6
" 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 meant
to invade, to colonize, and the consequential phantasm of woman as a “dark
continent” to penetrate and to “pacify.” (We know what “pacify” means in terms of
scotomizing the other and misrecognizing the self.) Conquering her, they’ve made
haste to depart from her borders, to get out of sight, out of body. The way man has
of getting out of himself and into her whom he takes not for the other but for his
own, deprives him, he knows, of his own bodily territory. One can understand
how man, confusing himself with his penis and rushing in for the attack, might
feel resentment and fear of being “taken” by the woman, of being lost in her,
absorbed, or alone. "
― Hélène Cixous , The Laugh of the Medusa
10
" And why don't you write? Write! Writing is for you, you are for you; your body is yours, take it. I know why you haven't written. (And why I didn't write before the age of twenty-seven.) Because writing is at once too high, too great for you, it's reserved for the great-that is for "great men"; and it's "silly."
Besides, you've written a little, but in secret. And it wasn't good, because it was in secret, and because you punished yourself for writing, because you didn't go all the way, or because you wrote, irresistibly, as when we would masturbate in secret, not to go further, but to attenuate the tension a bit, just enough to take the edge off. And then as soon as we come, we go and make ourselves feel guilty-so as to be forgiven; or to forget, to bury it until the next time. "
― Hélène Cixous , The Laugh of the Medusa
17
" Time and again I, too, have felt so full of luminous torrents that I could burst - burst with forms much more beautiful than those which are put up in frames and sold for a stinking fortune. And I, too, said nothing, showed nothing; I didn't open my mouth, I didn't repaint my half of the world. I was ashamed. I was afraid, and I swallowed my shame and my fear. I said to myself: You are mad! What's the meaning of these waves, these floods, these outbursts? Where is the ebullient, infinite woman who, immersed as she was in her naiveté, kept in the dark about herself, led into self-disdain by the great arm of parental-conjugal phallocentrism, hasn't been ashamed of her strength? Who, surprised and horrified by the fantastic tumult of her drives (for she was made to believe that a well-adjusted normal woman has a ... divine composure), hasn't accused herself of being a monster? Who, feeling a funny desire stirring inside her (to sing, to write, to dare to speak, in short, to bring out something new), hasn't thought she was sick? Well, her shameful sickness is that she resists death, that she makes trouble. "
― Hélène Cixous , The Laugh of the Medusa
