“The Book as One of Its Own Characters” by Hélène Cixous: Summary and Critique

Introduction: “The Book as One of Its Own Characters” by Hélène Cixous

“The Book as One of Its Own Characters” by Hélène Cixous was initially published in 1976 within her collection, The Newly Born Woman. This seminal work has significantly contributed to the field of literary studies, particularly feminist and post-structuralist theory. Cixous posits that the text possesses its own agency and subjectivity, challenging traditional author-centric interpretations and emphasizing the text’s ability to resist and subvert authorial intentions.

Summary of “The Book as One of Its Own Characters” by Hélène Cixous

• The Book as a Living Entity: Cixous explores the concept of the book as more than just an object or a medium for conveying stories. She positions the book as a dynamic entity, almost with a will of its own, capable of influencing the author as much as the author influences it. This challenges traditional views of authorship, suggesting that writing is a collaborative process between the writer and the text itself.
• Author-Book Relationship: The relationship between the author and the book is depicted as complex and sometimes adversarial. Cixous describes moments where the book resists the author’s intentions, leading the narrative in directions that the author did not initially anticipate. This dynamic suggests that the process of writing is one of discovery, where the book reveals itself through the act of creation.
• Violence of Writing: Cixous discusses the violence inherent in the act of writing, where the author is often at odds with the content that emerges. This violence is not just a metaphorical struggle but also an emotional and psychological one, as the author grapples with the book’s demands, which can include confronting uncomfortable truths or delving into personal traumas.
• Books as Containers of Memory: The essay touches on the idea of books as vessels for memory, containing not just stories but the very essence of the author’s experiences, emotions, and thoughts. The act of writing becomes a way of patching oneself together, a method of dealing with fragmented memories and emotions.
• The Book’s Autonomy: Cixous suggests that once a book is written, it takes on a life of its own, independent of the author. It becomes a self-contained universe, capable of influencing readers in ways the author may not have intended or predicted. The book’s “character” can even challenge or subvert the author’s original intentions.
• Metaphysical Exploration: The essay is deeply philosophical, exploring the nature of existence, memory, and identity through the lens of literary creation. Cixous’s writing style is reflective and often nonlinear, mirroring the unpredictable nature of the book as a character in itself.
• Intertextuality and Influence: Cixous also reflects on the influence of other texts and authors on her work. She acknowledges how existing literature shapes her writing, with the book acting as a site where multiple voices and influences converge.
• Books and Identity: The essay examines how books contribute to the formation of identity, both for the author and the reader. By engaging with a text, individuals negotiate their understanding of themselves and the world, with the book acting as a mirror or a window into different aspects of the self.

Literary Terms/Concepts in “The Book as One of Its Own Characters” by Hélène Cixous

Concept/Term	Definition (in context of the excerpt)	Example from the Text
Unheimlich	The unsettling strangeness of something familiar; the feeling of something being weirdly familiar and frightening at the same time.	“I had a weakness, a Faible as the Germans say, for larvae, of the same breed as lava, those thing-beings whose state shifts between two states.” (p. 405)
Larva	1. An immature insect in an early stage of development. 2. (Figuratively) An undeveloped or incomplete idea.	“These things, roaches, larvae, they terrify and fascinate us. But before the French language designated as ‘larva’ an intermediate state in insectuous genetics… the word larva had lurked in homes. At that time larvae were the spirits of the dead, who pursue the living…” (p. 404)
Bombardment	A sustained attack with bombs or explosives. (Here, used metaphorically)	“The Bombardment bombards space and also time. Suddenly time breaks. At the very moment of bombardment, time pulls back from under my feet.” (p. 406)
Apocalypse	A revelation of a catastrophic event, especially the ultimate destruction of the world.	“As we have known since the Apocalypse, the vision of the apocalypse takes one’s breath away. One remains without a voice for a very long time.” (p. 406)
Cause (Ursache)	A reason or explanation for something.	“There is not an Ursache. There is no Once and for all.” (p. 406)
Metonymy	A figure of speech where a word or phrase is substituted for another with which it is closely associated.	“Slippage, metonymy, replacement, substitution are the spirits that came in beneath the unreadable countenance of the child born to me unknown.” (p. 406)
Discourse	A written or spoken communication. (Here, used to refer to the act of writing)	“At the edge of the abyss one needs to rush into keeping a diary of the inconceivable, so as not to fall into madness. One writes madness in order to keep it there at one’s side and not fall into it.” (p. 407)
Gegenstand (German)	An object, often with a philosophical connotation.	“Then Thomas Bernhard takes the road that leads to Gstättengasse. In front of the Bürgerspital church, he had walked (that was yesterday, but a yesterday carried off in the story of the depths of the pluperfect), he had stepped on a ‘soft object’ (weichen Gegenstand).” (p. 407)
Puppenhand (German)	A doll’s hand.	“It was only when I saw the child’s hand that this first American bombing of my hometown ceased being a sensational event exciting the boy I had been and became a horrible intervention of violence and a catastrophe.” (p. 408)
Kinderhand (German)	A child’s hand.	“But all at once the hand is not what it is thought to be, that false hand is nothing other than a hand that had been before looking like a simulacrum of a hand?a hand of another species, a hand articulated with a child, a hand of a third kind: neither a doll’s nor a child’s, but more exactly: a child’s-hand-torn-from-a-child (Aber es war eine von einem Kind abgerissene Kinderhand gewesen)” (p. 409)

Contribution of “The Book as One of Its Own Characters” by Hélène Cixous to Literary Theory/Theories

Examples of Critiques Through “The Book as One of Its Own Characters” by Hélène Cixous

Literary Work	Critique Through Cixous’s Lens
Beloved by Toni Morrison	The novel’s haunting and fragmented narrative can be seen as a manifestation of the book’s own agency, resisting a linear and coherent telling of the story. The character of Beloved, a ghost haunting Sethe, might be interpreted as a textual embodiment of the trauma and violence experienced by enslaved people.
Invisible Man by Ralph Ellison	The unnamed narrator’s invisibility is a central theme, reflecting the book’s refusal to be easily categorized or defined. The novel can be seen as a struggle between the author’s intentions and the text’s own desire to subvert and resist.
The Handmaid’s Tale by Margaret Atwood	The dystopian world of Gilead is a powerful critique of patriarchal control and oppression. The novel’s narrative is often fragmented and unreliable, reflecting the characters’ limited perspectives and the oppressive nature of their society. This fragmentation can be seen as a manifestation of the book’s own resistance to the oppressive regime it depicts.
Jane Eyre by Charlotte Brontë	Jane Eyre’s Bildungsroman narrative can be analyzed through Cixous’s lens as a journey of self-discovery and resistance. The book’s exploration of themes like independence, love, and social class can be seen as a reflection of its own agency, challenging traditional societal norms.

Criticism Against “The Book as One of Its Own Characters” by Hélène Cixous

• Lack of Clear Structure and Coherence:
• Cixous’s essay is often criticized for its non-linear and fragmented structure, which can make it difficult for readers to follow her argument or extract a clear thesis. The essay’s poetic and abstract style might alienate readers who prefer more traditional and structured academic writing.
• Overemphasis on Metaphor and Symbolism:
• The essay’s heavy reliance on metaphor and symbolism is seen by some critics as obscuring its meaning rather than elucidating it. This approach can be perceived as overly esoteric, limiting the accessibility and applicability of her ideas.
• Ambiguity in Argumentation:
• Critics argue that Cixous’s essay often lacks clear and direct argumentation. The ideas presented can be seen as ambiguous or evasive, leading to interpretations that are too open-ended, which may dilute the impact of her theoretical contributions.
• Insufficient Engagement with Critical Theory:
• While Cixous’s work engages with various theoretical frameworks, some critics suggest that her treatment of these theories is more poetic than analytical. This could be seen as a limitation for those who seek rigorous theoretical analysis rather than a literary or artistic exploration of concepts.
• Obscurity of Intellectual References:
• Cixous frequently references other thinkers and texts, such as Derrida and Kafka, in a way that assumes a high level of prior knowledge. This can be criticized for making the essay less accessible to readers who are not already well-versed in these references, thus limiting its broader appeal.
• Elitism in Style and Content:
• The essay’s style, filled with complex language and dense philosophical ideas, can be seen as elitist, catering to an academic audience familiar with Cixous’s previous work and with poststructuralist discourse, but potentially alienating a wider audience.
• Potential for Misinterpretation:
• The open-ended and interpretive nature of Cixous’s writing leaves much room for varied interpretations, which can be a double-edged sword. While this invites multiple readings, it also risks the core message being lost or misunderstood.
• Detachment from Practical Concerns:
• Some critics argue that Cixous’s essay, while intellectually stimulating, is detached from practical literary concerns. It may be seen as too abstract or theoretical, with little direct application to literary analysis or criticism in more concrete terms.
• Limited Engagement with the Reader:
• The essay’s self-referential and introspective nature might limit its engagement with the reader. Critics might argue that Cixous’s focus on the relationship between the author and the book neglects the role of the reader in the creation of meaning, which could be seen as a shortcoming in her exploration of literary theory.

Suggested Readings: “The Book as One of Its Own Characters” by Hélène Cixous

1. Cixous, Hélène. Three Steps on the Ladder of Writing. Translated by Sarah Cornell and Susan Sellers, Columbia University Press, 1993.
   URL: https://cup.columbia.edu/book/three-steps-on-the-ladder-of-writing/9780231076593
2. Derrida, Jacques, and Hélène Cixous. Veils. Translated by Geoffrey Bennington, Stanford University Press, 2001.
   URL: https://www.sup.org/books/title/?id=3740
3. Cixous, Hélène. Coming to Writing and Other Essays. Edited by Deborah Jenson, Harvard University Press, 1991.
   URL: https://www.hup.harvard.edu/catalog.php?isbn=9780674141646
4. Cixous, Hélène. The Hélène Cixous Reader. Edited by Susan Sellers, Routledge, 1994.
   URL: https://www.routledge.com/The-Helene-Cixous-Reader/Sellers/p/book/9780415063913
5. Sellers, Susan. Hélène Cixous: Authorship, Autobiography and Love. Polity, 1996.
   URL: https://www.wiley.com/en-us/Helene+Cixous%3A+Authorship%2C+Autobiography+and+Love-p-9780745613894
6. Morley, Catherine. Modern American Literature and Contemporary Iranian Fiction: Writing Iran in the Era of Globalization. Routledge, 2011.
   URL: https://www.routledge.com/Modern-American-Literature-and-Contemporary-Iranian-Fiction-Writing-Iran/Morley/p/book/9780415886741
7. Hedges, Elaine. “The Body of the Book: Hélène Cixous’s Stigmata and Writing the Feminine.” Signs, vol. 27, no. 2, 2002, pp. 539-560.
   URL: https://www.jstor.org/stable/3175942
8. Sellers, Susan. “Writing Differences: Readings from the Seminar of Hélène Cixous.” Feminist Review, vol. 63, 1999, pp. 111-121.
   URL: https://www.jstor.org/stable/1395737
9. Conley, Verena Andermatt. Hélène Cixous: Writing the Feminine. University of Nebraska Press, 1984.
   URL: https://www.nebraskapress.unl.edu/nebraska/9780803297795/
10. Dobson, Julia. “Hélène Cixous: Writing and the Book.” French Studies Bulletin, vol. 62, no. 3, 1997, pp. 35-36.
    URL: https://academic.oup.com/fs/article/51/4/598/522642

Representative Quotations from “The Book as One of Its Own Characters” by Hélène Cixous with Explanation

Quotation	Explanation
“Books are characters in books.”	Cixous highlights the concept that books themselves can be active participants in the narrative, challenging the traditional separation between the book as an object and the content it contains.
“The story I have to tell is the story of writing’s violence.”	This reflects the struggle and tension inherent in the writing process, where the act of creation is fraught with difficulty and conflict.
“The book helps me. The book leads me astray, carries me away.”	Cixous suggests that the book has its own agency, influencing the author and guiding the direction of the narrative, often in unexpected ways.
“A book is not only writing: it is a weapon; it is a misdeed; it is a race for the secret(s).”	This quotation encapsulates the multifaceted nature of a book, portraying it as a powerful and potentially dangerous entity, full of hidden meanings and intentions.
“At the beginning of my autobibliography, I didn’t write books, I didn’t write, things happened, at night.”	Cixous describes the process of writing as something that occurs almost beyond her control, as if the book writes itself, emerging from the subconscious.
“The book is a three-legged dog. The book is Goya’s half-buried dog.”	This metaphor underscores the idea that the book is a flawed, liminal entity, not fully formed or stable, much like Goya’s haunting image of the dog.
“I am still giving in, separation is always part of me still, as it was in the beginning.”	Cixous alludes to the ongoing conflict between herself and the book, a relationship marked by a continual process of yielding and separation.
“Once my first son died, I was begun again.”	This poignant line reflects the transformative power of personal loss in the creative process, where the author is metaphorically “reborn” through the act of writing.
“The book wants what I do not want. Insidious, the book.”	This suggests the book’s independence and its ability to subvert the author’s intentions, emphasizing the theme of the book as an autonomous force.
“The book leads me to a place I did not plan to go, to thoughts I did not intend to think.”	Cixous portrays writing as a journey into the unknown, where the book acts as a guide to unexpected discoveries and revelations.