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5. Conclusion The novel’s mélange of symbolic and literary allusions to create something «other» indicates a textual strategy akin to that in other postcolonial works like Tayeb Salhi’s Season of Migration to the North (1969). Similar to Lachmet’s piece, this ‘minor’ novel makes constant reference, both in terms of content and of structure, to Western literary works—Othello, King Lear, Heart of Darkness—and deliberately confronts these texts from within (Makdisi, 1992). As Barbara Harlow explains, it «has many of the elements of the Arabic literary technique of mu’arada, which literally means opposition or contradiction, and which involves at least two writers, the first of whom writes a poem that the second will undo by writing along the same lines but reversing the meaning» (Harlow, 1985: 75-79). Season of Migration, then, «is and is not a novel; it is and is not a hakawati oral tale; it is like Heart of Darkness as much as it is unlike it; it draws its formal inspirations from Europe as much as it seeks to distort and undermine them; it remains, finally, an unstable synthesis of European and Arabic forms and traditions» (Makdisi, 1992: 814-15). Along these lines, Le Cow-boy might be read as a kind of métissage that weaves together assorted literary and cultural tropes in order to reverse the meaning of the major work. The result is a hybrid assemblage that defies a smooth reading; thus remaining unstable and unresolved. Describing these textual subversions as cultural and linguistic «intervals», Lionnet elaborates on this strategy: We [postcolonial women writers] have to articulate new visions of ourselves, new concepts that allow us to think otherwise, to bypass the ancient symmetries and dichotomies that have governed the ground and the very condition of possibility of thought, of “clarity,” in all of Western philosophy (Lionnet, 1989: 6). Determining Shakespearean tragedy and the American western as her palimpsest, Lachmet confounds literary and cultural foundations with references to romanticism and the macho cowboy, which are problematized in turn by the outspoken and precocious presence of her young heroine. While there is no happy ending for Lallia, the novel manages to unravel to some extent the unproblematicized narrative of celebration and unification that the FLN government promulgated at the war’s conclusion. As a form of life-writing, Le Cow-boy bears witness to the realities of a violent anti-colonial struggle—as seen through the eyes of a child. As Christiane Achour-Chaulet writes, madness born of struggle provides a certain clarity; it is «a madness with a surcharge of lucidity» (1989: 88, my translation). «Je suis un cowboy du Far West»: A study of textual métissage in Djanet Lachmet’s autobiographical novel Le Cow-boy (1983) - Caroline Kelley 452ºF. #03 (2010) 85-101. 100
Works Cited ACHOUR-CHAULET, C. (1989): Myriam Ben, Paris: L’Harmattan ACHOUR, C. and ALI-BENALI, Z. (1991): Diwan d’inquiétude et d’espoir: la littérature féminine algérienne de langue française, Alger: ENAG-éditions ALLEN, G. (2000): Intertextuality, New York: Routledge BAKHTIN, M. and P. MEDVEDEV (1985): The Formal Method in Literary Scholarship: A Critical Introduction to Sociological Poetics, Cambridge: Harvard University Press BARTHES, R. (1981): «Theory of the Text», in Young, R. (ed.), Untying the Text: A Post- Structuralist Reader, London: Routledge, 31-47 CAWELTI, J. G. (2004): Mystery, Violence and Popular Culture: Essays, Madison: University of Wisconsin Press DERRIDA, J. (1967): L’Écriture et la différence, Paris: Seuil DJEGHLOUL, A. (1990): «Algérie», in Encyclopaedia Universalis, Paris, 777 DOBIE, M. (2003): «Francophone Studies and the Linguistic Diversity of the Maghreb», Comparative Studies of South Asia, Africa and the Middle East, 1-2, vol. XXII, 17-25 FANON, F. (1959): L’An V de la Révolution algérienne, Cahiers libres, Paris: F. Maspero GENETTE, G. (1982): Palimpsestes: la littérature au second degré, Paris: Éditions du Seuil GONTARD, M. (1993): Le Moi étrange: Littérature marocaine de langue française, Paris: L’Harmattan GLISSANT, E. (1981): Le Discours antillais, Paris: Seuil GLISSANT, E. (1989): Caribbean Discourse, Charlotte: University Press of Virginia HARLOW, B. (1985): «Sentimental Orientalism» in Salih’s, T. «Season of Migration to the North»: A Casebook, ed. by M. Takieddine-Amyuni, Beirut: Lebanon, 75-79 KELLY, D. (2005): Autobiography and Independence: Selfhood and Creativity in North African Postcolonial Writing in French, Liverpool: University of Liverpool Press KHATIBI, A. (1990): «Le Métissage culturel, Manifeste», Abdelkébir Khatibi, Casablanca: Al Asa-Okad, 149 KRISTEVA, J. (1969): Sèméiôtickè: recherches pour une sémanalyse, Paris: Éditions du Seuil LACHMET, D. (1983): Le Cow-boy, Paris: Pierre Belfond LACHMET, D. (1987): Lallia, trans. by J. Still, Manchester, NY: Carcanet LARONDE, M. (1988): «La “Mouvance beur”: emergence mediatique», The French Review, 5, vol. LXI, 689 LAURETIS, T. DE (1986): «Feminist Studies/Critical Studies: Issues, Terms and Contexts», in Lauretis, T. de (ed.), Feminist Studies/Critical Studies, Milwaukee: The Regents of the University of Wisconsin System, 1-19 LIONNET, F. (1989): Autobiographical Voices: Race, Gender, Self-portraiture, Ithaca: Cornell University Press MAKDISI, S. (1992): «The Empire Renarrated: Season of Migration to the North and the Reinvention of the Present», Critical Inquiry, 4, vol. XVIII, 804-20 MORGAN, T. (1989): «The Space of Intertextuality», in O’Donnell, P. and Con Davis, R. (eds.), Intertextuality and Contemporary American Fiction, Baltimore: Johns Hopkins University Press, 239-279 SALHI, T. (1969): Season of Migration to the North, trans. by Johnson-Davis, D., London: Heinemann Education STORA, B. (2001): Algeria, 1830-2000: A short history, Ithaca: Cornell University Press TABTI, M. (2001): Espace algérien et réalisme romanesque des années 80, Ph. D. thesis, Alger: Université d’Alger, Faculté des Lettres et des Langues, Départment de Français,
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452ºF 4 5 2 º F Original I s s u
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EDITORIAL en- We are pleased to pre
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EDITORIAL es- Nos complace presenta
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EDITORIAL ca- Ens complau presentar
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EDITORIALA eu- Benetan atsegin dugu
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ENRIC SULLÀ Sobre la formació del
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SOBRE LA FORMACIÓ DEL CÀNON DEL C
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A l’hora de parlar del cànon se
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els propis de Hollywood. És una ma
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En dos casos el nombre de pel·líc
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anteriors o coetanis, com el de gà
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injustícies, de la corrupció gene
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proporciona una estimulant galeria
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Bibliografia AA. VV. (1980): Women
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LITERATURA COMPARADA Y ESTUDIOS CUL
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0. Introducción «La disciplina es
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literarios en general y a las filol
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Por otro lado, es posible rescatar,
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Academic «Cultural Studies», as a
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Even-Zohar habla de una suerte de
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Sólo el reconocimiento de la inerc
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Said ha expuesto: Según ha dicho a
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[los cuales] llegan a ennoblecer y
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al eurocentrismo, a la cual conside
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Page 51 and 52: Bibliografía BAL, M. (1999): «Int
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Page 67 and 68: teóricos actuales que debaten en e
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Page 87 and 88: 0. Introduction In this paper I wan
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Page 103 and 104: 452ºF Resumen || El presente artí
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Page 117 and 118: 0. Introduction A young girl, of ap
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Page 127 and 128: her conscience gets to her, and the
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Page 133 and 134: 452ºF Resumen || La literatura ar
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«manual» que escribió sobre el t
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de la novela, Highsmith es una perf
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En primer lugar, y siguiendo la pro
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funcionamiento su particular maquin
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dan lugar a una serie de duplicidad
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El siguiente cuadro es un intento d
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Novela Film Guy Bruno Guy Bruno Mad
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de treinta páginas) hacer que Brun
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Bárbara, a tu padre. Como lo sabes
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¿Puede hablarse, entonces, de una
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LIVING IN A SIMULACRUM: HOW TV AND
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If a work of art can picture the sc
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in the dialogues of the Gladneys, b
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form for «simulated evacuation.»
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«So the girls can’t hear. They h
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What was the barn like before it wa
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and names in her sleep. Jack watche
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Works cited BARTHES, R. (1974): S/Z
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simbólico y presenta imágenes y e
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2. La imagen La imagen siempre ha s
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La embriaguez del estado dionisiaco
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5. El sujeto en el sujeto Si la tra
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Bibliografía BARTHES, R. (2003):
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