Women writing in contemporary France

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Angot’s autofictions: literature and/or reality? 181 6 Christine Angot, Quitter la ville (Paris: Stock, 2000); L’Inceste (Paris: Stock, 1999). 7 L’Usage de la vie (Paris: Fayard, 1998) is described as ‘théâtre’, but no longer designated as such in the 1999 reprint by Mille et une Nuits; La Peur du lendemain was first published by Elle in 2000 as a ‘nouvelle’ (short story), but is no longer referred to as such in the edition, Normalement followed by La Peur du lendemain (Paris: Stock, 2001). 8 Christine Angot, Léonore, toujours (Paris: L’Arpenteur Gallimard, 1994). 9 The importance of the media is made explicit in texts such as Interview or through Angot’s regular references to the press and to television within her work. Its influence is also evident in the ways she herself uses the media, be it through her appearance on TV shows such as ‘Bouillon de Culture’, or in newspapers such as Libération where she published her father’s obituary. 10 Philippe Lejeune, Je est un autre: l’autobiographie, de la littérature aux médias (Paris: Seuil, 1980). 11 Michael Riffaterre, Fictional Truth (Baltimore and London: Johns Hopkins University Press, 1990). 12 Paul John Eakin, Fictions in Autobiography: Studies in the Art of Self-Invention (Princeton: Princeton University Press, 1985), p. 15. 13 Marie Darrieussecq, ‘L’autofiction, un genre pas sérieux’, in Poétique, 107 (1996), 369–80. 14 Tzvetan Todorov, Introduction à la littérature fantastique (Paris: Seuil, 1970). 15 Rosemary Jackson, Fantasy: The Literature of Subversion (London: Methuen, 1981). 16 Janice Morgan and Colette T. Hall (eds), Redefining Autobiography in Twentieth- Century Women’s Fiction (New York and London: Garland Publishing, 1991).
13 MARGARET-ANNE HUTTON ‘Il n’y a pas de troisième voie’ (There is no third way): Sylvie Germain and the generic problems of the Christian novel Sylvie Germain (1954–) is an unusual phenomenon on the French literary scene. Having studied philosophy at the Sorbonne, she entered the audiovisual section of the Ministère de la culture in 1981, securing immediate literary success four years later with her first novel, Le Livre des nuits (1985). 1 Establishment recognition was soon to be consolidated by the award of the prix Fémina for her third novel, Jours de colère (1989). 2 Since then she has produced a steady output of texts: novels (set principally in either the French provinces or Prague, where she taught philosophy at the Ecole française from 1986, before returning to France in 1992); shorter fictional works; explorations of religious faith articulated around striking commentaries based on both mystical and literary texts; works on Vermeer and on Holocaust diarist Etty Hillesum; and a venture into children’s writing. Germain’s work is characterised by a combination of powerful lyricism and a lush proliferation of imagery, the deployment of an eclectic range of written and visual intertexts, all set into taut crystalline structures. These are texts which cross boundaries, integrating myth and fable, incursions into the fantastic and an acute realism, a minute attention to visual detail. What singles Germain out as a contemporary female writer, however, is the fact that her work is informed by Christianity. More specifically, it reflects a self-confessed preoccupation with the existence of human suffering and evil (le mal) and their effect upon the waxing and waning of religious faith. As she states: ‘Chez presque tous les créateurs, la vie ne tourne qu’autour d’un thème. Chez moi finalement, il me semble que c’est le mal’ (For nearly all creators, life revolves around a single theme, and in my case I’d say that theme is suffering/evil). 3 Germain’s engagement with Christianity is unusual in a French female author; she follows in a predom-
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WOMEN’S WRITING IN CONTEMPORARY F
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Copyright © Manchester University
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vi Contents 10 Saying the unsayable
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viii Contributors SHIRLEY JORDAN is
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ACKNOWLEDGEMENTS We would like to t
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2 Introduction introduce to English
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4 Introduction became more and more
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6 Introduction French ‘difference
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8 Introduction essential issues to
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10 Introduction Indeed, much contem
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12 Introduction phototextual projec
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14 Introduction about the body or e
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16 Introduction European Union) has
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18 Introduction Béatrice de Jurque
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20 Introduction and the group, the
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22 Introduction Feminist Perspectiv
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24 Introduction Barthes, Image, Mus
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26 Introduction 33 This is a wider
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1 VICTORIA BEST Louise L. Lambrichs
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Lambrichs: trauma, dream and narrat
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Memory and identity in Redonnet’s
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3 KATHRYN ROBSON The female vampire
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Chawaf ’s melancholic autofiction
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4 GILL RYE Lost and found: mother-d
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Mother-daughter relations in Consta
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5 ELIZABETH FALLAIZE Puzzling out t
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Sibylle Lacan’s Un père 79 for o
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Sibylle Lacan’s Un père 81 attac
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Sibylle Lacan’s Un père 83 Howev
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Sibylle Lacan’s Un père 85 fathe
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Sibylle Lacan’s Un père 87 other
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Sibylle Lacan’s Un père 89 propr
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II Writing the dynamics of identity
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94 Writing the dynamics of identity
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100 Writing the dynamics of identit
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7 SARAH ALYN STACEY ‘On ne s’en
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8 GILL RYE Textual mirrors and unce
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Page 141 and 142: 9 SIOBHAN MCILVANNEY The articulati
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Page 233 and 234: GILL RYE AND MICHAEL WORTON Conclus
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Page 237 and 238: INDIVIDUAL AUTHOR BIBLIOGRAPHY Chri
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232 Individual author bibliography
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GENERAL BIBLIOGRAPHY Abraham, Nicol
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252 General bibliography Cottenet-H
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254 General bibliography Irigaray,
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256 General bibliography Roudinesco
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INDEX Literary works can be found u
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260 Index fiction(s) (cont.) detect
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262 Index Sebbar, Leïla (cont.) Pa
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Women writing in contemporary France

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