Laura Gonzalez

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Madame Bovary by Gustave Flaubert ***** — 9 Nov 2014

madame

Reading dates: 1 January — 9 November 2014

Looking at the reading dates, one would think I did not like this book. But I adored it. I decided to keep up with my French, so I read it in the original which, after so many years of not being serious with my school language and only paying attention to Lacan, made it hard going. Yet, reading La vérité sur l’affaire Harry Québert in French, oiled my brain. From then onwards, my encounter with Bovary was a little easier. The story, for me, tips with the unforgettable episode of the leg operation. Emma becomes an adulteress and the book, compulsive. It is so well written, so heart-wrenching, so relentless and ruthless. It is well conceived and constructed, nothing is surplus. Emma is wonderfully complex, endlessly fascinating to think and talk about. I have never read scenes of grief that are so effective. I was disarmed, inconsolable, not knowing what to think, questioning my own positioning, what I would do in each of the main character’s situation. Only great literature can give one a problem like this. Unlike real-life cases, novels are crafted from beginning to end, with purpose, limiting the superfluous and the serendipitous. Good novels are exemplar cases and Bovary is perfect in this. Not a single detail is left hanging and the most tragic one is the fate of Homais, the apothecary. I challenge anyone who doesn’t know a person with this perfectly described character, the traits of whom I discovered in my reading and not in my interacting with similar people.

I am not sure I will be able to, but I would love to re-read Madame Bovary — strength may fail me and there are always many other books to discover. Although, on second thoughts, it might be an interesting performative act to re-read it regularly, perhaps every year starting on the 1st January, like Yiyun Li re-reads War and Peace. First, I need a gorgeous copy (like hers below) and a fresh supply of post-it notes.

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Revolt, She Said by Julia Kristeva*** — 1 Nov 2014

2014-10-24 22.28.23

Reading dates: 5 September – 24 October 2014

When Gilman-Opalsky kept referring to a book by Julia Kristeva I never heard of, I made my mind up to chose this when my turn came in our Dialectical Materialism book group. This is a book of interviews and, I am going to be honest, it was not my most inspiring choice for our discussion. I cannot understand why it is Gilman-Opalsky’s main reference. The book is repetitive and depends very much on the interviewer and his questions. Kristeva is good, and she has some very interesting insights into psychoanalysis, art and May 68 but in a format like this it is difficult to make an argument consistently. I chose a question and answer form for the last chapter of my PhD and I think it worked to deepen the understanding of what I had been raising in previous chapters but, then again, I was writing both the questions and answers, creating characters that fit the argument itself. Of all the interviewers, I got the sense that the first – Philippe Petit – did not like her at all, so was out to get her (note this is MY sense), the second – Rainer Ganahl – was the best but his text was too short and the third –Rubén Gallo – was far too wordy; Kristeva lost heart with her answers. I felt for her, as our discussion also lost heart. But how do you chose a book for a book group? Do you chose something you have already read and you know is good, or do you risk and grab something you are curious about (which is what I did). This time, my risk did not pay off despite the fact that I had trusted Gilman-Opalsky (and liked his book), but that does not mean I did not enjoy the discussion.

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About Me

I am an artist and writer. My recent practice performance, film, dance, photography and text, and my work has been performed, exhibited and published in many venues in Europe and the US. I have spoken at numerous conferences and events, including the Museum for the Fashion Institute of Technology in New York, the Medical Museum in Copenhagen, College Arts Association and the Association for the Psychoanalysis of Culture and Society. When I am not following Freud, Lacan and Marx’s footsteps with my camera or creating performance works as part of my Athenaeum Research Fellowship at the Royal Conservatoire of Scotland, I teach postgraduate students at Transart Institute.

I am currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric. In 2013, together with Child and Adolescent Mental Health practitioner Frances Davies, I co-edited the book ‘Madness, Women and the Power of Art’, to which I contributed a work authored with Eleanor Bowen. My book ‘Make Me Yours: How Art Seduces’ was published by Cambridge Scholars in 2016. In this text, investigates psychoanalytic approaches to making and understanding objects of seduction, including an examination of parallels between artistic and analytic practices, a study of Manolo Blahnik’s shoes as objects of desire, a disturbing encounter with Marcel Duchamp’s last work, and the creation of a psychoanalytically inspired Discourse of the Artefact, a framework enabling the circulation of questions and answers through a relational approach to artworks.