This action might not be possible to undo. Are you sure you want to continue?
"Tout dire"?: Sade and the Female Body Author(s): John Phillips Source: South Central Review, Vol. 19/20, Vol. 19, no. 4 - Vol. 20, no. 1, Murdering Marianne?: Violence, Gender and Representation in French Literature and Film (Winter, 2002 - Spring, 2003), pp. 29-43 Published by: The Johns Hopkins University Press on behalf of The South Central Modern Language Association Stable URL: http://www.jstor.org/stable/3190134 Accessed: 31/03/2010 22:59
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jhup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact firstname.lastname@example.org.
The Johns Hopkins University Press and The South Central Modern Language Association are collaborating with JSTOR to digitize, preserve and extend access to South Central Review.
" whose very ? South Central Review 19. . I have argued elsewhere that Sade draws our attention to the existence of secret spaces throughout his fiction.2 In all of Sade's fictions.4-20.1 (Winter2002-Spring 2003): 29-43. however. Frauenzimmer. but mainly women are enjoyed and destroyed. I have suggested that. until very recently." So in a Freudian perspective. it was forbidden to enter outside marriage. forbidden territory. lady. on both metaphorical and referential levels. spaces in which sometimes boys."Tout dire"?: Sade and the Female Body John Phillips University of North London In the introduction to Les 120journees de Sodome. to which we do not have access. these secret spaces may offer some insight into the Sade phenomenon generally. analysed everything. Freud noted that the polite German expression. but this body is also itself the locus of secret and. or rather. For Sigmund Freud. a "no-man's land. in which the activities of the libertines are effectively censored. The woman's genitals are both obviously spatial. used to denote woman. rooms are themselves feminine spaces. especially. how could we have guessed what was right for you?"' Despite this claim to treat the sexual with encyclopedic thoroughness. one might say that the spatial and the feminine in Sade are already conceptually and geographically linked. The female body is imprisoned within secret spaces. and a "place" which. (The 120 Days of Sodom). located in the depths of remote castles and monasteries. the Marquis de Sade assures his reader that the book will fulfil the encyclopedic mission to leave nothing unsaid in the area of sexual depravity: "if we hadn't said everything. there are rooms and antechambers. literally translates as woman's room.
I detest them as soon as my passion is sated" says J6rome in Justine7). which they insist be kept hidden from view. and especially. is "obviously not for women or against women. In particular. of simultaneous contempt ("I get pleasure from women. as Carter puts it. In the Virgin/Vamp dichotomy. Carter claims. and yet." he is "unencumbered by prejudice against women."5 Sade. I shall ask why the female sex organs are in Sade a privileged object of hatred. pricked.4 There has in the past been a tendency. is absence. they find the transsexual posterior infinitely preferable to the uniquely feminine vagina. more than that."6 However. she draws satisfaction from the triumph of Juliette. view. for example. exploring the possible sources of this gendered violence in his writing. The breasts and the vagina of their female victims are repeatedly bitten. give each other their sisters8). objects of violence and even consumption. "fucks" at least as much as she "is fucked.11 As he sodomizes a female victim. 260-01). even heroic figure. Sade's libertines frequently declare their aversion for the female genitals. to view the Sadian woman as a positive.o1 At the very least.30 Review SouthCentral in the Freudian I shouldlike to character. interestingly enough on the part of some of the more prominent female critics of Sade. the overwhelming majority are consistently represented as objects: objects of desire. in the wider context of Sade's representation of the female body as a whole. while the minority of Sade's women that are libertines are accepted by their male counterparts as equal subjects.3 focus here on this most taboo of all Sadian spaces. like J6rome and his cousin. the female body is attacked as much as it is desired. objects of exchange (they marry each other's daughters. whipped and stabbed. represented by Justine and Juliette. of Dubourg and J6rome in La nouvelle Justine9 (The New Justine). of Noirceuil in Histoire de Juliette (The Story of Juliette). Noirceuil actually thinks of turning fantasy into reality by . of an active female role model who. which Angela Carter sees as informing Hollywood's portrayal of the feminine. The answers to this question might help us to a better understanding of why. in some forms of contemporary pornography. of both le president Curval and the rich old notary of Duclos's story in Les 120 journees de Sodome (JS. like Dolmanc6 in La philosophie dans le boudoir (Philosophy in the Boudoir). or. but I despise them. This is the case.
leading to miscarriage and the death of both mother and child. she never fails to don artificial phalluses in the form of dildos which she actively employs to penetrate both men and other women. In Les 120 journdes de Sodome. while reproductive sex is abhorred. for example. not elastic for child-birth.12 Many of the libertines also express a violent abhorrence for pregnancy. that I don't like progeny. her reproductive potential is underplayed. If some women. she naturally prefers female victims: "I only like doing to my own sex what this whore wants to do to men" (HJ. then.13 Broadly speaking. Moreover. Juliette herself is essentially a projection of her creator's male psyche. she fills me with utter disgust" (JS. therefore. two heavily pregnant women are tied back to back and made to stand on one foot on a ten-foot high pedestal. Though physically possessing all the usual Sadean attributes of feminine beauty. le president Curval readily admits his disgust for the condition: "There's no doubt at all. nonreproductive sex is privileged in Sade. around which the ground is strewn with large brambles and thorns. which she herself aids and abets. 8:560) she declares. Juliette nevertheless masculinizes herself both physically and mentally. and that when the beast is full. like Juliette. In the many sexual orgies in which she participates.14 Anatomically female. pregnant women are subjected to the worst treatment imaginable. In La nouvelle Justine. easily consenting to the horrific murder of her daughter Marianne by Noirceuil. It is not long before both fall onto the spiky bed below. she is completely bereft of any maternal instincts. we are given no details whatever of this event. said the President. and although she does give birth to a daughter. it is because they strongly resemble the men that befriend them. There is a single reference. 181). being the phallic woman she is. to her menstrual periods. causing their own deaths and those of their unborn babes. for instance. distinguishing the female targets of her sexual aggression from the male targets of . are positive female role models within Sade's terms. although. for instance. which is why the vagina is only tolerated when it is tight for pleasure. among all Sadean victims. Unsurprisingly.John Phillips 31 cutting away the flesh that separates the vagina from the anal canal and so literally abolishing the former while leaving the latter intact.
Juliette displays attitudes and characteristics more recognizably male than female: she is and prioritizes reason over goal-orientated. not as the stereotypical female victim-Noirceuil excepts her from that category because of her male spirit and character7"-but as a sort of honorary male." said I. This is a symbolic and defining moment in Juliette's progress in libertine crime. the greater was my distress at being powerless to arouse her farther still. she is quickly assimilated into the male libertine world." a woman defined in terms of male fantasies and objectives. sodomy is the order of the day: "They devour me. . "Oh. how bitterly I regretted that I was unable to burn some more real incense before my idol. Juliette shares all the behavioral traits and sexual preferences of her male sodomist associates.16 Her first crime. She is accepted without difficulty into the male libertine . your husband. opened it and gazed ecstatically therein. my tongue sounded it and while it thrilled in that celestial hole I refrigged lovely Honorine's clitoris: thus did I wheedle a fresh discharge from her. behave for all the world as if they are unaware I am a woman" (Juliette. a street robbery. promiscuous.my dearest one. . In fact. 738). Again. to the extent that only the lack of the appropriate anatomical equipment she prevents her from conforming exactly to that model-as herself confesses at the sight of an exceptionally beautiful female posterior: I could not resist the sight of that divine posterior. . so too is her status as passive sexual object. emotion. they . is committed wearing men's clothes.32 South Central Review Clairwil's."'5 If her active sexual performances are intrinsically masculine. but in the Italian style: my ass becomes the unique object of their caresses . . Manlike in my tastes as in my thinking. "be sure that when next we come together I shall have by me some instrument capable of dealing more telling blows than may a tongue: I would be your lover. I have told you so: I wish to have you as might a man. After that. I kissed it. For Marcel Henaff. But the more I aroused her. In a more general sense. my heart heavy because of this regret. Juliette is "the impossible Monsieur Juliette.
What is described is the male body in the female-the In La phallic clitoris and the bisexual anus. La socidte des amis du crime (The Society of the Friends of Crime). The beautiful nun." her clitoris is "as long as a finger. in other words. 2:182). Juliette becomes a kind of "supermale" libertine. the reluctance to describe breasts or express any liking for them21 and hatred of the reproductive aspects of woman's of the female body seems anatomy.20 Like Juliette. All such women ejaculate like men. Anatomically. Sade's female sex-criminals are quite simply the product of male fantasy.s8 and commits as many lust-murders as any of the men around her. 1033)." and she discharges "like a man. he is delighted to discover that she is "much more like a man than a woman" (NJ. As he undresses her. in women as in men. this masculinization indicative of a desire to deny sexual difference. nouvelle Justine. then. is thought beautiful by Verneuil because she has the body of a handsome man (NJ. more erotic level." Both seem able to sodomize women with their clitoris alone: "I was buggered as solidly as if I had been dealing with a man. Dorothee. for instance. while Durand's vagina is "obstructed. Volmar and Durand represent the impossible but ideal fusion of the masculine and the feminine that Sade unconsciously craves. 2:184). all Sade's "strong women" are or become essentially phallic. having a clitoris the size of a penis. This is not the case with other female libertines encountered by her. Defying nature and reality in every way. then. This fantasy is on one level a self-protection against castration anxiety-as what Freud calls the "woman's real small penis. to confirm the power and sovereignty of the phallus. the feminine gives way to the masculine in . she remains female. however. has a mini phallus of a clitoris three inches long." the enormous clitoris of these femmes fatales. On another. reassuringly restores the lost phallus to the female body. creatures of the phallic-anal eroticism that defines his sexual universe. Volmar. as she relates her first sexual experiences with Durand (Juliette.19 In every significant aspect of her behavior. and from it experienced the same pleasure. Even at the level of narrative structure. Together with the privileging of the anus." declares Juliette ecstatically. I shall return presently to the question of phallic power.John Phillips 33 club.
and the to draw the morals of his continuing prosperity of Juliette-and male authorial But the presence also makes itself felt in story. the preponderant metanarrativity of the text constantly refers the reader back to the writing and reading process. the implied male reader's sexual interests are efficiently represented in the text by the marquis and the chevalier. which has the double effect of completing the point or argument and drawing attention .. who from time to time interrupts Juliette and finally reasserts himself in the novel's closing pages to describe to the reader directly the eventual fate death in the thunderstorm. or roughly one per every eight pages of text. Less subtly. the marquis and the chevalier. who listen with prurient eagerness to Juliette. And of course. thirty pages long). more subtle ways.23 According to Frappier-Mazur. the survival of Durand. which is of course male in perspective. reminding the reader of the narrative situation.. perhaps."24 Sade literally underwrites the spoken dissertations of his characters. . the third-person authorial narrative. category of an 'assumption of authorship' in that they refer to a (fictive) reality and take on the authority of a male judgement standing outside the fiction. with a single exception in La nouvelle Justine. Pope's and of the travelogue-style passages describing the parts of Italy visited by his heroine (Sade had famously spent many months touring Italy with his young sister-in-law in 1772).34 South CentralReview Juliette. as the ostensible authority of Juliette as narrator is seriously undermined by a complexity of form that privileges numerous male voices. other. the of his protagonists-Justine's elevation of Noirceuil. Numerous intertextual allusions remind the reader of Sade's erudition and help to drive home his is also the effect of the underlying philosophical message-this delivered dissertations extended by his libertines (the many is over for of defence murder. In a variety of ways. example. At the same time. is the author-narrator. "Implicitly all the notes in Sade's oeuvre The notes come under the are the work of the author. the author's male point of view surfaces repeatedly in the many footnotes that punctuate the novel: there are 129 of these notes. Lucienne FrappierMazur sees the notes as instances of male narration within Juliette's female narrative. frames and controls Juliette's own: we remember that outside of Juliette's narration of her story to Justine.
their favored victim and therefore abiding preoccupation is almost always female. to turn it inside out. this ambivalence towards the feminine in Sade has its origins in Freud's notion of ambivalence toward the mother. told by the Princess within Borchamps' own. Nowhere else in world literature. in a Borchamps control of symmetric mirroring of the author-narrator's Juliette's. and nowhere else is the female body so consistently abhorred. no other text returns again and again to physical manifestations of femininity with such obsessive fascination. the everpresent breast that they control. for example. especially. "made up of a universal primary attachment to the mother as nurturer and universal disappointment in the mother. with Princess Sophie's story. then.John Phillips 35 to the illusion. Sade's writing is "about the feminine"? For Jane Gallop. Why does the Sadian text consistently take the feminine as its principal focus. however. that frames and so structures that of Sophie. that in the case of Sade. Sade's libertines are repeatedly drawn to peer at it and dissect it. the oedipal myth is less appropriate a model than the Neronic myth. there are also a couple of lengthy male micro-narratives embedded within Juliette's story: Saint-Fond's tale and. to the extent that. that it is the male recit of narratives. tear. Despite their constantly declared preference for the bisexual posterior. as narratives are found within narratives within narratives within We note. however. otherwise known as Borchamps. that can be milked or bled. This narrative embedding sometimes extends to a second level as. is the female voice so systematically shaped and controlled by male narrative authority. eat and defecate upon it.25 In addition to the male voice of the author himself. so that instead of the ambivalence being divided into a positive . as the titles of his two main works and many of his lesser known novels and stories suggest. to torture. so that they can know exactly what it is. The effect for the reader is rather like opening Russian dolls to find smaller versions inside. whereby an essentially written use of language is passed off in the main text as speech. pricked or ingested. the hundred page long story of Brisa Testa. On the other hand. degraded and effectively redesigned on the analphallic model."26 Gallop argues. In spite of their aversion for the female body.
there is no doubt that nature and the mother are closely linked in the Sadean imaginary."27 Now. has two identities in Sade's text: nature vanquished (normal sexuality and procreation) and nature triumphant (anything that actually occurs in nature. ripping open the mother in order to become a writer. Both nature and the mother are therefore simultaneously objects of desire and of violence. quiveringly. created by her to be her painter. if. for on roman" ("Notes the Novel"). Secondly. let him never write. but if he experiences that burning thirst to paint everything. returning into mother nature's womb just as he leaves it at the moment of birth. the maternal aspects of the feminine (breasts. and yet. These confusing metaphors depict him as incestuously penetrating and at the same time. Firstly. let him follow the hand that leads him. Nature is always "she" In his "Idees sur le or "mother" in Sade's writing. and attitudes towards Her are as complex as to women themselves: an awesome force to be worshipped.36 South Central Review feeling fixed onto the mother and a negative feeling directed toward the father. for no one will ever read him. which. Sade offers the following advice to aspiring novelists: O you who would follow this thorny career! never forget that the novelist is nature's man. including all sorts of monstrosities). the libertine's attitudes to the mother are reflected in his attitudes to mother nature. as in the oedipal scenario described by Freud. he opens nature's womb in order to seek his art and find his models there. menstruation. it is focused entirely on the mother. . example. at the same time. if he does not become his mother's lover at the moment of birth. the image of maternal indifference to be vilified and annihilated. where mother nature is Phallic-woman. and the vagina) are underrepresented in the fiction. This ambivalence towards nature and the maternal is repeatedly rehearsed in Sade's own novels. Gallop characterizes these two natures respectively as "castrated nature" and the "preoedipal. phallic mother.28 The writer is seen here as an infant Oedipus. Gallop sees this ambivalence towards the maternal as having two main consequences. for Gallop. if he has the fever of talent and the enthusiasm of genius.
in many respects." La Mettrie writes somewhere.30 Everyone. an intertextual analysis. I include myself here) wants to control the text. to a process of polarization or oversimplification. Sainte-Marie-des-Bois and other libertine societies." to provide the definitive view. The author-narrator of La nouvelle Justine. I have framed my own enquiry: "Tout Dire?" In an earlier study.29 Gallop attempts to display a critical mastery of her subject matter by "deconstructing" (her own word) the readings of other critics. and this desire for mastery can lead to a forcing of the argument.31 These issues of mastery and control. demolishes Bataille's claim that there is no solidarity among Sade's libertines. she aims to For instance. it seems." . if there is to be room for the workings of the reader's imagination: "Things are better expressed by being suppressed. author and critics alike (and of course. indeed a universal will to power. which cannot yet be perceived. as in Angela Carter's binary approach to the Sadean woman. however. Sadean attitudes to nature are. I want to challenge her central thesis that the ambivalent attitude of the libertines to nature is a metaphorical extension of their ambivalence to the femininematernal. which inform critical commentary on Sade. in other words. for example. then. In a sense. by arousing curiosity about a partly hidden object. Maurice Blanchot and Pierre Klossowski.John Phillips 37 Gallop's analysis is. like Sade. then. that. the expression of a problematic relationship with the mother. Let us return to the power issue in the context of which. she "say all. also inform the writing itself. the text's obsessive focus on the female body. that this manifest desire to control the physical aspects of femininity is but a symptom of a far greater. the secret and the hidden are valorized in Sade. However. above all. insists in a footnote that the ellipses and omissions of his narrative are necessary. I should like to suggest. but which one wants to be able to perceive. extremely persuasive. in particular. "desire is stimulated. underlying. Generally speaking. by demonstrating the importance of a sense of community in Silling. following Sade himself. based on readings of Sade by Georges Bataille. residing in the Sadean imaginary.
the female anatomy inhabits an absent space. "The imagination. We are what nature makes us. nature is the only enduring reality. above all. because it justifies all libertine crimes. 2:113) Nature. the great majority of whom. are female. not just because it excites their passions. Like the murder of Mme Verneuil. an ally. it is in nature alone that are to be found all the laws governing our happiness and our survival: anything outside nature is pure illusion. firstly." (NJ. frequently meet their deaths at . as the source of everything. because. we do not witness the murder of his wife by d'Esterval.38 South Central Review This is why we throw a veil over scenes the content of which we do no more than suggest. than in a much more general megalomania. as Verneuil says. including evil. 2:99). Nature is perceived by the libertines both as ally and as opponent. Indeed. less in the mother-son dyad. in the confrontation with nature itself.. and I tell you that it is from nature alone that my husband and I have received all those we indulge in" (NJ. it was much more strongly aroused. "By leaving it all to my imagination. as Mme d'Esterval explains to the unfortunate Justine: "one never strays from nature's path when one follows one's inclinations. 2:251. Whether of libertine or of reader. must bear ultimate responsibility for all crimes. 2:250). as Gallop proposes."32 I want to argue that mastery of the feminine-maternal in Sade is rooted. the victims. "is what enables Man to best nature. which manifests itself. a space that the imagination can nevertheless make present. (NJ. it is nature that makes human beings criminal. of course. but because it enables them to exceed the bounds of nature. then. note 6) Like Verneuil." she continues: It is in nature that we find the means to satisfy our physical needs. In contrast to the ephemeral relativity of social mores and the chimeras of religion. nature alone is to blame. It is. libertines." says Annie Le Brun.. letting them play a "Fort! Da!' game with the female victim. for. the only absolute: "Nature supplies us with everything we need to be as happy as our existence allows. that we should curse and hate our whole lives long. (NJ. the imagination has The imagination is indispensable to the ultimate control.
35 faeces. For Annie Le Brun. but in the most . implicit in the construction and destruction of the feminine in Sade. Eugenie sews up her mother's vagina in La philosophie dans le boudoir. Olympe. mothers are hated because they remind the libertines of nature's power. manifestations of man's inferiority in the face of natural laws.33 but leaving the privileged anus intact. which the libertines do with pathological regularity. The very elision of sexual difference. can be seen as expressing a desire to destroy nature itself and replace it with an exclusively phallic universe. Eug6nie's mother in La philosophie dans le boudoir will be infected by venereal disease. and of course. is not merely to rob the female of life. so to speak: Juliette and Clairwil throw their friend. rather. "As if we can only begin to experience pleasure by ending our dependence on nature. In La nouvelle Justine.John Phillips 39 the hands of nature. Like virtually all of Sade's male libertines. into Vesuvius. the Sadian victim par excellence. the thunderbolt enters her body through her mouth and exits through her vagina. Roger fears loss of control above all else. In the final version of this scene. are reminders of man's dependency on nature. Both woman as mother and woman as object of desire. Unlike the reassuringly phallic sameness of the sodomizing/sodomized male that does not reproduce. So does the ability of women to make men come. to eat the female body. 2:290). Nature leads women to conceive and give birth. It is not that nature is hated because she is a mother. Justine herself is killed during a storm by a thunderbolt that splits her in two. always wins. less for its own sake. Nature is. as Gallop and other feminist readers of Sade have proposed. In this perspective. life itself."34 Like Roger. The maternal is hated. but because it is a manifestation of nature's sovereignty. a hated enemy that the libertines vainly seek to challenge and destroy. but it also gives them sexual power over men. beauty. therefore. then. at the same time. womannature is the frightening other that. virginity. destroying the maternal organs. and most memorably. Roger revealingly declares: "Is there anything in the world more vile than the presence of a woman who has made us come!" (NJ. any male libertine who has lost his sperm to woman must therefore reassert his authority over her body by from her-blood taking something (Gernande). in reality.
beyond the control of phallic man. as for so many other libertines.36 Like so many of Sade's other libertines. is a kind of absence. Dorothee. in other words. (NJ. what Almani really wants to kill. Jer6me repeats this ambition of total destruction. and is overheard by a similarly minded chemist. I have managed to steal the weapon from her. For instance. I therefore restricted myself to imitating the effects. Man's greatest torment" (NJ. What is hated here. The female body's hidden spaces are the obscenity . to become nature by ingesting its chief human literal introjection. who launches into an anti-Rousseau tirade against nature. 9:356). J6r6me." Consequently. for instance. for Almani. Almani castigates nature as wholly malevolent. Dorothee in Justine. he contrives to cause earthquakes on Sicily. Verneuil. and yet. 1:297). and have used it just like her. however. not because she does evil. and Verneuil would like to destroy the entire planet (NJ.40 South Central Review literal of ways. 2:243). whilst J6r6me is exasperated at not being able to "outrage nature": "the impossibility of outraging nature is. we frequently encounter in Sade an unusual ambition: Clairwil in Juliette. In all cases. for he takes great pleasure in doing this himself. killing twenty-five thousand people. the absence of nature's motivation. However. of her "causes. she kept all her causes hidden from me." declares Clairwil." that he finds most intolerable: While offering me only her effects. and perhaps also. an absence of logic. express an impossible desire to destroy the entire universe. but nature itself. would like to "outrage nature" (NJ. too. to be rid of this dependency on nature is to do away with nature itself-the Sadean "final solution. named Almani. but because she is motiveless and arbitrary. in my view. using her own weapons against her. "I would still curse nature for only offering a world to my ardent desires!" (Juliette. the real target is seen to be nature: "Oh! if I could set the universe on fire. 2:207). representative-a The best way. he copies her. 2:45) Nature is hateful for him. It is. in all its relentless and maddening inscrutability. While standing on Mount Etna during his stay in Sicily. to reimburse themselves for their physical loss. not being able to guess the motive for placing the dagger in my hands. it seems. is not people.
1992). "Sadeand Self-censorship. For a detailed discussion of this and other aspects of modern and contemporary pornographic writing in French."in "Sadeand his Legacy. which itself inescapably becomes a metonym for nature's absent causes. see John Phillips. they figure an absence impossible to master. ." special issue of Paragraph. Forbidden Fictions: Pornography and Censorship in Twentieth-CenturyFrench Literature (London:Pluto Press. 3. partly because. and controlled of the Sadean planned ellipses diegesis. 76. and not the castrating father. of a lack that not even the omnipotent phallus can fill. posed less by woman than by nature itself. at the first sight of his naked sister: oh! what's beautiful about that! . NOTES 1. . is to blame: "So that is what a woman is" cries the young Jer6me in La nouvelle Justine. Les 120 journees de Sodome (Paris: P. and what's desirable about a place where there is nothing? (NJ.L. And yet. in certain circumstances. females can live and die without knowing that the clitoris. 4. This and all subsequent translations from Sade's works are my own. he finds nothing to say. an absence for which nature. then. References to this edition will henceforth be indicated in the text by JS and the appropriatepage number in parentheses after the quotation. 1:391) Nature.. it seems that. what extraordinary contrariness has led nature not to enrich with all its graces that part of the woman's body that makes her different from us? For there's no doubt that that's what men seek out. his text symbolically removes the threat to phallic sovereignty. like the young Jerome. The absent spaces and spatial absences of the woman's body are the unbearable sign of an empty universe. 23.1 (March2000): 107-18. this "nothing" is what men desire. unless otherwise indicated. exist. By casting this absence into the imagination's secret space. Quite apart from the absence of the phallus.O. See John Phillips. or even the vagina. what holds them in its thrall. . is responsible for female absence.John Phillips 41 of Sade's text-"the horror of that which cannot be seen in in Luce unlike the woman" Irigaray's expression-because. 2. Sade cannot "say everything" about the female body. 1999).
In the case of all subsequent English translations from Juliette. See NJ.". who have been found guilty of them in recent times. 351-57 (357). you'll agree with me that arses are better than cunts. See HJ. eds. See. 14. All references to the original French version will be to this edition. (Paris: SocietA Nouvelle des Editions Pauvert."in Three Essays on Sexuality (London: Pelican Books. 18. 183-84: Dolmanc6:"Comeon. 1:397. L'invention du corps libertin (Paris: Presses Universitaires de France.. BBC2. (Paris: 7. Allison. 1991]). 20. 8. The Society of the Friends of Crime is in one sense a parody of the numerous secret societies that flourished in France during the revolutionary years. 1:301-02. (Cambridge: Cambridge University Press. JS. 10/18. Pierre Klossowski sees Juliette as androgynous:see his "Sade. speaking on The Late Show. Weiss. Writing the Orgy: Power and Parody in Sade (Philadelphia: University of Pennsylvania Press. Roberts & Allen S. Juliette. 6. 1987). 1968). Mark S. 10. All quotations from this edition will be indicated NJ followedby the page reference.. Editions 10/18. 27." in Ce sexe qui n'en est pas un (Paris: '"FranCaises' Minuit. NJ. 15. vols 8 & 9 of (Euvres Completes. 2 vols. 699-700. 21. 23. 17. 9. See La philosophie dans le boudoir (Paris: Union Gendrale d'Editions. The Sadean Woman:An Exercise in Cultural History (London:Virago Press. translation. See Marcel Henaff. 1:422. 280. 1972). Union Gendrale d'Editions). David B. on this point. and when you have a little more experience. 8:239. 13. a page reference following Juliette refers to this edition. Luce Irigaray. ou Les prospirites du vice. Sigmund Freud. trans. Angela Carter. La nouvelle Justine ou Les malheurs de la vertu. 1995). Austryn Wainhouse (London:Arrow Books Ltd.42 South Central Review 5. Lucienne Frappier-Mazur. 11. 22. 1991. Even those few women. 1990. 16. Sex crimes are committed almost exclusively by men. 33-61 (56 et seq). Le Brun & Pauvert. have invariably been under the influence of a Svengalilike male. 1996). eds. see also. Angela Carter. 1984). honest Augustin. women show little need to degrade the sexual object. NJ. See HJ. come on. 12. All other translations from Juliette are my own. and quotations from it will be indicated HJ followed by the page reference. published in French as Sade et l'dcriture . 1979). like Myra Hindley or Rosemary West. As Freud observes. 1977). or the philosopher-villain. push it in deeper. 1978). for instance. 19. See JS. 280. "Fetishism. Histoire de Juliette. 9:556. 147 (first de l'orgie [Paris:Nathan. 310." in Sade and the Narrative of Transgression. 1:62. ne faites plus un effort.
34. op. Frappier-Mazuris therefore able to link speaking with the feminine and writing with the masculine (Writing the Orgy.A. for instance. Soudain. The Turn of the Screw and commentary upon it: "Turning the Screw of Interpretation. 122-41 (128). Sade appears on occasions to forget that his heroine is speaking. that this feminist reading polarizes the masculine and the feminine too simplistically. a quintessentially written and indeed printed use of language. Saint-Florent. 29.149. Sade. 1982). 26.. 27. D. 1981). 33. and Klossowski (Lincoln:University of Nebraska Press. adapted. for instance. Jane Gallop. Blanchot. Shoshana Felman throws light on the processes at work in such games of critical one-upmanship in her psychoanalytically informed study of Henry James's novel. 35. 151). One might object. ignoring the many notes that lend support to the views of male libertines. 25."in Literatureand Psychoanalysis: The Questionof Reading Otherwise(Baltimore:Johns Hopkins University Press. 32. 30. Frappier-Mazur. whose narratives/dissertations are embedded within Juliette's own (for example. un bloc d'abinte.my emphasis). 262. Sade (Paris: Gallimard Folio."YaleFrench Studies. in La nouvelle Justine: "there is no sensual delight in the world that arouses me as much as the rape of a young female virgin"(NJ.F. in Juliette. cit. "Sade.100. 1995). "'Noteson the Novel' in 'Sade'. 31. Annie Le Brun. NJ. Brisa Testa's [Borchamps'] lengthy autobiographical tale). 94-207. in Juliette. Since footnotes are a typographical convention and."in Sade and the Narrative of Transgression (Cambridge: Cambridge University Press. 35 (1965): 16. See Gallop. Gallop. . 11-33. Jane Gallop. 129. 2:260). rather than writing. 682. Mothers And Other Women. Le Brun. 28.John Phillips 43 24. For Angela Carter. Moreover. 2:43-45. 285. "fromhere on I shall describe it in the cynically frank style which will always be the hallmark of my writing"(Juliette. however. the implication being that the female story teller is seen to need the male author's written seal of approval. Intersections:A Reading of Sade with Bataille. 36. this is a parody of the act of birth: see The Sadean Woman. 1993). as such.