, the familiar, the attendant sprite on power? Rich people, for example, are often angry because they suspect that the poor want to seize their wealth. The professors, or patriarchs, as it might be more accurate to call them, might be angry for that reason partly, but partly for one that lies a little less obviously on the surface. Possibly they were not ‘angry’ at all; often, indeed, they were admiring, devoted, exemplary in the relations of private life. Possibly when the professor insisted a little too emphatically upon the inferiority of women, he was concerned not with their inferiority, but with his own superiority”

Three Steps on the Ladder of Writing by Hélène Cixous
Jacques Derrida, “Roland Barthes”
An act of hospitality can only be poetic.
Bachelard:
But is he who opens a door and he who closes it the same being?
To call something ecological is to draw attention to its necessary implication in a network of relations, to mark its persistent tendency to enter into a working system. That system however, can be more or less mobile, more or less transient, more or less conflictual.
