Abstract

In lieu of an abstract, here is a brief excerpt of the content:"And Her Substance Would Be Mine":Envy, Hate, and Ontological Evacuation in Josephine Hart's SinA. Samuel Kimball (bio)Envy involuntarily testifies to a lack of being that puts the envious to shame.—René Girard, A Theatre of EnvySin, offspring of snt-ya, "that which is," in Germanic sun(d)jo, "it is true," "the sin is real," and ultimately from es-, "to be," source of am, is, sooth, soothe; of the Sanskrit roots sat- and sant-, "existing, true, virtuous"; of the Latin, esse, "to be," from which is derived such words as essence, presence, absence, and represent; of the Greek roots einei, "to be" as well as ont-, "being," which provides the name for the philosophical study of being itself, ontology.—Adapted from The American Heritage Dictionaryof Indo-European RootsI: Ruth Garton's Envious NarrationThe etymology of sin suggests that the evil it names reveals something fundamental about being, something ruinous and yet unavoidable, something that endangers or even nullifies being and yet is inseparable from it, even essential to it. In Josephine Hart's second novel, Sin, this something is a species of Girardian desire in the form of a monstrous envy, which impels the first-person narrator, Ruth Garton, to a lifelong hatred of her cousin and stepsister, Elizabeth. The focus of Ruth's confessional narrative, envy, drives Ruth to take covert and increasingly virulent revenge against her quasi-sibling in a self-deluding attempt to appropriate not only the objects of Elizabeth's desire but ultimately Elizabeth's desire itself and the apparent ontological fullness that Ruth attributes to it. Over the course of her life, then, Ruth loses the promise [End Page 239] of her name in her ruthless pursuit of her enemy. As she becomes increasingly frustrated in her efforts to destroy her sister's life, Ruth finally turns her hatred of her nemesis against herself as well as the readers to whom she appeals for understanding. If envy heightens Ruth's consciousness to the point where she can perceive that her desire signals her ontological emptiness, nevertheless, it so captures her, so dominates her emotional and cognitive life, that she is unable to find a way to affirm her own—or anyone else's—being in the world. The result is a spectacular narrative record of the cost of recognizing but being unable to resist the mimeticism of desire.1II. The Girardian Dynamic of SinAs Girard has demonstrated, one of the most difficult existential challenges is to understand that desire is mimetically mediated. The result is that we come into our desire only through someone else's and always want something more and other than we think we want. Behind every move to possess a particular object is a largely unrecognized and in principle unsatisfiable desire for absolute satisfaction in the form of ontological completeness, self-sufficiency, intactness. On the one hand, Girard writes, "by the example of his own desire…the model conveys to the subject the supreme desirability of the object" (1977, 146). On the other hand, since to desire mimetically means to come into desire through the other rather than through oneself, by this same example the model conveys to the subject the contingency, the dependency, the secondariness, hence the emptiness of the subject's desire, even the subject's lack of desire, the lack that, paradoxically, constitutes his or her desire. Therefore, to be subjected to the other's want ultimately has the effect of signaling the seeming priority, fullness, and self-origination of this other person's desire. For this reason Girard asserts that "man... desires being, something he himself lacks and which some other person seems to possess" (146).If at first the other person models the desire that the subject lacks, it is in the logic of mimesis that the other will become a rival and, unless the rivalry is somehow interrupted or abrogated, inevitably an enemy to be destroyed. The subject will become locked into a potentially deadly game of trying to obtain the same object that the model desires, so as to experience the satisfactions—ultimately, the sense of being—that the object in question seems to provide...