Abstract
The double sense of ‘challenging cultural representations of death’ is profoundly attested to by those who, identifying with their posthumous existence, write in memory of their own death. This chapter explores the testimony offered by—and to—such paradoxical enunciations as ‘I have died’ in the work of Antonin Artaud, as he addresses not only his experience of electro-shock treatment but also his sense of a social bewitchment that causes the death of those whom he famously described as having been ‘suicided by society’. What is ‘challenging’ in Artaud’s work is not simply literary but, in the profoundest sense, cultural. In a text entitled Alienation and Black Magic, for instance, he suggests that ‘those who live, live off the dead…’; that ‘contemporary medicine tries to create death artificially’; and that this forces a division between ‘being human’ and ‘becoming a manifest madman’. For Artaud, society is seen as a means for some to profit from the living death of others and the chapter addresses this in the light of contemporary analyses such as Anne Case and Angus Deaton’s Deaths of Despair and Byung-Chul Han’s critique of a ‘palliative society’.
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Notes
- 1.
Patrick ffrench’s translation of rejets by ‘expulsion’ retains an echo of the ‘pulsional’; that is, of the drive-oriented dynamic of vocalisation over discourse in Artaud’s work (see ffrench’s note 7 in Kristeva 1998: 175).
- 2.
I have also explored this relation with the figure of ‘interruption’ in Artaud’s text Artaud the Mômo (Twitchin 2022a).
- 3.
In a short text, which was originally published in Les Temps Modernes in February 1949, Artaud says that, indeed, after one course of ECT he died ‘legally and medically’, posing the question of both ‘memories’ and medically recognised ‘signs’ of life: ‘One hour after the shock I had not woken up and had stopped breathing. Surprised by my abnormal rigidity, a nurse went to fetch the chief doctor, who after listening with a stethoscope could find no signs of life in me. I myself have memories of my death at that moment, but it is not from these that I assert this fact. I am sticking strictly to what I was told by Dr Jean Dequeker, a young intern at the Rodez asylum, who had it from the mouth of Dr Ferdière himself. It was he who said that he believed me dead that day and had already asked for two orderlies at the asylum to take my body to the morgue since an hour and half after the shock I had not come to [je n’étais pas revenu à moi]’ (Artaud 1994: 123).
- 4.
Mais quelle garantie les aliénés évidents de ce monde ont-ils d’être soignés par d’authentiques vivants?/ ‘But what guarantee do the obvious madmen of this world have of being nursed by the authentically living?’ (in Clayton Eshleman’s translation [Artaud 1995: 166–167]).
- 5.
A documentary by Laura Poitras, All the Beauty and the Bloodshed, about Goldin’s activism concerning the opioid scandal is about to be premiered as I finish writing this chapter (Sutton 2022).
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Twitchin, M. (2024). ‘There Is Nothing like a Dead Man to Demand Existence’ (Antonin Artaud). In: Coleclough, S., Michael-Fox, B., Visser, R. (eds) Difficult Death, Dying and the Dead in Media and Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-40732-1_12
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