Butler, Judith. “Bracha’s Eurydice” (2002) Theory, Culture & Society, 21: 1, (2004) 95-100.
So we do not know what we have lost in her, or whom we have lost. But there is more. We are not speaking only of the loss of childhood, or the loss of a maternal connection that the child must undergo, but also of
an enigmatic loss that is communicated from the mother to the child, from the parents to the child, from the adult world to the child who is given this loss to handle when the child cannot handle it, when it is too large for the child, when it is too large for the adult, when the loss is trauma, and cannot be handled by anyone, anywhere, where the loss signifies what we cannot master.
When we turned, looking for Eurydice, we thought perhaps we could know she was there by seeing, and so we thought that looking would be a way of knowing and capturing.
But it turned out that she was uncapturable in this way, and that, in general, she is uncapturable, that capture will not be the way in which we might experience her. Bracha writes, ‘failure is the measure of what has been recognized’.
This means that we cannot hope to establish a sure way of knowing what loss it is that we negotiate here. So we have to ask about historical losses, the ones that are transmitted to us without our knowing, at a level where we cannot hope to piece it together, where we are, at a psychic level, left in pieces, pieces that might be linked together in some way, but will not fully ‘bind’ the affect.
This is part of the work of borderlinking that Bracha writes about, and it is, in her view, prior to identity, prior to any question of construction, a psychic landscape that gives itself as partial object, as grains and crumbs, as she puts it, as remnants that are, on the one hand, the result, the scattered effects of an unknowable history of trauma, the trauma that others who precede us have lived through and, on the other hand, the very sites in which a new possibility for visual experience emerges, one which establishes a temporality in which the past is not past, but is not present, in which the present emerges, but from the scattered and animated remains of a continuing, though not continuous, trauma. 3-4
But who are we? Are we really intact before these images? Or do they also look back at us and banish us to a realm that is prior to the speakability of the ‘I’? Do these images not imperil a certain self-recognition precisely through linking us to a psychic and cultural prehistory that we cannot think, cannot know?
Does Bracha mock the philosopher? Or does she expose the philosopher to a scene of emergence at once traumatic, scattered, partial, multiple, non-unified and non-unifiable, the scene which is closed over again and again by our talk of identity and our presumption that what we most need is recognition for what we distinctly are?
If failure is the measure of recognition, then we will be recognized for what fails the terms of recognition, for what goes beneath, before or beyond the terms of self-definition or, indeed, cultural identification. Identification itself will be understood to emerge from a space in which we unknowingly inherit the trauma and desires of others, and find that they are indistinguishable from our own, that we are transitively instated by the other, and that the speaking of the ‘we’ or of the ‘I’ is not really possible in this domain.
And it may be that language cedes to vision here, to the particular kind of frozen motion that the pre-narrative understanding of identity requires.
Bracha calls this non-unifiable and linked space of a primary psychic relation the feminine, the matrixial. She uses words here to designate the space from which her theory and her painting and her analytic experience emerge.
But we would be incautious if we were to understand that she is simply giving new definition to ‘the feminine’, or producing a new version of feminine identity. We would be equally precipitous if we were to assume that ‘the feminine’ has a monopoly on non-identity.
But we have to hear this word if we are to understand the way in which she is displacing the ‘phallus’ from its position as the original signifier for Lacan. For she is opening up the landscape in another direction through this word, ‘the feminine’ or this word, ‘the matrixial’.
She is, I think, asking us to reformulate the very relation between the subject and its other, and to ask what precedes this encounter in which the phallus seeks to confirm its status, where the feminine acts only as a faulty mirror in the circuitry of that narcissism? What form of relationality troubles the distinctness of these terms?
I would even claim that, in her view, it is not possible to say ‘I am feminine’, or that ‘you are feminine’. Since the very ontological designations, ‘I am’ and ‘you are’, post-date the space of the matrixial.
The matrixial is what we guard against when we shore up the claims of identity, when we presume that to recognize each other is to know, to name, to distinguish according to the logic of identity. 5
What is the agency of the one who registers the imprints from the other? This is not the agency of the ego, and neither is it the agency of one who is presumed to know. It is a registering and a transmutation that takes place in a largely, though not fully, preverbal sphere, an autistic relay of loss and desire received from elsewhere, and only and always ambiguously made one’s own. Indeed, they are never fully made one’s own, for the claim of autonomy would involve the losing of the trace. And the trace, the sign of loss, the remnant of loss, is understood as the link, the occasional and nearly impossible connection, between trauma and beauty itself.
So much works against this encounter, the possibility of this transmutation, since to lose the trace is to lose the connection with the matrixial space itself, and to articulate the trace through a history or a conceptual representation that is too masterful is to lose the trace again, this time through seeking to know it too fully and too well.
We lost Eurydice because we sought too quickly to know that she was behind us, and the look which seeks to know, to verify, banished her yet more fully into the past. And yet, in Bracha’s tableaux, the image is still there, coming toward us, fading away, a moment that is frozen in its doubleness, layered, fractured, filtered. The suspension of time conditions the emergence of a space that suspends the sequential ordering of time.
We cannot tell our story here, nor offer a recognition in which a gaze seeks to become commensurate with what it sees. We are invited into the space in which we are not one, cannot be, and yet we are not without the capacity to see. We see here, as a child or, perhaps, an infant, whose body is given as the remnants of another’s trauma and desires. What is it we seek to recognize here? That she is gone, that she is staying? Eurydice cannot be captured, cannot be had. She appears only in the moment in which we are dispossessed of her.
There is something of our dispossession in her, the one by which we come into being, through another, as another, that links us not only with this or that maternal origin, but perhaps more emphatically, with her history, the one she cannot tell.
That history emerges not only as a tableau, as a frozen landscape, but as one whose motion and beauty is precisely derived from its traumatic character. This is not to make the ‘I’ any less absolute than it is, but it is to suggest that trauma stages its encounters, has its own illuminations, and that the work of art registers this radical and originary dispossession of the ‘I’, the subject, and its gaze that constitutes the condition for a certain work and even a kind of agency prior to the subject itself.
We see Eurydice, but she does not belong to us at the moment that we see her. And because she does not belong to us, she comes forth, delineating a field of appearance and of art, beyond foreclosure and redemption. But it is only on the condition that she is not fully banished, and that she still does not belong to us that she appears, and that trauma finds its rare encounter with appearance itself.(6-7)
Note: This article originally appeared as the catalogue essay for The Eurydice Series:
Bracha Lichtenberg Ettinger, Drawing Papers 24 (New York: The Drawing Center
Publications, 2002).