Quotes by Hélène Cixous

But I am just a woman who thinks her duty is not to forget. And this duty, which I believe I must fulfill, is: as a woman living now I must repeat again and again I am a woman, because we exist in an epoch still so ancient and ignorant and slow that there is still always the danger of gynocide.

--All that because Promethea is a woman? All this uproar, this trembling, this resistance?--Yes. No. Y-Yes...Naynayno. Whynoyes.Yes, Promethea is a woman.Yes, but because is a woman, that is not important.But no it precisely its not being important that is so important.

I Drink. I Burn. I Dream.And Sometimes, I tell Stories !

And I? I drink, I burn, I gather dreams.And sometimes I tell a story. Because Promethea asks me for a bowl of words before she goes to sleep.

You can go on losing after loss.

- Losing is all thats left, I say.- Losing is all weve got left to lose, you sayThe impossibility of not telling, I cannot do otherwise, one can only tell otherwise, with always the same need to make sense of what youve lost, the need not to lose this feeling of losing, the need to feel yourself not losing this feeling that you are still losing the irreplaceable.

It is because of this sea between us. The earth has never, up to now, separated us. But, ever since yesterday, there has been something in this nonetheless real, perfectly Atlantic, salty, slightly rough sea that has cast a spell on me. And every time I think about Promethea, I see her crossing this great expanse by boat and soon, alas, a storm comes up, my memory clouds over, in a flash there are shipwrecks, I cannot even cry out, my mouth is full of saltwater sobs. I am flooded with vague, deceptive recollections, I am drowning in my imagination in tears borrowed from the most familiar tragedies, I wish I had never read certain books whose poison is working in me. Has this Friday, perhaps, thrown a spell on me? But spells only work if you catch them. I have caught the Tragic illness. If only Promethea would make me some tea I know I would find some relief. But that is exactly what is impossible. And so, today, I am sinning. I am sinking beneath reality. I am weighted down with literature. That is my fate. Yet I had the presence of mind to start this parenthesis, the only healthy moment in these damp, feverish hours. All this to try to come back to the surface of our book... Phone me quickly, Promethea, get me out of this parenthesis fast!)

That is the definition of truth, it is the thing you must not say. “The miracle into which the child and the poet walk” [Tsvetaeva] as if walking home, and home is there…The thing that is both known and unknown, this is what we are looking for when we write. We go toward the most unknown and the best unknown, this is what we are looking for when we write. We go toward the best known unknown thing, where knowing and not knowing touch, where we hope we will know what is unknown. Where we hope we will not be afraid of understanding the incomprehensible, facing invisible, hearing the inaudible, thinking the unthinkable, which is of course: thinking. Thinking is trying to think the unthinkable: thinking the thinkable is not worth the effort. Painting is trying to paint what you cannot paint and writing is writing what you cannot know before you have written: it is preknowing and not knowing, blindly, with words. It occurs at the point where blindness and light meet. Kafka says—one very small line lost in his writing—“to the depths, to the depths.

You make me thirsty, Promethea, my river, you make me eternally thirsty, my water. As if I had spent my life in an old house of dried mud, so dry myself that I could not even thirst, until yesterday. And suddenly yesterday, the dusty floor of my old house burst open and while I was still dozing away my parched existence, drop by drop I heard the music of coolness awaken the thirst under my dry soul. And leaning over the dark shaft of my life, I saw my childhood springs unearthed. Is that always how (by accident) we rediscover Magdalenian riches?

You only have to look at the Medusa straight on to see her. And shes not deadly. Shes beautiful and shes laughing.

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.

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.

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].

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.

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.

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: Its 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]

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.

All I know: I could only encounter you, my oasis, coming out of a desert. Deserted myself. This is all right. My futureless and solitary self. When suddenly I hear the voice of the springs--Right away you made me want to sing. To cry. Then to drink. But after the desert, the merest trickle of water sounds like a storm. And ever since, Prometheas every murmur shakes my life like an earthquake. I was asleep. I was not thirsty. It would have been possible for me not to hear the first three tears. Ever since I never sleep. I listen.

“I do believe in poetry. I believe that there are creatures endowed with the power to put things together and bring them back to life”