Nicole Brossard:
Writing
what exists
I
want to see in fact the form of women
organizing in the trajectory of the species.
-
Nicole
Brossard These Our Mothers 1983.
I
first met Nicole Brossard in an airport departure lounge in Frankfurt in 1988.
We were en route to a feminist conference on writing and language in Dubrovnik.
As I recall, Brossard gave a talk on the power of the word “lesbian” and I
argued, via deconstruction, for a post-gender, post-feminist theory (Rudy
Dorscht 1988). I was poststructuralist
and straight. She was feminist and
lesbian. I was drawn to her and terrified.
*
In
1988, I was married to a man. I had a PhD. And a baby daughter. I had just
taken up a tenure-track position at a university and moved thousands of miles from
the rest of my family and friends. My husband had moved with me.
This
morning I reread an English translation of the paper Brossard delivered at the
Dubrovnik conference. I can’t find the word “lesbian” anywhere.
There are words that return. There are words that always return to find
us in the very place we seek for them. […] There are words that are
irreducible: to write I am a woman is
full of consequences,
-
Nicole
Brossard “Corps d’énergie / rituels d’écriture,” 1989
This
is what I knew in 1988: I wanted
connection with other women and I didn’t want to change. I wanted a different
life but I didn’t know how to get there.
I couldn’t be a lesbian.
*
For five decades, Nicole Brossard has been investigating questions
of multiple identifications, affiliations, and kinships. For her, writing the word “lesbian” was an “exercise
in deconditioning,” a means by which to assert her existence and acknowledge
her “legitimacy” (These Our Mothers 16).
In the 1970s, Brossard’s site of investigation
was her relation, as a lesbian mother, to other bodies. In “Poetic Politics,” she
speaks of “living the most common experience in a woman’s life which is
motherhood,” at the same time as she is “living the most marginal experience in
a woman’s life which is lesbianism”:
[m]otherhood
shaped my solidarity with women and gave me a feminist consciousness as
lesbianism opened mental space to explore. (77-78)
“If patriarchy can take what is and make it not,” Brossard
writes, “surely we can take what exists and make it be” (“From Radical to
Integral” The Aerial Letter 103).
*
53% of white women voted for Donald Trump. I
might have been among them.
*
Nicole
Brossard has been a key figure in my intellectual life for thirty years. In 1997, Lynette Hunter, Marta Dvorak, and I co-organised a
conference on “Women and Texts: Languages Technologies Communities” under the banner: “Coming together to work on
expressing what is valued in our daily lives.”
Our
inspiration came from Nicole Brossard and we cited her on the conference
poster:[1]
I
imagined my thought that day: attentive to movements that spread out in a
spiral in books written by women. I was virtually struck by the internal logic
which constantly beckons women to merge/to expel themselves.
For Brossard, the spiral opens “and the new
circulates, circulates, producing emanations such as those at the gates of an
initiatory path” (Translated
and quoted by Gould 83; from Le Sens
apparent 14).
Even into the mid 1990s, we believed that the
new was opening before us. I took the following celebratory
photograph: Brossard with her arm around writer Audrey Thomas, alongside Jeannette Armstrong
and
filmmaker Alanis Obamsawin.
Left to right: Audrey
Thomas Nicole Brossard Alanis Obamsawin Jeannette Armstrong at the
“Women and Texts: Languages Technologies Communities” Conference University of
Leeds 2-5 July 1997. Photograph by Susan
Rudy.
In 2017, we again need solidarity yet our trajectories
are different. As feminists and/or trans we want to identify as women and yet
we want alternatives to the symbolic order in which the category of woman has
been so narrowly constructed.
*
In the 1970s Brossard identified patriarchal
motherhood as the place where the concept of woman was most fraught. The
problem lay in the fact that, in Brossard’s words, “patriarchal mothers” (18)
are “able only to initiate their daughters to a man”:
There is no confidence between us. Sold-out at a loss. Split in two. (18)
In contrast to the misogyny perpetuated by
patriarchal motherhood, Brossard’s experience of lesbian motherhood offered an
alternative based on loving connections.
On the same day, she “caresses” the body of her
lesbian lover and washes the body of her daughter: “[c]yprine juices urine.
Orgasm and labour as two sides of the same entity” (18):
I write so I won’t engulf and hurt your
bodies and so as to find in them my void my centre. (13)
Instead of reproducing the mother-role of
patriarchy, Brossard creates “her own locus of desire,” finds “her own place at
a distance” (18):
She who is writing
in the present between barbed wires remembers her past. Maybe they’ve been
forced to cut the current. She goes
through. (These Our Mothers 18)
She goes through.
*
I think of a photograph on Facebook of an
African-American woman at the New York City women’s march. She carried a
placard reminding us that 94% of Black women voted against Trump:
Black Women Tried to SAVE Y’ALL!!! #94%
*
I almost missed
meeting Nicole Brossard that day in Frankfurt in 1988. I had read The
Aerial Letter in a feminist theory graduate course. But when I spotted it atop
a pile of feminist theory books beside a handsome woman on the ottoman across
from me I thought, she must be a colleague.
I looked again and recalled seeing
the photo of Brossard with translator Marlene Wildeman at the end of The Aerial Letter. Could it be her?
She caught my eye and smiled. I
was tongue-tied and brave. I took her hand and said what I could. She listened
and spoke. We became friends and moved forward, at first haltingly, then with
confidence, over many years, together.
*
I’ve been thinking recently about what we –
in our radical differences – are going through now. In 2006, I finally came out. I
have very short grey hair and am middle-aged. I’m often addressed as sir. Yet
the pull of family and motherhood, the privileges of middle-class whiteness and
cisgender, and conventional ideas about what women are supposed to be still
shape me.
I didn’t attend the women’s march in London because of a
long-standing family commitment.
It was my lesbian partner’s mother’s 70th birthday
and a gathering in Shropshire the weekend of January 21, 2017 had been planned
months ago, when the idea of a Donald Trump presidency was still a sick joke.
Trump’s presidency is now a terrifying reality. And the pull of
family still shapes my queer life. To what extent am I still overdetermined by
patriarchal structures? What role have
my choices played in the election of Donald Trump?
More overtly than I have seen in my lifetime,
patriarchy is taking what exists and making it not. Yet as I reread the
work of Nicole Brossard in 2017, I no longer feel terrified or alone. We will
get through.
For
the ongoing global feminist work of the artists, writers, and academics who
participated in the 1997 Leeds “Women and Texts” conference including:
Virginie Alba & Flora Alexander
Paula Bourne
Monique Boucher-Marchand,
Tilla Brading
Di Brand,
Susan Brook,
Helen
Buss,
Maggie
Butcher,
Pauline
Butling,
Rosemary
Chapman,
Sally
Chivers,
Kwanesook
Chung,
Marie
H. Clements,
Cynthia
Cockburn,
Lorraine
Code,
Rachel
Conner
Susan
Croft,
Barbara
Crow,
Pilar
Cuder-Dominguez
Asma
Dalal
Eva
Darias-Beautell,
Martine
Delvaux
Ralitza
Dimitrova
Beth
Donaldson
Helen
Douglas
Rachel
Dyer
Julia
Emberley
Heather
Fitzgerald
Louise
Forsyth
Danielle
Fuller
Carolyn
Fyffe
Geetha
Ganapathy-Dore
Carole
Gerson & Veronica Strong-Boag
Barbara
Godard
Hiromi
Goto
Michele
Gunderson
Faye
Hammill,
Susan
Harwood
Claire
Harris
Barbara
Havercroft
Maria
Henriquez Betancor
Jacqueline
Hodgson
Susanna
Hoeness-Krupsaw
Valerie
Holman
Lakshmi
Holmstrom
Coral
Ann Howells
Isabel
Huggan & Connie Steenman Marcuse
Vivien
Hughes
Lesley
Jeffries
Surinder
Jetley
Manina
Jones
Edwige
Khaznadar
Christine
Klein-Lataud
Barbara
Korte
Celine
Labrosse
Jaqueline
Lamothe
Bronwen
Levy
Marie-Linda
Lord
Cathy
MacGregor
Erin
Moure
Lianne
Moyes
Sarah
Murphy
Suniti
Namjoshi
Miriam
Nichols
Uma
Parameswaran
Janet
M Paterson
Alexandria
Patience
Jeanne
Perreault
Mireille
Perron
Velma
Pollard
Susan
Prentice
Monique
Prunet
Eleonora
Rao
Valerie
Raoul
Verna
Reid
Yannick
Resch
Helen
Richman
Deb
Rindl
Caroline
Rooney
Hilary
Rose
Sasha
Roseneil
Jacqueline
Roy
Marie-Josée
Roy
Lori
Saint-Martin
Louise
Saldanha & Aruna Srivastava
Krishna
Sarbadhikary
Kim
Sawchuk
Danielle
Schaub
Kersin
Schmidt
Gail
Scott
Barbara
Sellers-Young
Jane
Sellwood
Lesley
Semmens & Lynette Willoughby
Sherry
Simon
Theresa
Smalec
Gaele
Sobott-Mogwe
Eugenia
Sojka
Susan
Speary
Marjorie
Stone
Cath
Stowers
Simone
Suchet
Laura
Sullivan
Sharon
Thesen
Audrey
Thomas
Neelam
Tikkha
Valerie
Traub
Anirudh
P. Trivedi
Jacqueline
Turner
Jeanette
Urbas
Aritha
van Herk
Christl
Verduyn
Shobha
Verma
Anna
Veselovska
Coomi
S. Vevaina
Nicole
Vigourous-Frey
Anea
Vlasopolos
Louise
von Flowtow
Wendy
Waring
Agnes
Whitfield
Gillian
Whitlock
Carol
Williams
Marion
Wynne-Davis
Marta
Zajac
Note:
This incomplete list of participants is taken from the Abstracts
published by the University of Leeds. My memory tells me that Caroline Bergvall and Daphne Marlatt were also in attendance. Please email me
at S.Rudy@qmul.ac.uk if you attended the
conference and are not listed above. I
am preparing an archive of conference materials and for the historical record
will add your name to the list.
References
Brossard Nicole. The
Aerial Letter. Trans. Marlene Wildeman. Toronto: The Women’s Press 1988.
---. Fluid
Arguments. Edited and with an introduction by Susan
Rudy. With translations by Nicole
Brossard Anne-Marie Wheeler Alice Parker Susanne de Lotbinière-Harwood Patricia
Claxton and Marlene Wildeman. Toronto: Mercury Press 2005.
---. Le Sens
apparent. Paris: Flammarion, 1980.
---. “Poetic Politics.” In The Politics of Poetic Form: Poetry and Public Policy. Ed. Charles
Bernstein. New York: Roof 1990.
---. “Rituels
d’écriture: L’écriture comme trajectoire du désir et de la conscience.” Writing and Language: The Politics and Poetics of Feminist
Critical Practice and Theory. The Inter-University
Centre for Postgraduate Studies Dubrovnik Yugoslavia 1988. An early
translation by Alice Parker appeared under the title “Corps d’énergie / rituels d’écriture” (1989). A later translation appears in Brossard Fluid Arguments 101-107.
--. These
Our Mothers. Trans. Barbara Godard. Toronto: Coach House Quebec
Translations 1983. Translation of L’amèr
ou le Chapitre effrité. Montreal: Les Editions Quinze 1977.
Gould, Karen. Writing in the Feminine: Feminism and Experimental Writing in Quebec. Carbondale: Southern Illinois University
Press, 1990.
Rudy Susan. “Nicole Brossard.” The Literary Encyclopedia. 5 December
2005. [https://www.litencyc.com/php/speople.php?rec=true&UID=5302] Accessed
18 January 2017.
Rudy Dorscht Susan. “Telling the Difference: Postfeminist Theory and Practice.” Writing and Language: The Politics and
Poetics of Feminist Critical Practice and Theory. The Inter-University Centre for Postgraduate Studies Dubrovnik Yugoslavia
1988. Published in revised form as a chapter in Women Reading Kroetsch: Telling the Difference. Waterloo: Wilfrid
Laurier University Press 1991.
Susan Rudy is a London-based
researcher, writer, and editor. Currently a Senior Research Fellow in the
School of English and Drama at Queen Mary University of London, she taught in
the Department of English at the University of Calgary from 1988-2011.
Susan’s research expertise is in contemporary experimental writing and
feminist theory and she has published widely in these areas. In 2016, she published
blogs at The New Statesman on what gender and gender equality
mean in the twenty-first century. She and Georgina Colby
are developing a Salon for Experimental Women’s Writing (SEWW) in London. This
piece is from Queer Openings, Rudy’s new book. For
more, go to http://www.sed.qmul.ac.uk/staff/rudys.html.
Nicole
Brossard (left) and Susan Rudy at
the “Women and Texts: Languages Technologies Communities” Conference, University
of Leeds, 2-5 July 1997.
Photograph of Nicole Brossard provided by Nicole Brossard. Used
with permission.
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