• Sexual Violence, Narrative Authority, and Spectral Reading
• Judith Goldman (bio)

Freud's Civilization and Its Discontents ([1929] rewriting Nietzsche's Genealogy of Morals [1887]) obsessively speculates on the genesis of bad conscience. Offering up theory after theory behind the introjection of the super-ego, Freud comes to formulate the circuit of guilt as self-propelling, with conscience lacerating us even for sins sinned in thought only: indeed, the more acetic we are, the more we are unconsciously driven to punish ourselves and to seek punishment. He rues civilization for the pervasive discontent it causes through this moral masochism.

In view of contemporary American culture, Freud's concern harbors a certain dramatic irony, as the malaise of interminable neurotic guilt seems to have given way to a psychotic incapacity for guilt. Of the sadistic pleasures pursued with impunity, perhaps the most enabling is the meta-sadism of gaslighting, whereby a sadistic pleasure is taken in the disavowal of sadistic pleasure.

I read Samantha Giles's magnificent book Total Recall when it appeared shortly following the truncated investigations and hearings around, and speed confirmation of, Brett Kavanaugh, one of so very many sadistic episodes densely darkening the interminable time of the Trump administration. Total Recall is a tour de force, hybrid genre work dealing with incest. It comprises three, thematically interrelated prose pieces interleaved with two groups of poems, all of which deal with questions of traumatized memory in the aftermath of sexual assault. This review focuses on the two longer narratives bookending the work.

The opening piece, entitled "Total Recall," is written in an elegant braided structure, the three discursive strands told by the same narrator: the family drama around the founding of the False Memory Syndrome Foundation; a plot summary of Total Recall, the 1990 science fiction thriller whose crux involves the indistinction between real and "implanted" memories, whose recounting the [End Page 11] narrator continually qualifies by commenting on the potential fallibility of her memory and understanding of the film; and a first-person narrative that describes an unsettling reunion, after a year-and-a-half hiatus, between a daughter (accompanied by her male partner), and her parents, due to a fight whose cause is never specified, but is implicitly connected to her father's physical, psychological, and sexual abuse of her in childhood. As this narrator explains, her life has been filled with her father "remembering things for her"—a problem of telling especially endemic to the manipulative, distorting representation of incest events by perpetrators to children even as they are unfolding.

All of Giles's narrators' speech in this book is riddled with self-reflexive phrases that underscore the uncertainty of the accounts being given: "I think I remember," "maybe what happened," etc. In this particular piece, rather than undermining her epistemic authority, these qualifying tags shore up the narrator's account, as she offers a precise, considered sense of exactly how fallible her recollections may be: where, exactly, she may have inserted a merely probable, verisimilar detail, rather than an actual detail; where her "facts" may be wrong or her memory vague. As everywhere in the book, contesting evidentiary rubrics are perspicuously foregrounded: here, the juxtaposed threads work through implicature to offer the reader the sense that memories of childhood abuse do not yield, and do not need to yield, to a forensic approach. The False Memory Syndrome Foundation, as the narrator herself notes, doesn't directly refute the prevalence of sexual violence in families. What it focuses on, as has egregiously ramified in our culture, is that memory lacks provability, a verifiable, unshifting ontology, which thereby also leaves its referent in suspension. Which is to say, it shifts the stakes of the matter away from the real problem: that the patriarchal family formation is a machinery for the abuse of power. The father does not say the abuse never happened: he says she has "false memories." We catch patriarchal abuse in the act, as the executive power to declare its own narrative authority and to control the dispensation of epistemic positions. In the very gesture of violently disallowing...

• 性暴力，叙事权威和光谱阅读
• 朱迪思·戈德曼（Judith Goldman）（生物）

弗洛伊德的《文明及其不满》（[1929]重写了尼采的道德家谱[1887]）迷恋地推测了不良良心的产生。弗洛伊德在引入超我之后，在理论基础上提出了理论，从而将罪恶的循环表述为自我推动，甚至良心也使我们感到lace愧，甚至只是出于思想上的罪过：事实上，我们越乙酸，我们就越无意识地被驱使惩罚自己并寻求惩罚。他谴责文明通过这种道德受虐狂所引起的普遍不满。

鉴于当代美国文化，弗洛伊德的担忧带有某种戏剧性的讽刺意味，因为无休止的神经质内gui感的不适似乎已被精神病丧失内inc感的能力所取代。在不受惩罚的情况下追逐的虐待狂乐趣中，也许最有可能的是瓦斯灯的元讽刺主义，从而在拒绝虐待狂乐趣时采取了虐待狂乐趣。

我读完萨曼莎·吉尔斯（Samantha Giles）的一本宏伟的书《全面召回》（Total Recall），该书是在经过调查和听证会被截断后不久出现的，并迅速确认了布雷特·卡瓦诺夫（Brett Kavanaugh），这是许多虐待狂事件之一，致使特朗普政府的无休止的时间变得越来越黑暗。《全面召回》是一部处理乱伦的巡回演出，混合体裁作品。它包括三个主题相关的散文，其中散布着两组诗歌，所有这些诗歌都涉及性侵犯后的创伤性记忆问题。这篇评论着重于两个较长的叙述书。

开场曲名为“ Total Recall”，以优雅的编织结构写成，同一个叙述者讲述了三段话语：虚假记忆综合症基金会成立前后的家庭戏剧；“全面回忆”（Total Recall）的情节摘要，1990年的科幻惊悚片，其症结涉及真实记忆与“植入”记忆之间的歧义，[ Counting Recall 11]旁白者通过评论自己对电影的记忆和理解的潜在谬误来不断进行排位赛；以及第一人称叙述，描述了一个女儿（由其男伴侣陪同）和她的父母在一年半的休假后因不明原因的战斗而团聚。与父亲在童年时期对她的身体，心理和性虐待隐含联系。正如这位叙述者所解释的那样，她的生活充斥着她的父亲“为她记忆”-这是一个问题，尤其是当行为者向孩子展示乱伦事件时，这种行为是扭曲性的，歪曲了他们的行为。

吉尔斯在这本书中所有叙事者的讲话都充满了自我反省的短语，这些短语强调了所给叙述的不确定性：“我想我记得”，“也许发生了什么”，等等。认识论的权威，这些合格的标签支撑着叙述者的叙述，因为她提供了一种精确的，深思熟虑的感觉，即她的回忆可能是多么容易犯错：确切地说，她可能只是在其中插入了一个可能的，近似的细节，而不是实际的细节；她的“事实”可能有误或记忆模糊。在本书的各处，明显地存在着争议性的证据规则：在这里，并列的线索通过含蓄的含义起作用，为读者提供了一种避免产生童年虐待记忆的感觉，并且无需屈服于法医方法。叙述者本人指出，虚假记忆综合症基金会没有直接驳斥家庭中性暴力的流行。正如我们的文化中严重影响的那样，它所关注的是，记忆缺乏可证明性，可验证的，不变的本体论，因此它的引用对象也处于暂停状态。就是说，这将事情的重心从真正的问题上转移了：父权制家庭的形成是滥用权力的机制。父亲没有说虐待从未发生过：可验证的，不变的本体，从而也使其参考对象处于暂停状态。就是说，这将事情的重心从真正的问题上转移了：父权制家庭的形成是滥用权力的机制。父亲没有说虐待从未发生过：可验证的，不变的本体，从而也使其参考对象处于暂停状态。就是说，这将事情的重心从真正的问题上转移了：父权制家庭的形成是滥用权力的机制。父亲没有说虐待从未发生过：他说她有“错误的记忆”。我们在行为中抓住了重男轻女的行为，作为宣布自己的叙事权威和控制认知立场分配的执行权。以暴力禁止的姿态...