Introduction
This essay explores how John Banville, a contemporary Irish novelist, dramatizes the Lacanian subject struggle between the Imaginary and Symbolic orders in his works. Lacanian psychoanalysis, developed by Jacques Lacan, posits that the subject is formed through a tension between the Imaginary order, associated with illusions of wholeness and mirrored self-identification, and the Symbolic order, linked to language, societal norms, and law. Banville’s fiction often features protagonists grappling with identity, memory, and loss, providing fertile ground for examining this psychoanalytic framework. Focusing primarily on his novel *The Book of Evidence* (1989), this essay analyzes how Banville portrays characters caught between a longing for an idealized self and the harsh constraints of symbolic structures. The discussion will address key aspects of this struggle, supported by textual evidence and critical perspectives, to highlight Banville’s nuanced depiction of fractured subjectivity.
Lacanian Framework: Imaginary and Symbolic Tensions
Jacques Lacan’s theory of subjectivity centers on the subject’s navigation through three orders: the Imaginary, the Symbolic, and the Real. The Imaginary order emerges during the mirror stage, where the infant misrecognizes itself as a unified whole in its reflection, fostering a desire for completeness (Lacan, 1977). Conversely, the Symbolic order introduces language and societal rules, fragmenting this illusion as the subject becomes bound by external structures. In Banville’s works, this tension is often embodied in characters who oscillate between narcissistic self-idealization and the inescapable demands of social reality. For instance, in *The Book of Evidence*, the protagonist Freddie Montgomery’s narrative reveals a deep yearning for an idealized past, which aligns with the Imaginary order, yet he is constantly pulled into the Symbolic through legal and moral accountability for his crimes.
Self-Delusion and the Imaginary in Freddie Montgomery
In *The Book of Evidence*, Freddie Montgomery exemplifies the Lacanian subject entrapped in the Imaginary order through his obsession with art and beauty as a means of constructing a coherent self-image. His fixation on a painting he eventually steals symbolizes a desire to possess an idealized version of reality, a projection of wholeness he lacks internally. As Banville writes, Freddie describes the painting with almost reverent longing, seeing it as “a thing of such… perfection” (Banville, 1989, p. 102). This reflects Lacan’s notion of the Imaginary as a space of misrecognition, where Freddie seeks to merge with an unattainable ideal. However, this pursuit is inherently flawed, as his actions—stealing the painting and committing murder—shatter the illusion, underscoring the impossibility of sustaining the Imaginary without confronting the Real.
Confrontation with the Symbolic Order
Banville further dramatizes the Lacanian struggle through Freddie’s inevitable encounter with the Symbolic order, which imposes structure and judgment on his subjective desires. The legal system, language, and societal norms—all hallmarks of the Symbolic—confront Freddie during his trial and confession. His narrative, written as a testimony, becomes a site of conflict where he attempts to justify his actions, yet the very act of articulating them binds him to the Symbolic framework of accountability. As critics note, Banville uses language itself as a tool to reveal Freddie’s entrapment; his florid, self-justifying prose often contradicts the brutal reality of his deeds (Imhof, 1997). This tension illustrates Lacan’s argument that entry into the Symbolic necessarily fragments the subject, as Freddie cannot escape the external laws that define his guilt.
Conclusion
In conclusion, John Banville effectively dramatizes the Lacanian subject struggle between the Imaginary and Symbolic orders through the conflicted subjectivity of characters like Freddie Montgomery in *The Book of Evidence*. Freddie’s longing for an idealized self, embodied in his fixation on art, represents the pull of the Imaginary, while his confrontation with legal and social structures underscores the inescapable dominance of the Symbolic. Banville’s nuanced portrayal, rich with introspective language and moral ambiguity, highlights the perpetual tension inherent in Lacanian subjectivity. This analysis not only illuminates Banville’s psychological depth as a writer but also suggests broader implications for understanding how literature can reflect the fractured nature of human identity within psychoanalytic frameworks. Ultimately, Banville’s work invites readers to consider the limits of self-understanding when caught between illusion and societal constraint.
References
- Banville, J. (1989) *The Book of Evidence*. London: Secker & Warburg.
- Imhof, R. (1997) *John Banville: A Critical Introduction*. Dublin: Wolfhound Press.
- Lacan, J. (1977) *Écrits: A Selection*. Translated by A. Sheridan. London: Tavistock Publications.
