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ISSN 1409-6900 | UDK 82+7     Blesok no. 02 | volume I | April-May, 1998



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                     Peer-reviewed journal
Blesok no. 02April-May, 1998
Reviews

Living оnly оne Love Story even after the Death

or: Recipe as a Love Letter


/17
p. 1
Jadranka Vladova

Laura Eskivel’s novel “Like water for chocolate” is a true discovery that fascinates on more levels. The authorship and the structure of the novel where the woman’s angle of view on a world is suggested, re-actualizes the probably forgotten problem of the woman letter. Although it is not reasonable to accept that on a level of a discourse the gender of the author is detectable save explicitly signified, nevertheless, besides the nonexistence of a man letter, we have to face what might be called emancipation of the woman authorship, which can be historically located with its intensified self-consciousness. Julia Kristeva, who does not recognize the division into woman and man letter, emphasizes two categories that she acknowledges as a common feature of the woman texts: disposing of the rigid, coherent, logically directed structure and consequently disagreeing with the strict, manifest composition. The woman doesn’t feel good in a system to which the meaning is given by the reason. She gives an advantage to the fragment, to the free and apparently incoherent composition. At any rate, this attribute, emphasized by Kristeva is not a privilege to the “woman letter” only, but we can find it in the post-modernism and in the authors such as Roland Barthes, Blanchot, Sollers. (…) The woman letter is characterized, above all by metonymy, by the need to be said less than it is actually saying, by some sort of asceticism, semantization on all levels. Having analyzed the events on the level of a sign, Kristeva says that a sign in a woman always tells less than it says, that it is always bellow the point of enunciation, always connotes, that it is litotic.
    The novel by Laura Eskivel begins with the motto: The invitation to a dinner table and to bed is valid just for one time and not for more, that we can understand it as a quoted folk wisdom We can’t substantiate this with solid argumentation) and as inventiveness on the part of the authoress who polemises with her own discourse, particularly with the part that in the novel’s structure refers to the love plot. (The love story of the novel in fact, is not built on a basis of such an exclusiveness, of a categorical ultimatum, but on a contrary: it is built on the motif for uncompromised, eternal, self-sacrificing love. But this aphorism for a strict, temporal determination of a possible realization of






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