Powers Of Horror An Essay On Abjection Quotes

When the starry sky, a vista of open seas, or a stained-glass window shedding purple beams fascinate me, there is a cluster of meaning, of colors, of words, of caresses, there are light touches, scents, sighs, cadences that arise, shroud me, carry me away, and sweep me beyond the things I see, hear, or think, The "sublime" object dissolves in the raptures of a bottomless memory. It is such a memory, which, from stopping point to stopping point, remembrance to remembrance, love to love, transfers that object to the refulgent point of the dazzlement in which I stray in order to be.

Abjection is above all ambiguity. Because, while releasing a hold, it does not radically cut off the subject from what threatens it --- on the contrary, abjection acknowledges it to be in perpetual danger.

[the abject] is simply a frontier, a repulsive gift that the Other, having become alter ego, drops so that the "I" does not disappear in it but finds, in that sublime alienation, a forfeited existence.

Music, rhythm, rigadoon, without end, for no reason.

The phobic has no other object than the abject. But that word, "fear"- a fluid haze an elusive clamminess- no sooner has it cropped up than it shades off like a mirage and permeates all words of the language with nonexistence, with a hallucinatory, ghostly glimmer. Thus, fear having been bracketed, discourse will seem tenable only if it ceaselessly confront that otherness, a burden both repellent and repelled, a deep well of memory that is unapproachable and intimate: the abject.

The clean and proper (in the sense of incorporated and incorporable) becomes filthy, the sought-after turns into banished, fascination into shame. Then, forgotten time crops up suddenly and condenses into a flash of lightning an operation that, if it were though out, would involve bringing together the two opposite terms but, on account of that flash, is discharged like thunder. The time of abjection is double: a time of oblivion and thunder, of veiled infinity and the moment when revelation bursts forth.

Along with the sight-clouding dizziness, nausea makes me balk at that milk cream, separates me from the mother and the father who proffer it. "I" want none of that element, sign of their desire; "I" do not want to listen, "I" do not assimilate it. "I" expel it. But since the food is not an "other" for "me," who am only in their desire, I expel myself, I spit myself out, I abject myself with the same motion through which "I" claim to establish myself. That detail, perhaps an insignificant one, but one that they ferret out, emphasize, evaluate, that trifle turns me inside out, guts sprawling; it is thus that they see the "I" am in the process of becoming an other at the expense of my own death, During that course I'm which "I" become, I give birth to myself amid the violence of sobs, of vomit. Mute protest of the symptom, shattering the violence of a convulsion that, to be sure, is inscribed in a symbolic system, but in which, without either wanting or being able to become integrated in order to answer to it, it abreacts. It abjects

For the space that engrosses the deject, the excluded, is never one, nor homogeneous, nor totalizable, but essentially divisible, fold-able, and catastrophic. A deviser of territories, languages, works, the deject never stops demarcating his universe whose fluid confines- for they are constituted of a non-object, the abject- constantly question his solidity and impel him to start afresh. A tireless builder, the deject is in short a stray. He is on a journey, during the night, the end of which keeps receding.

During that course in which "I" become, I give birth to myself amid the violence of sobs, of vomit.

How can I be without border?

Do not all attempts, in our own cultural sphere at least, at escaping from the Judeo-Christian compound by means of a unilateral call to return to what it has repressed (rhythm, drive, the feminine, etc.), converge on the same Celinian anti-Semitic fantasy? And this is so because, as I have tried to explain earlier the writings of the chosen people have selected a place, in the most determined manner, on that untenable crest of manness seen as symbolic fact—which constitutes abjection.

The border has become an object. How can I be without border? That elsewhere that I imagine beyond the present, or that I hallucinate so that I might, in a present time, speak to you, conceive of you—it is now here, jetted, abjected, into “my” world. Deprived of world, therefore, I fall in a faint. In that compelling, raw, insolent thing in the morgue’s full sunlight, in that thing that no longer matches and therefore no longer signifies anything, I behold the breaking down of a world that has erased its borders: fainting away.