The Impossible Project of Love in Sartre's Being and Nothingness, Dirty Hands and The Room

In Being and Nothingness (1943), Sartre explains love as a strategy for achieving control over "being-for-others," the objectified aspect of the self imposed by others' defining looks. Two contemporaneous fictions by Sartre, The Room (1939) and Dirty Hands (1948), expand the notions of love and of being-for-others in surprising directions. Dirty Hands shows the creative, productive potential of being-for-others: Hugo's reliance on the other for his self-definition paradoxically generates his decisive embrace of beingfor-itself. The Room dramatizes the role of the family in constituting a child's subjectivity: Eve's family situation explains her ontological imprisonment in the dimension of being-for-others. The two stories' tolerant vision of the complex social and psychological reasons for adopting being-for-others as one's dominant modality contrasts with Sartre's rigorous critique of reliance on being-for-others as a form of bad faith in Being and Nothingness. The fictions' enlarged perspective on human love and on being-for-others provides a framework for complicating and critiquing the ontological categories presented in Being and Nothingness.