
Denarrativization: A Return. (Draft Paper for Rethinking Form in Latin American Literature and Visual Art Workshop, University of Texas-Dallas, January 19, 2018.
Many years ago, in a book called The Exhaustion of Difference, I associated the notion of “denarrativization” to a historical break, or to the tendency towards a historical break, with what I was then calling, following Louis Althusser, “melodramatic consciousness” (see Exhaustion 51, 56, passim). I am not sure I would use the notion of “historical break” so resolutely nowadays, or I am sure I would not. Those were the days of subalternism for me, and I was following the thought that subalternity can rely on no narrative, subalternity is the very explosion or termination of narrative safeties, of narrative homes, of narrative harbors. So the idea was that there could be or there was a more or less phantasmatic “historical break” in our times, the times of interregnum, between hegemonic and subaltern spaces, organized around the notion of narrative, or what this conference might want to call the notion of “narrative form.”
I offered a couple of possibly inadequate examples of denarrativizing moments in the Latin American postcolonial literary tradition—the suicide of José María Arguedas, which was for me an organic part of the writing of El zorro de arriba y el zorro de abajo, being one of them (Exhaustion 206); the other was the total randomization of life in Jorge Luis Borges’ “The Lottery in Babylon” (181). But the general theoretical point I was trying to make was possibly not clearly made until the very end of the book. Please forgive my self-quotation, only justified because I will use it to say as a point of departure to say quite something else, all these many years later.
The subalternist position undoes hybridity thinking, that is, the hegemonic thinking of the passage to empire, by sharing in a savage hybridity with is, in Spivak’s words, “the absolute limit of the place where history is narrativized into logic” (“Subaltern Studies” 16)—and therefore also an absolute refusal to narrativization itself. But from this refusal, from the nakedness that results, something like a force able to confront “the central axis of conflict” begins to emerge. I think Latin American cultural studies is in at least as good a position as any other discursive field to open itself to it—provided that we do not tell ourselves stories. (299)
Of course there are several things wrong with that paragraph. Let me quickly mention three, starting with the least controversial: Latin American cultural studies, as it turned out, was not the place to rehearse any kind of historical break with melodramatic consciousness, since Latin American cultural studies soon revealed itself, terminally I should say, as melodramatic consciousness itself. In other words, Latin American cultural studies was no site for denarrativization; it was rather the last and rather fallen bastion of mythmaking in the melodramatic vein. Big mistake. The second big mistake was to invoke the notion of an “absolute refusal” of narrativization. That is not subtle enough: there is no “absolute” refusal of narrativization for the very good reason that an absolute refusal of narrativization can only be expressed in narrative form, even if it is the minimal narrative of negation (negation always implies a negated instance, and the relationship of negation to the negated constitutes a minimal narrative without which it could not produce itself.) And the third mistake I want to underline was of course the notion that subaltern denarrativization could generate the conditions for a grand politics able to engage and perhaps even to overturn “the central axis of conflict,” whatever that was (I no longer remember). I am not sure there is a “central axis of conflict” in our world precisely to the extent I increasingly see conflict, in myriad forms, everywhere—I must confess the old counterposition hegemony-subalternity is not very persuasive to me any more as a platform for thinking (there is of course an antagonism there, but it does not explain our world, and it is probably not a particularly useful door towards improving it. To that extent I am no longer a subalternist, needless to say.)
So what I want to do today, necessarily very briefly, is to rethink the notion of denarrativization, in the context of the conference question about “form,” and away from any recovery of the notion of culture and from any recovery of the notion of a contestatory or overturning grand revolutionary politics of subalternity. Instead, I will invoke the more modest notion of infrapolitical investment. I will move rather telegraphically in reference to four texts that I have recently read or reread more or less randomly: Jacques Derrida’s 1964-65 seminar entitled Heidegger: The Question of Being & History (2013) and Derrida’s 1974-75 Théorie et pratique seminar (2017); Isak Dinesen’s Last Tales (1955), or rather two stories from the first division of Dinesen’s Last Tales, which have given me the basic intuition of what I want to offer (or of what I will eventually want to offer, since time is very short now). And Michael Ondaatje’s Anil’s Ghost (2000), a novel on the Sri Lanka turmoil of the 1990’s. My apologies if not everything becomes too clear in the few minutes I have. The comments on Derrida are to be taken as an enframing and introduction to what Dinesen says. Ondaatje’s novel is one signal example, I think, of what I mean, although showing that would take more time than the time I have.
In the first sessions of the 1964-65 seminar on Heidegger Derrida discusses proximity and distance in a rather provoking way. He reaches no conclusions, just elaborates on the theme, which is of course related to the Nietzschean theme of the narrowest abyss (the harder to cross), and to the proverbial notion that what is closest is sometimes very far off. But it also points to the ontico-ontological difference and our difficult relationship with it. In the 1975-76 seminar on theory and practice (really on Althusser and Heidegger), in the final sessions, Derrida brings up the French word “incontournable,” unavoidable, and claims that Heidegger says or intimates that thinking is the ceaseless attempt to access what is barred to access and is however at the same time unavoidable. Thinking would be to seek access to a symbolically forbidden inevitability (as the real). Such would be the tense structuration of thought–always looking for the inaccessible inevitable, which calls or beckons as such.
And then Derrida, in full reference to Heidegger, provides some examples that may be polemical: science seeks access to physis, but science will never reach physis; Historie seeks to enter Geschichte, but Historie can never enter Geschichte; grammar wants to capture language, but grammar is incapable of capturing language; the human wants to become Dasein, but Dasein is not reachable through will. The labor of thought is the engagement with that great difficulty. It is carried out through metaphorization. The tense structuration of thought is itself the purveyor of metaphor. Metaphor is in every case a response–a compensation as well–to the impossibility of reaching the “incontournable.” So metaphor is in every case a pharmakon, a medicine that is also a poison. Take “house,” for instance. We could claim that the relationship between house and Being is of the same order as that obtaining between science and physis, human and Dasein, Historie and Geschichte, etc.
But, and here is the crux, does that not enable us to invert the terms and say, for instance, that not only is “house” a metaphor for being, but “being” is also a metaphor for “house”? In other words, given a general field of metaphor as the compensation of thought, the remedy of thought, then the ontico-ontological difference could also be understood, and related to, as a necessary field of demetaphorization. The practice of thought would be the tracing itself, in every case, and according to whatever metaphorical chain, of the difference between being and thinking. For me, that is, very precisely, infrapolitical practice as existential, that is, always embodied, always situated, practice of thought.
The 1964-65 seminar incorporates specific comments on “not telling ourselves stories,” which is a Heideggerian phrase in Being and Time. You must take my word for it that for both Heidegger and Derrida the refusal of what I will call diegesis is connected to the thoughts on metaphorization just summarized. Diegesis, as, in fact, narrativization, is to be taken, in fact, as the first or original metaphor in every case, metaphor at zero degree, the “vehicle” for a transposition, for any transposition, into an order of sense. This is of course a strong thesis, my apologies. Diegesis is form, ultimately aesthetic form, which can in this sense be seen as the particular structuration of metaphor in any given object of human activity. Form is, in every case, not in itself but as soon as it is apprehended, metaphor: form is always already understood on the way to sense (let us not forget that “metaphor” means “vehicle,” from the literal, if it is ever given, to the figural, supposing we are not always already there.) This complex notion is, remarkably, precisely what is questioned in the passage to the ontico-ontological difference, which is also a passage towards the unavoidable, towards the inaccessible inevitable: the passage to infrapolitics.
But, in that very sense, narrativization, like metaphorization, can never be the object of an absolute refusal—there is only ever a punctual refusal of narrative, there is only ever a specific refusal to “tell ourselves stories.” Because every refusal of narrative is based upon an alternative narrative, and diegesis is irreducible. Form is irreducible, and there is no non-form even in chaos, since there is a chaotic form. The game, then, and this is the infrapolitical game, or the game of deconstruction, or the subalternist game against every production of melodramatic consciousness, call it what you will, is the existential exposure to what calls but does not present itself, the necessary but concealed (non)object of sense (perhaps some version of the Lacanian objet a).
The first seven tales in Dinesen’s Last Tales were meant for a novel, “Albondocani,” that was never completed. At the end of the first one, “The Cardinal’s First Tale,” there is a conversation that sets up an enframing metanarrative for what follows. In it the Cardinal says: “Within our whole universe the story only has authority to answer that cry of heart of its characters, that one cry of heart of each of them: ‘Who am I?’” (Last Tales 26). The last story, “The Blank Page,” enables us to understand the relationship between the authority of the story and the position of the story-teller: “Where the story-teller is loyal, eternally and unswervingly loyal to the story, there, in the end, silence will speak. Where the story has been betrayed, silence is but emptiness. But we, the faithful, when we have spoken our last word, will hear the voice of silence” (100). Dinesen is of course conveying the thought that the loyalty of the story-teller is his or her aesthetic prowess—the composition of form, without which the story is betrayed and silence is emptiness. But I am more intrigued by the notion that, in a story that has been told with loyalty, it is silence that speaks: silence is therefore “the voice” that can respond to the cry of heart regarding the who question, which I think we should interpret not in an identitarian but rather in an existential sense. How is one to understand this?
I think the answer—an analysis of “The Blank Page” would confirm it, but I have no time for it—is that every story, like every subjective position, is at the same time enabled and destroyed by its silence, which is at the same time constitutive and deconstituent. An instance of denarrativization is inscribed at the heart of every narrative, without which the narrative could not be produced: inevitable and at the same time elusive, concealed, opaque. It speaks from its very concealment, silence speaks from silence itself, but only when a particular stasis of form has been reached. In every other case silence is mere emptiness.
Does this not mean loyal stories are the very opposite of melodramatic consciousness? So many stories are little but the crust, the fixation, the frame for a disloyal word, for a lying word, for a treasonous word. So many, for instance, of the stories told to us by Latin American cultural studies as academic discourse, or by Latin Americanism as such. Let us prefer stories that denarrativize, that speak through their silence. One of them—and Ondaatje says it could have been written about Guatemala; it could indeed have been written about the Mexico of narcotráfico—is Anil’s Ghost, probably one of the most signal achievements of contemporary postcolonial literature. I want to finish this very short presentation in reference to it just to mark its powerful abandonment of the political as the final horizon of the word. And to invite conversation. Anil’s Ghost accomplishes what no Latin American novel except perhaps for Bolaño’s Los detectives salvajes has accomplished, but less explicitly: a politically sustainable abandonment of politics for infrapolitics as the register of form and thought. For all the reasons given. And this is yet another one not to let ourselves be confined, in our narrative practices, in our practices of denarrativization that are also our practices of thought, to the registers of an inadequate and necessarily failed Latin Americanism.
Alberto Moreiras
Texas A&M University
Works Cited
Derrida, Jacques. Heidegger: The Question of Being & History. Geoffrey Bennington
transl. Chicago: U of Chicago P, 2016.
—. Théorie et pratique. Paris: Galilée, 2016.
Dinesen, Isak. Last Tales. New York: Vintage, 1991.
Moreiras, Alberto. The Exhaustion of Difference. The Politics of Latin American
Cultural Studies. Durham: Duke UP, 2001.
Ondaatje, Michael. Anil’s Ghost. New York: Alfred A. Knopf, 2000.
Entre los varios comentarios y reflexiones que han seguido a la publicación en Facebook de la reseña de Jordi Gracia al libro de Moreiras Marranismo e inscripción, quizá la más parca pero más significativa sea la del propio autor reseñado cuando sugiere en un par de ocasiones que el interés por el intercambio transatlántico entre hispanistas de uno y otro lado no es muy alto, e incluso que el interés por las crisis y conflictos del hispano-latinoamericanismo norteamericano en realidad quizá no interese a demasiada gente. Dice Moreiras en respuesta a la “Otra nota intempestiva” de Sebastiaan Faber: “[…] lo que no sé es si en España –es decir, en los medios profesionales que nos competen más o menos– tienen maldito interés en entender lo que pasa entre nosotros. A veces pienso que nosotros mismos no lo tenemos.” Sin embargo, lo que revela esta reseña, igual que los varios intercambios de Gracia y de Trapiello con Faber a lo largo de los últimos años, lo que la existencia misma de una elogiosa reseña de Gracia al complejo libro de Moreiras demuestra, es que la aparente ignorancia peninsular respecto a la producción anglo-americana (y en particular, la de hispanos o no anglo-americanos, como Faber, en espacios anglo-americanos), el tan sonoro y palpable desinterés de los agentes académicos del hispanismo en la península, encubre en realidad una profunda ansiedad por las propuestas y reflexiones que se producen fuera del circuito de validación, premiación, y profesionalización del estado español postfranquista acerca de los macrorrelatos de producción cultural que ese estado celosamente demarca y vigila. No puedo dejar de pensar en los ecos históricos de este juicio público del crítico literario de casta filológica, encumbrado en su centralidad estatal y mediática, en los círculos expansivos en el agua de la piedra fundacional de una universidad nacionalista cuyos discursos giran desde su origen moderno en torno a la búsqueda de una ortodoxia nacional y de su suplemento: una heterodoxia peregrina por siempre negada, excluida de los espacios de publicación, docencia, y prominencia académica y pública. Acordemos que el patrón lo propuso el santo patrón del hispanismo peninsular, su eminencia el polígrafo Marcelino Menéndez Pelayo de feliz memoria todos los veranos y días de guardar. Trascribo aquí mi comentario en Facebook en respuesta a la sospecha de irrelevancia que levanta Moreiras: “Creo que es un debate muy estimulante e interesante para todos los que compartimos trayectorias parecidas de una u otra forma y que tu respuesta a Gracia, igual que la de Sebastiaan Faber, resumen de manera muy concisa y profunda los puntos más destacables del espacio intelectual expatriado transatlántico y en muchas ocasiones triangular, con la complejidad añadida de los españoles que hacemos estudios latinoamericanos… en EEUU. Las densas cuestiones de la articulación académica del hispanismo en EEUU, con el doble poso del exilio y de la “hispanidad” imperialista; el racismo antiespañol protestante de leyenda negra en estéreo y en esteroides tanto por críticos latinoamericanos como por anglosajones y practicado a conveniencia contra colegas entrometidos como disciplina inquisitorial; el racismo xenófobo más genérico, lingüístico, étnico; la constitución de un campo crítico teórico que examina los archivos hispanos de manera post-nacional en un emplazamiento académico “neutro” desligado de la universidad como maquinaria de fundación nacional-estatal y que por lo tanto choca con una universidad española (pero también latinoamericana, a ratos) muy comprometida con su función de instructora del profesorado de la secundaria de un sistema educativo profundamente nacionalista; la incomprensión mutua derivada de objetivos políticos, académicos e investigadores esencialmente divergentes en su naturaleza y orientación; la adicional fractura entre el campo de estudios culturales teóricos y la dispersa y posthegemónica práctica de la infrapolítica que infralideras desde tu refugio de perros y libros tejano como un quijote gallego; la incomprensión de un factótum cultural español que nunca necesitó salir de su barrio para luchar contra ningún molino de viento; la sordera del funcionariado lastrado postfranquista que viaja a remolque de prácticas e inercias seculares y que no visualiza su función como la de intelectual público sino como la de académico; y finalmente la larga historia de los heterodoxos españoles y la progenie de Menéndez y Pelayo, entre una filología hermenéutica y crítica y una filología canonista y conservadora de la esencia identitaria patria… tantas fracturas que siguen fractalmente repetidas en el espacio y el tiempo…”
Pienso que no es por lo tanto intempestiva la reseña de Gracia, como no lo es la de Faber, sino que puede ser el comienzo de un desborde muy productivo, en el cual dos (y más) espacios académicos que están mucho más entrelazados de lo que se atreven a confesar (en tanto se perfilan unos contra otros, se fortalecen en la derrota mutua, se hacen grandes en el desprecio ajeno, se definen en contraposición y en negación) empiecen a hacer no un auto de fe, como el bueno de Gracia parece desear, no un auto de fe en ese humanismo erasmista redentor en su cinismo y que es consuetudinario al cervantismo liberal y que contradictoriamente centra las esencias de la ortodoxia hispanista de larga estirpe (como si de un estatismo que congela la potencialidad de esa dialéctica renacentista), si no una conferencia internacional, un diálogo transatlántico en la Casa de América en Madrid, un concilio vaticano en la Complutense o aquí, en la frontera norte de la hispanidad en Oregón, en el que se debata la fractura misma, el cisma y sus raíces históricas (eso será del gusto de los más filólogos pero también de los que nos consideramos historiadores culturales), y que se cuestionen los dogmas de fe del santo oficio hispanista confrontados con los postulados marranistas, y que se establezca un lenguaje común entre aquellos que aunque lo tienen parecen hablar idiomas tan distintos, para que de alguna manera se visualice la diferente función institucional del espacio académico de uno y otro hispanismo, si es que el de EEUU puede llamarse de tal manera, para que se reformulen los parámetros mismos de la querella: las herramientas críticas, la definición de lo literario, del espacio cultural, del lenguaje estético y crítico, y finalmente se evalúe la posibilidad de colaboración en la reelaboración y pensamiento internacional del archivo. Ya sé, que un marrano le pida a un inquisidor un concilio teológico es muy atrevido, es una marranada, que le exija puntos de comunión, una afrenta, que le pida abrir los archivos, reformar, revisar, cuestionar la hermenéutica misma del texto sagrado, eso es el centro mismo de la querella. Me atrevo a imaginar sin embargo que en estos tiempos posthegemónicos en los que el estado español se apresura a abrir cátedras de catalán en Toledo y en Sevilla, es viable un cuestionamiento que reavive el latente erasmismo que Pelayo ortografió en su corsé nacionalcatólico.