Abstract
There is an evident structural parallel between the activity of the psychoanalyst and that of the detective. Both analyse a texture of manifest clues or symptoms in order to find the hidden or latent truth that lies behind this surface.1 However, this structural parallel, and the model of reading which underlies it, are called into question if we pay attention to the letter of the texts of Freud and Lacan. For if Freud proposes a theory of reading, this theory undermines the notion of uncovering the hidden truth, of revealing the hidden crime; what emerges from the account of the reading or interpretation of the dream is the pre-eminence of syntax over content. Deconstructive critics such as Jacques Derrida or Jeffrey Mehlman have argued that the Freudian recognition of the pre-eminence of syntax over content is invariably betrayed by an eventual postulation of truth, presence, a semantic principle, or drive to locate meaning (in one place). From this perspective, the enjoyment of the fold, of the syntax of detective fiction, is ultimately let down by the revelation of the crime or the criminal. Truth is disappointment. Moreover, from a deconstructive perspective, reading is not the passive reception or consumption of a pre-existing meaning, but the production of meaning through a transferential play with the text and with other texts. The notion of reading must also involve an account of transference and this also complicates the parallel proposed above, based on a simple model of reading as uncovering. If psychoanalysis, detective fiction and deconstruction propose an enjoyment (jouissance) of the fold, of syntax, they also inevitably end up posing a semantic core, a truth, the meaning of their discourses.
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Notes
Sigmund Freud, The Interpretation of Dreams (Harmondsworth: Penguin, 1976), p. 169.
Stephen Heath, ‘Notes on Suture’, in Screen, 18.4 (Winter 1977–8), 48–76.
Jacques Derrida, The Postcard: From Socrates to Freud and Beyond (Chicago and London: University of Chicago Press, 1987), p. 413.
Edgar Allan Poe, Tales of Mystery and Imagination (London: Dent, 1981), pp. 378–9.
Marie Bonaparte, Edgar Poe, sa vie, son Å“uvre (Paris: PUF, 1933), trans. John Rodker as The Life and Works of Edgar Allan Poe: A Psycho-analytical Interpretation (London: Hogarth Press, 1949).
Jacques Lacan, ‘Seminar on the Purloined Letter’, trans. J. Mehlman in Yale French Studies, 48 (1973), 39–72.
See for example, John P. Müller and William J. Richardson (eds), The Purloined Poe: Lacan, Derrida & Psychoanalytic Reading (Baltimore: Johns Hopkins University Press, 1988).
Julia Kristeva, ‘Le sens et la mode’, in Séméiotiké (Paris: Seuil, 1969).
For an account of this shift, see Patrick ffrench, The Time of Theory: A History of Tel Quel (Oxford: Clarendon, 1996).
Jeffrey Mehlman, ‘Trimethylamin: Notes on Freud’s Specimen Dream’, in Robert Young (ed.), Untying the Text: A Post-Structuralist Reader (London: Routledge, 1981).
Cf. Victor Schlovsky, ‘Art as Process’, in Victor Erlich, Russian Formalism: History, Doctrine (The Hague: Mouton, 1965).
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© 2000 Patrick ffrench
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ffrench, P. (2000). Open Letter to Detectives and Psychoanalysts: Analysis and Reading. In: Chernaik, W., Swales, M., Vilain, R. (eds) The Art of Detective Fiction. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-62768-4_16
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