Donald E. Hall
Multiplicities confuse, sometimes terrify, yet almost invariably intrigue us. Collapsed binaries, whether imploded or exploded, mystify and mesmerize us. Something there is that loves/doesn’t love a wall. InPowers of Horror,Kristeva lingers over the apocalyptic, the wall-breaching, that which inhabits “the fragile border (borderline cases) where identities (subject/object, etc.) do not exist or only barely so—double, fuzzy, heterogeneous, animal, metamorphosed, altered, abject.” Kristeva’s is, and
exalts, a literature of indeterminacy, of “murky waters,” disappointing, frustrating, and hollowing the “demarcating imperative,” “disturb [ing] identity, system, order,” produced by “the artist who, even if he does not know it, is...