Академический Документы
Профессиональный Документы
Культура Документы
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
University of Pittsburgh
Etrangers a nous-memes
In the letter to the author that serves as the preface to a recent
edition of Josefina Vicens' two narrative works, El libro vacio (1958)
and Los anos falsos (1982), Octavio Paz observes that above all the
first novel is permeated by the theme of nothingness. He detects in it
a vision of men and women "caminando siempre al borde del vacio, a
la orilla de la gran boca de la insignificancia," 'walking on the edge of
the void, of the great chasm of insignificance,' as he attributes to this
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
92
at a point beyond the long and difficult detour in the road that was
militant and explicit feminism. It is not, I suggest, that Josefina
Vicens did not reach the point of detour in her lifetime, rather that the
orientation of her writings is (like those of Manuel Puig, and even
pace Helene Cixousof Clarice Lispector) one that lay beyond facile
manichaeism, and that what they reveal is a profounder level of
understanding of a far from consoling circumstance: that suffering,
Frida Kahlo and Octavio Paz himself spring to mind have been
designated "natural surrealists," I contend that Josefina Vicens was
always a natural post-feminist.
In any case, I feel that ontological insecurity is the principal
thematic element in these two novels, and the two most striking
manifestations of this are first, a reiterated, though usually implicit,
sense of "foreign-ness" (or otherness), and second, constant depiction
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
Bacarisse
93
that I'm watching over but cannot control. It's as if I were two
people. Two people who go around in circles all the time, chasing
himself two exercise books, the first to jot down his thoughts, the
other for the definitive version of his projected novel. The latter, of
course, is the eponymous empty book of El libro vacio, the last words
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
94
herself. But for the moment let us consider the unhappy nineteen
year-old who, in telling his story, reveals an extraordinarily fragile
sense of identity. For the last four static years, the false years of the
title, he has been obliged to act as a substitute for his dead father.3 His
'I greet myself silently and say thank you for the flowers I've
brought.' Nevertheless, he goes on to say that "[r]ezan por el" 'they
pray for him' (141).4
Like the protagonist of El libro vacio, he makes valiant efforts to
avoid becoming the dupe of his internal "foreigner," though this term
may seem inappropriate in this case since it alludes to a dearly-loved
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
Bacarisse
95
"el hombre que sostiene la casa" 'the man of the house' (144). As
more than one metaphor materializes, this phrase comes to mean that
he will actually become the father who will always live within him.
Needless to say, he subsumed this alien identity on his father's death
four years earlier: before that they had been two different people with
clearly delimited functions and roles within the family and the
community and in the world. Little time had passed though before the
boy almost mechanically dug a hole in the still-soft earth of the tomb
"lo suficientemente amplio como para que [su padre] pudiera salir y
[el] entrar" 'big enough for his father to get out and for him to go in'
(170). This, he tells us, is what has happened: they have changed
places. And yet they have not quite done that; they have, rather,
merged, which is indicated by the fact that now his fervent desire is to
be six years old again so that he can again listen to the words of a
recognizable self and that which is found in Los anos falsos. The
protagonist of the second novel is little more than a child but is almost
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
96
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
Bacarisse
97
that were "mimosas y tontas" 'arch and stupid' (146); that when his
sisters, twins whom he describes as "flacas y feas" 'skinny and ugly',
were born he was absolutely disgusted (148); that his greatest desire
had always been to go on a long journey with his father, leaving the
three women at home; and that the family had always been divided
(149). Furthermore, the women continue to irritate him: they cannot
and his connections,' his inner foreigner, that is to say his father
("somos complices" 'we're in this together,' 194) persuades him to
go on showing off and talking pompously of his intention to "pisar
fuerte . . . y llegar muy alto" 'be ruthless and go places' (175). It is
when the friend reminds him that they are "cuates" 'pals' that he
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
98
psyche and left at that if it were not so obvious that the desires
depicted in their pages are little more than signifiers. What is vitally
important is that all of them, even the fundamental longing to acquire
and be able to recognize individual identity, are directed towards the
undeniably knowable, be this human, tangible or abstract. This is the
reason why, using as my starting point the psychoanalytic theories of
Julia Kristeva, I would suggest that the basis of these desires-with-a
discourse and the rationalist model of the self and those who insist on
the power of desire itself, but in the case of the novels of Josefina
center of our being, with its "text" repressed, and has referred to an
inevitably contradictory and conflictive psychic split, similar to those
that may have attracted the reader's attention in these novels, when
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
Bacarisse
99
would keep the one he had taken "pero [su] deseo permaneci'a en los
otros" 'his desire stayed with the others' (75). "Lo queria todo," he
admits, "y no me resignaba a elegir, porque la eleccion significaba un
become his dead father, but without abandoning his own self." In a
sense, something in the frustrated author of the first novel has
deliberately selected a particular field of frustration; his internal
stranger presumably (and erroneously) supposed that "an ordinary
man" would never be able to write anything, would have nothing to
say and would therefore be incapable of satisfying his desire. "Yo no
mistresson the subject of his resemblance to his father and the need
to replace him.
There is a difference between the two situations which does
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
100
this means that he can still conserve some power over the situation
and his life in general. He is more or less consciously going towards
what he calls "una derrota buscada, hasta anhelada" 'a sought-after,
even longed-for defeat' (14). This is not so in the second narrative.
There is much more emphasis here on the impotence of the tyrannized
protagonist, who behaves as if mesmerized by his recognition of the
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
Bacarisse
101
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
102
the book of (his) life. However, the definitive text has still to be
Then he and his son cannot share any elements of vocabulary and
syntax because of the so-called generation gap (85); the same is true,
though this time for reasons of class and ideology, when he finds
himself in the company of some macho sailors ("lo importante era
hablar como hombre y tratar con rigor a las mujeres" 'what was
important was to talk in a manly fashion and treat women ruthlessly,'
108). He cannot find the language for everyday discourse or for the
creation of that ineffable, miraculous thing which would be a great
novel.15
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
Bacarisse
103
taken to his father's tomb, the narrator's color "esta casi por
despuntar" 'is on the point of transformation,' but no-one knows into
what, 141); the indistinct (he is pleased that climbing plants have all
but obliterated the insciption on his father's tomb, 142); the absence
of life (he describes his own face as "sin vida" 'lifeless,' 152); and the
solitude of someone who not only does not feel as if there is anyone
who understands him but also that he himself understands nothing at
all. And like the non-writer of the first novel, he desires wholeness.
that "el morir es un silencio que tiene que ser escuchado" 'dying is a
silence that demands to be heard' (154).
The titles of both novels contain negative adjectives: that the
book stays empty (non-writing) points to the nothingness that Paz was
referring to in his letter; then, in their turn, the false years connote
magnum opus that he was aiming for, and this text represents a
struggle which does not end because its basis is desire, the predicate
of which, if it has one at all, is survival. When we leave the main
character, he is suffering from insomnia and wants to get on with his
writing (136), in spite of his sensation of internal "foreign-ness" and
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
104
beyond its limits, if it can be resolved at all. On the other hand, were
we to answer the question put by the son of the protagonist of El libro
vacio, "^Acaba bien [tu historia]?" 'Does your story have a happy
ending?' (31), we might well say yes, and with a certain amount of joy
at that, for as Kristeva has observed, "des que les etrangers ont une
action ou une passion, ils s'enracinent. Provisoirement, certes, mais
intensement" 'as soon as foreigners have an action or a passion, they
take root. Temporarily, to be sure, but intensely.17
NOTES
6 He points out that he loves the self that does what he doesn't want t
most of all because it separates him from that stubborn, hermetic no tha
him in thrall (29).
moves, floats, negates, shatters, aspires, it is itself a subject," 2), and the
phrase "the rationalist model of the self' (1).
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
Bacarisse
" The difference between the written and the spoken word is
emphasized, for "[l]a expresibn oral y el pensamiento tienen una esencia
those who agree with the "schizoanalysts," the social condition of Vicens'
characters will hold more interest; I suggest that lack does indeed form an
intrinsic part of subjectivity and that what changes with sociohistoric forces
WORKS CITED
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms
Goodheart, Eugene. Desire and its Discontents. New York: Columbia UP,
1991.
Vicens, Josefina. El libro vacio. Los anos falsos. Mexico City: UNAM,
1987.
This content downloaded from 200.52.254.249 on Sun, 11 Dec 2016 19:17:56 UTC
All use subject to http://about.jstor.org/terms