Translation needed...

By the book’s end, the constitutive infelicity that is paradoxically generative of narrative inheres within the individual speech act itself, and “performative” has enlarged to include many modes of “interruption” (xv), indeterminacy, and “Figure” (205). Under Ortiz Robles’s probing gaze, the category of the performative finally signifies an agency and materiality of language in excess not only of reference (in Austin’s pioneering distinction) but in excess of itself as speech act: a conjuring poiesis whose powerful making might equally dematerialize what it promises to produce. As he puts it: “the performative, understood as a force inherent to all language use, resists referentiality absolutely, even to the extent of positing a materiality that has no matter”

At times, Ortiz Robles’s analysis of the performative is so nuanced as to give even a theoretically adept reader a touch of vertigo.