ABSTRACT
This chapter argues that Crash reaches representation and that the omnipresent scars of Crash were beyond the reach of any interpretation of castration. Something of the experience of epiphany is found in Crash, which, if not at the level of language, is at the level of J. Joyce's response to the thrashing he received. The chapter shows how they have a reference in Crash, at the level of clarifying its lack of phallic signification and therefore its disturbance of the imaginary. The movement and ' play" of the Borromean knot, which for J. Lacan is the topological equivalent of the subject as a space of signifying displacement, is radically hampered by the "prosthetic" fourth register in Joyce, which bolts in place the "subject" as "aspace of dumbillsilly." Joyce's art consists of the kind of repetition that can only be described as the repetition of the failure of the paternal relation.
