In “The Double Status of the Unconscious”

In “The Double Status of the Unconscious” Montrelay speaks of what is one of her most original contributions to psychoanalytic theory: the concept of the “leap” (le saut), the ejection of a fragment from the unconscious once it transitions from a floating (or ondulatory) configuration to a fragmentary (or crepuscular) one. In her book, L’ombre et le nom: sur la feminite (The Shadow and the Name: On Femininity” ), she relates this concept to the circuit of the drive, that is o say, the fragment that leaps is a precipitate of the drive. What might we learn from this concept for poetic theory? In what way does thinking of the poetic in Montrelay’s term, not as a vehicle of sense and not even in the Shklovskian sense as what impedes sense, but as a precipitate of the drive ejected under particular psychic/economic conditions change our conception of the poetic,in particular in its connection with femininity as she conceptualizes it in “Inquiry into Femininity””?