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Flesh of My Flesh, by Kaja Silverman
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What is a woman? What is a man? How do they—and how should they—relate to each other? Does our yearning for "wholeness" refer to something real, and if there is a Whole, what is it, and why do we feel so estranged from it? For centuries now, art and literature have increasingly valorized uniqueness and self-sufficiency. The theoreticians who loom so large within contemporary thought also privilege difference over similarity. Silverman reminds us that this is but half the story, and a dangerous half at that, for if we are all individuals, we are doomed to be rivals and enemies. A much older story, one that prevailed through the early modern era, held that likeness or resemblance was what organized the universe, and that everything emerges out of the same flesh. Silverman shows that analogy, so discredited by much of twentieth-century thought, offers a much more promising view of human relations. In the West, the emblematic story of turning away is that of Orpheus and Eurydice, and the heroes of Silverman's sweeping new reading of nineteenth- and twentieth-century culture, the modern heirs to the old, analogical view of the world, also gravitate to this myth. They embrace the correspondences that bind Orpheus to Eurydice and acknowledge their kinship with others past and present. The first half of this book assembles a cast of characters not usually brought together: Friedrich Nietzsche, Sigmund Freud, Marcel Proust, Lou-Andréas Salomé, Romain Rolland, Rainer Maria Rilke, Wilhelm Jensen, and Paula Modersohn-Becker. The second half is devoted to three contemporary artists, whose works we see in a moving new light:Terrence Malick, James Coleman, and Gerhard Richter.
- Sales Rank: #559679 in Books
- Published on: 2009-10-23
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x .50" w x 7.00" l, 1.35 pounds
- Binding: Paperback
- 304 pages
Review
"The examination [in this book] goes in depth of many works, far beyond what most people are used to. Yet Silverman never loser her way... A book to challenge the idea of gender and the mind."—Kevin Winter, Sacramento Book Review
"This is an extraordinary book: Silverman's magnum opus. In some respects it is sui generis, and yet its stakes are so high they could almost be called universal. In my opinion, this is the kind of book that one comes across only a few times in one's life. It is that important."—George Baker, University of California, Los Angeles
"Kaja Silverman is not simply one of the most gifted literary and cultural critics of our time: she possesses the kind of roving, idiosyncratic mind one associates with names like Walter Benjamin or E. M. Cioran. Flesh of My Flesh is the most available but also the most challenging book that Silverman has written, and to read it is to feel that you have traveled an extraordinary distance by standing in one place. The repercussions of this book about finitude are infinite." —James Longenbach
"Flesh of My Flesh is a haunting and quite palpably haunted look at the costs of living in illusions of solitude. Kaja Silverman's thesis, pursued over centuries of artistic work and thought, is that it is in the experience of analogy that an authentic approach to mortality is possible. Above all, her project is to illuminate the ways that the individual—artist, soldier, or citizen—is haunted by war and violence and that the metabolizing of such violence and horror requires relationality. From a psychoanalytic perspective in which intersubjectivity and relatedness are central, this is fascinating and welcome news." —Adrienne Harris, New York University
About the Author
Kaja Silverman is Class of l940 Professor of Rhetoric and Film at the University of California, Berkeley. She is the author of James Coleman (2002); World Spectators (Stanford, 2000); Speaking About Godard (1998); The Threshold of the Visual World (1996); Male Subjectivity at the Margins (1992); The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (1988); and The Subject of Semiotics (1983).
Most helpful customer reviews
12 of 13 people found the following review helpful.
A stimulating and frustrating book
By Dirk van Nouhuys
This is a brilliant, stimulating, frustrating book. It is an intelligent and ingenious and stimulating discussion of the role of analogy in our thinking about the world and about one another as exemplified in several works of art and philosophical writings that took the author's interest. Lurking in the background is the thought that if we dwelt more on the resemblances among ourselves and between our selves and various things than we dwell on the differences, we would live more harmoniously with one another and with the universe. She stresses the difference in our attitude toward mortality that follows from our emphasis on distinction, (roughly put) because mortality, or finitude is something that unites us with all others. She takes the position that up until the renaissance art and literature tended to emphasizes resemblance, whereas since then, with notable exceptions, which interest her, it has stressed difference.
In full disclosure I should say that by temperament I am more interested in distinction than resemblance; for that reason writers like, say, Joseph Campbell, with his tireless highlighting of resemblance, tend to bore me.
The subjects of her discussion are selected rather than inclusive. For example she explores mainly Ovid's, Virgil's, and Rilke's use of the Orpheus myth but omits e. g. Gluck's Orfeo, Cocteau's Orpheus, and Marcel Camus' Black Orpheus, and Levertove's A Tree on Orpheus. Again, she explores the insights of several early theorists of developmental psychology, notably Freud and Lou Andreas Salome, but largely drops psychodynamic literature after the early years of the 20th century. Object relations theory seems more relevant than early analysts, but is not discussed except for a brief reference to Winnicott.
Reading over the Orpheus myth is a good example of what is so stimulating about this book. I, and all the people I've checked with, take the episode of the myth leading to Eurydice's second death to be about the irony of loving too much or about uncontrolled passion. While she points out that, like other myths, it is open to widely varying interpretations, she stresses Orpheus' backward glance as a rejection of Eurydice, hence of connection, of the feminine principal, and of our common mortality. It's fascinating to turn your mind back to these stories and try them with her perspective in hand. For example I would love to chat with her about the Gluck opera Orfeo, which ends with Amor reuniting the lovers (And Gluck is a composer who can deal firmly and passionately with conflict as in Iphigénie en Tauried). Gluck's ending seems to me an embracing of wholeness at the height of the Enlightenment, but what would Silverman say?
Because of reading this book I got Terrence Malick's Movie The Thin Red Line from Netflix. I don't normally watch war movies and probably would never have seen it otherwise. Having read her subtle account of the levels of meaning of this richly allusive movie made it fun and meaningful to me, which I'm not at all sure it would otherwise have been.
On he other hand I happened to go to the same show of Gerhard Richter's paintings that stimulated her to study him. At the time I found him a technically accomplished painter who painted things that didn't much interest me. If I had read the chapter that resulted from her visit and which points out layers an layers of meaning centered around the Baader-Meinhof Gang and the issues she is discussing, would have been much more pleasurable and meaningful to me.
Let me complain a bit about the frustrations. First the book has many illustrations it depends on for detailed analysis of graphic works. The illustrations are scattered, have no captions, and there is no list of illustrations. Consequently you spend a good deal of your time first figuring out the location of an illustration, then switching back and forth between discussion and illustration by means of fingers or slips of paper. Another problem is willful distortion of language. On the level of mere irritation she is fond of ugly academic revisions of meaning and syntax such as "privilege" and "valorize" as transitive verbs meaning, "prefer" or "like". I think when she uses those words she believes that they are more precise or at least more portentous than "like," but I do not believe that is the case. That stuff is grating but easy to decipher. More of a problem is when she bends a word out of meaning to make a point but only becomes obscure. A common example is "correspond". I know of two distinct meanings of this word, one is intransitive and means to be equivalent; the second is transitive and, construed with "with", means to exchange letters over a period of time. But she frequently uses it to try to force the action of a human relationship on pairs of things where neither or only one is human. For example on page 13 she is speaking of an installation that James Coleman made at an exhibit of Michelangelo. She says, "...the exhibition included the painting that led Freud to conclude that Leonardo, unlike the `normal' male subject, never turned way from his mother: Virgin and child with Saint Anne. Coleman corresponded with this painting by doing what it does: linking things to each other through their similarities" This is nonsense language. Paintings don't write letters. As a metaphor it is forced and awkward.
She also tends to get drunk on resemblances. For example she has a footnote, "through one of those uncanny coincidences that point to a profound ontological connection Freud's daughter and Rilke's mother had the same birth name [Sophia]." I'm sorry; sometimes a coincidence is just a coincidence.
3 of 4 people found the following review helpful.
complex and intelligent
By raycat
Silverman is working within the scope of contemporary continental philosophy, which means that her method is interpreting the works of others. Silverman does not limit the subject of her interpretations to important works of thinkers of the past (Freud, Nietzche, the usual suspects) but also indiscriminately includes artists and and mythological stories. The tone of these interpretations is expository, but in the end she uses the material of others to come around to a very precise and novel conclusions about the origin of analogy in the natural world and the psychical uses we have for natural analogy. Subtle, academic but if you are someone already versed in the thinkers she interprets, you will find this a provocative conversation with old friends.
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