The silent gardener

Abstract

Madness, that faithful companion of humankind, has been treated in varying forms. It may wander in the sciences, as E. Hernández says, without finding place, remaining in a sort of extra-territoriality that is its exclusion. Psychoanalysis gives madness a place, even collecting the teachings of artists. But there are mismatches in the relationship between psychoanalysis and literature. One of these mismatches is the so-called «application» of psychoanalysis to literature. The distinction between confession and testimony would allow a clearer marking of the path taught by the writer to psychoanalysis.
What particular madness inhabits the work of E. Hernández to make M. Benedetti or C. Martínez Moreno speak of atrocity or failure? There is undoubtedly a trace to be explored in that rejection. Even ifthis study only half-opens the door, it is the relationship with the body that is revealed with a very particularbias. Image of the body and real body appear disjointed in F. Hernández‘s work. How does psychoanalysis deal with the body? This is a pertinent question because the relationship with what is called one‘s own body creates a problem. In practice, psychoanalysis must touch the body, otherwise
it would be a useless practice. And it is in relation to the body that E. Hernández may be a teaching for psychoanalysis.