Deleuze 04 德勒茲

Deleuze04 德勒茲

Love Is For Other People 愛是為了別人

By James Brusseau

Translated by Springhero 雄伯


    How does the forgetting Eberhardt invokes succeed? Or, to pose the same question indirectly and within the confines of her short story, there is still a woman with each scar, who is she? A biographer would answer by examining the soldier’s bodily marks and tracing them to specific past conflicts and their causes. As Eberhardt writes it, however, each scar, when it slides from underneath a sleeve or flashes in the mirror, invokes a current self-glorification disjoined from the biographer’s subject.




 A new female occupies each of the scars, one composed of pride, not flesh, one discovered by an emotion, not an historian. Because the displacement and the soldier’s rough vanity require an unblemished forgetting, another production at first unrealated to the physical woman must stir up and remake the soldier’s past in accord with its omnipotent whim. The forgetting then sweeps over the scene as that production’s after-effect. The locus of Eberhardt’s churning production: the scar. The  medium: time.




In Eberhardt’s time, wounds work forward instead of referring backward, they project themselves as soldier’s medals of bravado and female admirers. More than that, they become the bravado and the lovers. Each scar locates its own origin and cause by insisting it be understood as a badge worthy of pride and as memory worthy of sentiment. Each scar exclaims a meaning for now and only then for the past. The scar didn’t happen in the past, the scar made the past. It made the past in accord with its own story and without reference to the actual, physical women who so completely controlled the protagonist years ago.





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