Free The Marriage Plot by Jeffrey Eugenides Page A

writing itself, in its nonphonetic moment, betrays, is life. It menaces at once the breath, the spirit, and history as the spirit’s relationship with itself. It is their end, their finitude, their paralysis.”
    Since Derrida claimed that language, by its very nature, undermined any meaning it attempted to promote, Madeleine wondered how Derrida expected her to get his meaning. Maybe he didn’t. That was why he deployed so much arcane terminology, so many loop-de-looping clauses. That was why he said what he said in sentences it took a minute to identify the subjects of. (Could “the access to pluridimensionality and to a delinearized temporality” really be a subject?)
    Reading a novel after reading semiotic theory was like jogging empty-handed after jogging with hand weights. After getting out of Semiotics 211, Madeleine fled to the Rockefeller Library, down to B Level, where the stacks exuded a vivifying smell of mold, and grabbed something—anything, The House of Mirth , Daniel Deronda —to restore herself to sanity. How wonderful it was when one sentence followed logically from the sentence before! What exquisite guilt she felt, wickedly enjoying narrative! Madeleine felt safe with a nineteenth-century novel. There were going to be people in it. Something was going to happen to them in a place resembling the world.
    Then, too, there were lots of weddings in Wharton and Austen. There were all kinds of irresistible gloomy men.
    The next Thursday, Madeleine came to class wearing a Norwegian sweater with a snowflake design. She’d gone back to her glasses. For the second week in a row, Leonard didn’t show up. Madeleine worried that he’d dropped the class, but it was too late in the semester to do that. Zipperstein said, “Has anybody seen Mr. Bankhead? Is he sick?” Nobody knew. Thurston arrived with a girl named Cassandra Hart, both of them sniffly and heroin-pale. Taking out a black Flair pen, Thurston wrote on Cassandra’s bare shoulder, “Not Real Skin.”
    Zipperstein was in a lively mood. He’d just returned from a conference in New York, dressed differently than usual. Listening to him talk about the paper he’d given at the New School, Madeleine suddenly understood. Semiotics was the form Zipperstein’s midlife crisis had taken. Becoming a semiotician allowed Zipperstein to wear a leather jacket, to fly off to Douglas Sirk retrospectives in Vancouver, and to get all the sexy waifs in his classes. Instead of leaving his wife, Zipperstein had left the English department. Instead of buying a sports car, he’d bought deconstruction.
    He sat at the seminar table now and started speaking:
    “I hope you read the Semiotext(e) for this week. Apropos of Lyotard, and in homage to Gertrude Stein, let me suggest the following: the thing about desire is that there is no there there.”
    That was it. That was Zipperstein’s prompt. He sat before them, blinking, waiting for somebody to reply. He appeared to have all the patience in the world.
    Madeleine had wanted to know what semiotics was. She’d wanted to know what the fuss was about. Well, now she felt she knew.
    But then, in Week Ten, for reasons that were entirely extracurricular, semiotics began making sense.
    It was a Friday night in April, just past eleven, and Madeleine was in bed, reading. The assigned text for that week was Roland Barthes’ A Lover’s Discourse . For a book purportedly about love, it didn’t look very romantic. The cover was a somber chocolate brown, the title turquoise. There was no author photograph and only a sketchy bio, listing Barthes’ other works.
    Madeleine had the book in her lap. With her right hand she was eating peanut butter straight from the jar. The spoon fit perfectly against the curve of her upper palate, allowing the peanut butter to dissolve creamily against her tongue.
    Opening to the introduction, she began to read:
The necessity for this book is to be found in the following consideration: that the