""And what about your origins? Tell us about them, it must be fascinating!" Blundering fools never fail to ask the question. Their surface kindness hides the sticky clumsiness that so exasperates the foreigner. The foreigner, precisely – like a philosopher at work – does not give the same weight to "origins" as common sense does. He has fled from that origin – family, blood, soil – and, even though it keeps pestering, enriching, hindering, exciting him, or giving him pain, and often all of it at once, the foreigner is its courageous and melancholy betrayer. His origin certainly haunts him, for better and for worse, but it is indeed elsewhere that he has set his hopes, that his struggles take place, that his life holds together today. Elsewhere versus the origin, and even nowhere versus the roots: the motto for daredevils breeds sterile repressions as well as bold undertakings. How does one distinguish censorship from innovative performance? As long as his eyes remain riveted to the origin, the absconder is an orphan consumed by his love for a lost mother. Does he succeed in transferring the universal need for a shoring-up or support on an elsewhere that, henceforth, would no longer be experienced as hostile or domesticated but as the simple axis of a mobility, like the violin clef or the bass clef in a musical score? He is a foreigner: he is from nowhere, from everywhere, citizen of the world, cosmopolitan. Do not send him back to his origins. If you are dying to ask the question, go put it to your own mother ..."

Kristeva, J., (1991). Strangers To Ourselves. Columbia University Press. pp. 29-30

'Dark Origins' (Strangers to Ourselves)
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