![]() ![]() ![]() In her open, fluid trajectory and the intensely lyrical voice of her desire, Winterson here inscribes a Kristevan subject in process. Her quest for identity and love inscribes the opposite trajectory that moves from darkness to light, from loss and lovelessness to the final discovery of her ‘treasure’. ![]() Dovetailing with this Victorian narrative, there is that of Silver. The only escape Babel can envisage from the dichotomous oppositions of the oppressive Symbolic Order is his final ‘drowning’ into the semiotic world of fluidity of the dark ‘underwater cave’ at the bottom of the sea. It is a narrative of betrayal and violence, of loss and abjection that pulverize the self. The first narrative tells of the masculine trajectory of desire of Babel Dark, whose labyrinthine passions chart the movement from light / love to darkness /death. The study draws on feminist, psychoanalytical and post-structuralist theories. This is textualized in the two narratives at the heart of the novel, that are built around the crucial opposition light/darkness epitomized by the symbolic lighthouse and signified by the names of the two protagonists. This paper maintains that Jeanette Winterson’s Lighthousekeeping (2004) articulates a double love discourse, shaped into a chiastic pattern. ![]()
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