"I, truth, speak."
Lacan centered his career around his opposition to the degeneration of Freud's psychoanalysis into so many pitfalls that must be circumnavigated if the merits of Freud's work are to be received and revived. Most of those deviations stemmed from failures to recognize the essential role speech plays in healing, insight, initiation, truth, and being. Deviations to information theory, to Scholastic psychology, to behaviorism, to mysticism,—each path forsakes the responsibility that speech entails: all speech calls for a response, where the stakes are the (re)affirmation of the addressee as a subject, as someone who is capable of recognizing my own status as a person, sharing my reality in a meaningful way. Whenever I declare that you are X, X sets my own relation to you—if I say you're my friend, I receive back the message that I'm your friend in turn, simply by you being present and not refuting/correcting me, so long as I speak with integrity.
There's a distinction between empty speech and full speech: empty speech is everything that deflects from the important things that are weighing on your mind and important to you, and that generally fails to match your words to your intentions, needs, demands, and desires. In full speech, your words align with those four things, and your ego is disinhibited, its rigid walls momentarily disrupted; those are the intervals where seeds of lasting change can be planted, and where meaning can be punctuated by a listener's subtle gesture indicating the importance of the block of speech. Lacan calls these gestures scansions, like the line breaks in poems.
For an idea to present itself at all, it must appear through a narrative, and every narrator has their own fixations and biases. A drama can't manifest in the form of a pure structure, even if we can abstract a structure from a narrative. These narratives comprise what Lacan calls the imaginary register, and are outgrowths of the ego's demand for control, to fix things in place—stable, singular, definitive meanings for everything—, and to project and otherwise ward off feelings of internal fragmentation. The stories we tell ourselves when someone hurt us, especially when we've done wrong that we are unwilling to face,—such stories are the ego trading growth for a farce of stability, to save face, lest our self-images crumble as the incoherences in our narratives expose the lies we live and the truths we not only waste tremendous energy concealing, but that we're not even equipped to grasp: truth for Lacan seems to be something that can be expressed and shared, but not understood in the way we might understand gravity or the facts contained in an encyclopedia. If anything, truth is a rupturing force, that breaks free in spite of the subtle dishonesty we bathe ourselves in to maintain an orientation, a status quo.
If the story you tell yourself can be incoherent, that implies that there's coherence to approach: that's the symbolic order. As it turns out, we always say more than we mean, and mean other than we say, because of the cascades of associations and contexts that any non-trivial sentence with any personal charge proliferates. We can intuitively pick up on a lot of this information, but many of us are used to using tone and body language as cues; Lacan warns that relying on nonverbal cues is a risky move that often borders on proclaiming telepathy to mask that you're merely projecting your own intentions, "alibis" as Lacan says, onto the person. No, to listen for truth's speech is to listen like a poet, examining where a phrase has multiple significant meanings (such as someone saying something weighs heavily on them when they're struggling with weight/body-image symptoms), expanding rather than contracting your intuition to hear the gaps, displacements, resistances, and so on that permeate speech, especially one it's out of pure empty speech.
Metaphors play a much more significant role in speech than analogies do. An analogy is nothing more than a comparison, but a metaphor substitutes a subject for an object, which then serves as a scapegoat for whatever the speaker unconsciously wishes to confess or explore. Lacan's example: "his pen was neither miserly nor hateful", where "his pen" is devoid of any personality, but the writer is not; the writer is miserly and hateful, but "his pen" blocks him off from that realization by the same stroke as it points the way to that realization.
Once we look closer, we realize that metaphor pervades language, because signifiers don't stand for things, but stand in for things, i.e. are substitutes, ersatz scapegoats mediating our feeble efforts at grasping the world on its own terms, by approaching the world with our terms and forcing it to conform to those terms before anything can enter into perception and understanding. This is especially clear with signifiers that explicitly only refer to other signifiers, like much of linguistic jargon and many metonyms (e.g. by "a fleet of 30 sails" we know is meant "a fleet of 30 ships", even though most ships have either zero or multiple sails).
While metaphors are the locks and keys of symptoms, metonyms are the slippery garden paths of desire. Desire is a bizarre concept in this book, because it isn't articulable, or fulfillable; we're constantly alienated from our desires, because desire is at root a desire for recognition, and at stem a desire copied from other people as models. Desire inhabits the fissure where demand outstrips need, and this fissure is one of the fragmentations that constitute the subject, another being the irreconcilable gap between speaker and spoken: when I say "I", I am the speaker, but "I" am spoken; the speaker never appears in the material of speech that she or he generates.
Demand is the realm of the imaginary. Desire is the realm of the symbolic. Need is the realm of the real; the real register is an ill-defined crossroads of contingency and physiology. While the imaginary is where we fool ourselves into overestimating our freedom, through accommodating mirages that avoid challenge when they're not voiced: think of how hard it is to polish a rehearsal, and then realize how little emotional honesty a rehearsal is able to achieve because it's so overcontrolled. Or, better still, think of how much you've "learned" through introspection, only for your self-image to eventually be uprooted when put into practice. We use resistances like empty speech and avoiding people to keep our self-images far away from destabilization: even when we're so thoroughly convinced that we're doing everything right in terms of maturation, most likely we've merely confined ourselves to a minor region, one that's controllable, where we're in charge, rather than what in us we don't accept as us.
We enter into human reality as subjects by seeing ourselves in a mirror and taking in a whole self-image—which is complete and controllable—at once. That's more of a myth than anything else, one of the few Lacan weaves. What's important there is threefold: first, it fixes an ideal of wholeness that we strive for, tantalized; second, it allows us to take ourselves as objects; and third, it confronts us with those in others, that they can take us as objects and relate us to their ideals. The third point inaugurates our competitive nature as strategic rivals, above and beyond the camouflage and feints in the animal kingdom. You can think about how I'll think about your action, and change your plan accordingly. Maybe that helps explain why humanity's preeminent antagonist is the master of serpentine language.
Lacan refers to speech as a lure, and as tesserae. Lures maneuver empty speech and metacognition to secure prestige and buttress self-imagery (in the imaginary). Tesserae are tokens that identify people in an exchange. Exchange, the circulation of signifiers, is another vital part of speech. It's often done without speech now thanks to the ability to text people, but signifiers flow through, bind, and rearrange relations between people. Your use of language distills and spreads your unique values, just as the trade of gifts condenses the values unique to each culture, entraining these differences to enable communication and alliance, and open the door for actions like betrayal. Speech is a series of pacts, accompanying the responsibility each exchange carries, through which you (re)calibrate where you stand with each person you interact with. This is faulty but indispensable, as you can only understand yourself through others' eyes.
No matter how fiercely we resist truth, no matter how sophisticated our distortions of it, it speaks. It will never go away, not as long as there's a shred of merit in Freud's project. Even in empty speech, truth shines; its light is beset by fog, dimmed, yes, but it will not fade. That is, we always have within ourselves the tools we need to mature, to dig ourselves out of the ways our upbringings and bad habits have fucked us over, even if those tools require the intervention of perceptive others to reveal, sharpen, and guide.
Lacan is rather pessimistic about our capacity for growth, but his ideas can be read in a hopeful light and repurposed for your own needs, as I've implied throughout this synopsis. Most of us reading this aren't going to be psychoanalysts, so the rather extreme advice Lacan gives for interactions with clients can be tweaked to improve our healing influence on others, through more compassionate and intellectually honest listening. Norms, insecurities, anxieties, and ignorance drown out our capacity for full speech, but psychoanalysis teaches us that most people have understandings of the principles psychoanalysts study and apply, just deeply buried, waiting to surface around someone able and willing to listen to their story and hold them accountable for telling it.
I don't know if I would recommend this to anyone. It's a brutal book. I really only read it because I wanted to prove I could keep a commitment to daily reading, which I did, for six months, before deciding I might get more mileage focusing on books I could make more tangible progress in. But Écrits was a trial-by-fire of improving my reading skills, as someone who has always struggled with reading, and who spends most of the time short-circuiting and not processing anything. I think my ability to follow complicated threads has improved a fair amount through this book. Everyone says to just read the seminars if you want to understand Lacan's content. I haven't read the seminars. There's an enormous amount to say about the book that I just don't have the understanding to share, but I tried to cover many of the anchors of Lacan's unique take on speech in the hopes of showing how they might be meaningful beyond merely fascinating.