The 1990s witnessed an explosion in women's writing in France, with a particularly exciting new generation of writer's coming to the fore, such as Christine Angot, Marie Darrieussecq and Regine Detambel. This book introduces an analysis of new women's writing in contemporary France, including both new writers of the 1990s and their more established counter-parts. The 1990s was an exciting period for women's writing in France. The novels of Louise Lambrichs are brilliant but troubling psychological dramas focusing on the traumas that inhabit the family romance: incest, sterility, the death those we love and the terrible legacy of mourning. The body of writing produced by Marie Redonnet between 1985 and 2000 is an unusually coherent one. The book explores the possibility of writing 'de la mélancolie' through focusing on the work of Chantal Chawaf, whose writing may be described as 'melancholic autofiction', melancholic autobiographical fiction. It places Confidence pour confidence within Constant's oeuvre as a whole, and argues for a more positive reading of the novel, a reading that throws light on the trajectory of mother-daughter relations in her fiction. Christiane Baroche was acclaimed in France first as a short-story writer. Unable to experience the freedom of their brothers and fathers, beur female protagonists are shown to experience it vicariously through the reading, and the writing of, narratives. Clotilde Escalle's private worlds of sex and violence, whose transgressions are part of real lives, shock precisely because they are brought into the public sphere, expressed in and through writing.
Louise L. Lambrichs: trauma, dream and
The novels of Louise Lambrichs are brilliant but troubling psychologicaldramas focusing on the traumas that inhabit the family romance: incest,
sterility, the death of those we love and the terrible legacy of mourning.
Bringing together themes of loss and recompense, Lambrichs’s novels trace
with inﬁnite delicacy the reactions of those who suﬀer and seek obsessively for comfort and understanding. But equally they perform a subtle and
often chilling evocation of the secrets, lies and crimes that
Janov’s theory and was not
finally interested in making a cinematic work that would take a stance
on it as a hypothesis in scientific psychology, he might still have
sought to recruit some of its tenets as interesting premises for an
engaging psychologicaldrama ‘along Janov lines’. Here we
need to draw a distinction between (1) the author’s effective and
final story intentions pertaining to what would be fictionally true in a
film’s story, and (2) whatever fervent psychological-theoretical
beliefs the director
Sylvie Germain and the generic problems of the Christian novel
loosening of the reader’s expectation of a ﬁctional
world perceptible to the senses, the suggestion of an unseen but no less
real dimension, and ﬁnally the reintegration of this supernatural plane
into the world of ﬂesh-and-blood characters, whose moral and psychologicaldrama are intelligible in terms of the beliefs taught by the Church.
(Scott, The Struggle, pp. –)
Following on from this insight, it might be suggested that the Christian
novelist wishing to maximise her chances of ‘success’ (from the point of
view of the non-believer) may beneﬁt from the adoption of
ideas about ‘identification’ and ‘form and genre’ are part of how a work
reveals or uncovers a world, both can be seen as radically changing the way in which
we understand literary texts. This is the case with Heart of Darkness, for example.
Eugene Goodheart writes that when he first encountered the novella in the 1950s,
little mattered ‘apart from Marlow’s psychologicaldrama on his African journey’.54
Even in Hannah Arendt’s account in The Origins of Totalitarianism, which uses the
book as a way to discuss imperialism, the focus is on Kurtz as a European. F. R