"Elinor's pupils, those less tractable sphincters of the soul, won't close against the hapless hemorrhaging of her visual attention-flow toward Marianne; it is this, indeed, that renders her consciousness, in turn, habitable, inviting, and formative to readers as 'point-of-view.'"
— Sedgwick, Eve Kosofsky (1950-2009)
Date
Summer, 1991
Metaphor
"Elinor's pupils, those less tractable sphincters of the soul, won't close against the hapless hemorrhaging of her visual attention-flow toward Marianne; it is this, indeed, that renders her consciousness, in turn, habitable, inviting, and formative to readers as 'point-of-view.'"
Metaphor in Context
Such an apparently generalizable ideal of individual integrity, the unitary self-containment of the strong, silent type, can never be stable, of course. Elinor has constructed herself in this way around an original lack: the absentation of her sister, and perhaps in the first place the withholding from herself of the love of their mother, whom she then compulsively unites with Marianne, the favorite, in the love-drenched tableaux of her imagination. In the inappropriately pathologizing but descriptively acute language of "self-help," Marianne's addiction has mobilized in her sister a discipline that, posed as against addiction, nonetheless also is one. Elinor's pupils, those less tractable sphincters of the soul, won't close against the hapless hemorrhaging of her visual attention-flow toward Marianne; it is this, indeed, that renders her consciousness, in turn, habitable, inviting, and formative to readers as "point-of-view."
(p. 832)
(p. 832)
Categories
Provenance
Reading
Citation
Eve Kosofsky Sedgwick, "Jane Austen and the Masturbating Girl," Critical Inquiry (Summer, 1991): 818-837.
Date of Entry
09/27/2016
