[-empyre-] On the limits of critique (d'Ignacio) and the limits of representation (Barad) (Murat Nemet-Nejat) (William Bain)

[William Bain]

Hello. Simply to follow up briefly on the section ofIan McEwan's novel, Atonement mentioned lastweek. As the Empyre topic changes, this will perhapsbe of less interest. But as I brought up the novel--and as ideas on what is "written on the body" in artistic con-texts are frequent here--I'm sending a short sectionfrom McEwan's book. This is from Chapter 3, wherea major protagonist contemplates on selfhood:
“She raised one hand and flexed its fingers andwondered […]how […] this thing for gripping […] came to be hers, entirelyather command. Or did it have some little life of its own? Shebent her fingerand straightened it. The mystery was in theinstant before it moved, thedividing moment between notmoving and moving, when her intention tookeffect….. Whendid it know to move, when did she know to move it? Therewas nocatching herself out. It was either-or. There was nostitching, no seam, andyet she knew that behind thesmooth continuous fabric was the real self….”
This narratological pondering may be of less interest tothis week's theme, but I thought it fit in well with some ofwhat was being said last month. So fwiw I'm sending it along.With best wishes, William
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