This is the “shadow book” of Los, a Chapter, Hélène Cixous tells us. It came along after Los, but it was always there 'hidden' in her notebooks, in the Beethoven notebook, the one Jacques Derrida gave her.
These interviews from newspapers, journals and books address the major concerns of Cixous's critical work, such as her writing process, her views on literature, feminism, theater, autobiography, philosophy, politics, aesthetics, religion, ethics, human relations, and her roles as poet, playwright, professor, woman, Jew and French feminist theorist. Contains also two dialogues with Michel Foucault and Jacques Derrida.
For years the author has been writing down fragments of her drams immediately after awaking. Contains texts of fifty of them from the past ten years. They are addressed to Jacques Derrida and reflect on subjects the two grappled with in their work and in conversation: the deconstruction of psychoanalysis, literary production, subjectivity, sexual difference, and friendship.
Cixous has dreamed for years of 'The Book-I-Don't-Write,' but each time she approaches it, it withdraws. The-Book-I-Don't-Write is always just out of reach. When Jacques Derrida told her the Book would get written one day, but differently, Cixous tells us she would see it 'shining behind a veil, its indecipherable back, upright on heaven's bookshelf. One day the Book turns up: 'Quickly, without taking my eyes off it, I copied it down, staying close to its notations, its rhythms, its moments of silence. Los, A Chapter is an exploration of time and relationships. It reimagines scenes from Paris in the late sixties: its cafes, its debates, its political turmoil.
The writer recounts a return to her native Algeria after a more than thirty-year absence. The story starts with contemplations of and encounters with her past before the decision to go. These include meeting a childhood friend, who later joined the FLN and became a heroine in the uprising against the French rule. The latter part of the narrative is about sensations, impressions, memories, and new encounters as the narrator revisits sites from her past in Algiers. Reflections over the political history and social conditions of Algeria are an integral part of the book.
Collection of conversations, which took place between Frédéric-Yves Jeannet and Hélène Cixous over three years, covering the creative process behind Cixous’s fictional writing. The conversations delve into Cixous’s career as an academic in Paris and abroad, her summer retreats to the Bordeaux region to write uninterrupted for two months, her work with Ariane Mnouchkine’s Théàtre du Soleil, her political engagements and her dreams. .Originally published as 'Rencontre Terrestre' (2005).
In this work of autobiographical fiction Ciixous weaves tragedy and comedy, narrative and meditation in its exploration of various human attachments: between an elderly but still truculent mother and her writer-daughter, between the mother and her sister, and between the writer and her vanished but nonetheless intensely present friend, Jacques Derrida, whose death is movingly evoked. When one old flower is left, what becomes of the other face?' Socrates is conjured up, along with the poisonous plants of Hamlet, the human comedies of Balzac and Proust, and other literary and philosophical ghosts who find themselves drawn into the fabric of Cixous's text.
In this reverie Cixous intertwines Freud's views on telepathy, autobiographical memories conflating Algeria and Paris, childhood and adult life, shared with her brother 'Pete', and literary evocations from Proust and George du Maurier's forgotten novel Peter Ibbetson.