Index
i
Abject: in Sarduy’s work, 138, 171; as a sub-
stitute for the absent and primary source
of longing, 171
Aggression: as a key element in stories
written by men, 243
aids: in Pájaros de la playa, 138
Anaclitic phase: and the conclusion of
Colibrí, 162, 163
Anal activity of expulsion: and the semi-
otic drive, 233 in Canon de alcoba, 234
Anal eroticism: screened behind idealiza-
tion of the fair sex, 246
Anal fixation, in Love in the Time of Chol-
era, 128
Anality: in Colibrí, 158; and destructive de-
sires, 48; epitomized in our animal body,
in Love in the Time of Cholera, 127; Flo-
rentino Ariza’s inability to give, 123, 125,
133; Florentino Ariza’s surrender to the
will of his body, 123, 134; parodied in
Sarduy’s fiction, 157; phase of, and sepa-
ration from the mother, 110; and scato-
logical fixation in No One Writes to the
Colonel, 108
Anal stage, 246; and human aggression,
266 n.14; and mutilation in Sarduy’s
work, 158; supremacy of, in Cobra and
Maitreya, 158
Androgyny: not a panacea in Mercado’s
work, 272 n.21; subject in Canon de al-
coba, 237
Anger: in Nicole Brossard’s work, 221; in
feminist works of the sixties, seventies,
and eighties, 251; in men, 237; vis-à-vis
mother figures in Sarduy’s work, 267
n.22; vacated from Canon de alcoba, 220;
voiced in stories by Cortázar, Cabrera In-
fante, and Sarduy, 245; in the work of the
first generation of feminist authors, 222
Animals: in Cortázar’s work, 31, 36, 256
n.7; creeping, in Cortázar’s stories, 36;
man-eaters, 37; phobias, 88
Antagonism: between men and women,
192, 193
Anxiety: sources of, in Cortázar’s work, 6
Arcadia: complex of, and separation anx-
iety in Cortázar’s work, 257 n.12
Auerbach, Nina: on Monique Wittig’s Les
guérillères, 222–23
Autobiography: refurbishments in, 75
Bakhtin, Mikhail, 108
Balzac, Honoré de: Human Comedy, 113
Barthes, Roland, 1, 216, 227; on erotic de-
sire, 272 n.11; and jouissance, 270 n.1, 271
n.6
Bataille, Georges, 246; di√erence between
his notion of eroticism and Tununa
Mercado’s, 216; on eroticism, 216; on
Hegel, 163; on negativity that serves no
purpose, compared to Mercado’s work,
236; and role of the eye, 8
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