By Susan Bainbrigge, Jeanette Den Toonder
Because the ebook of her first novel in 1992, Amélie Nothomb maintains to interact and to impress her readers via her exploration of the fluid obstacles among attractiveness and monstrosity, solid and evil, myth and truth, in addition to by way of her attention-grabbing presentation of formative years, anorexia, and the abject. In Amélie Nothomb: Authorship, id and Narrative Practice, the 1st full-length learn in English of Nothomb’s paintings, those components are offered and interpreted from a number of views, with the individuals targeting a unmarried novel or evaluating varied texts. made out of a suite of essays on her autobiographical and fictional works, with contributions from her anglophone translators, additionally it is an interview with the writer, a preface via the eminent author and critic, Jacques de Decker and a bibliography of secondary works. Nothomb’s works and the severe responses to them are contextualized in a basic creation and arranged below the next key issues: autobiography and gender identification, representations of the physique, and narrative perform. This assortment is a vital source for college students and students of twentieth-century modern literature and gender reviews
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Additional info for Amélie Nothomb: Authorship, Identity and Narrative Practice
The feminine body is symbolic not for its creativity and possibility, but rather for the limitations placed upon it by a patriarchal society. Water is the cleansing element by which one can cleanse the body and start anew. Léopoldine-Ophelia dies and repeats the tragic legend in Hygiène de l’assassin. However, the twenty-year-old Amélie of Stupeur et tremblements survives subjugation by imagining a ‘défenestration’, and is ﬁnally liberated by the publication of her ﬁrst novel. Rather than being silenced in a suicide/death, Ophelia speaks.
145. Subsequent references in the text will appear as HA followed by the page number. 4. Nancy K. Miller, ‘Writing Fictions: Women’s Autobiography in France’, in Lifelines: Theorizing Women’s Autobiography, ed. by B. Brodzki & C. Schenck (Ithaca: Cornell UP, 1988), pp. . 5. In A History of Women’s Writing in France, ed. by S. Stephens (Cambridge: Cambridge UP, 2000), pp. 185–203 (p. 189). 6. Telephone interview with Amélie Nothomb on April 9, 2002. 7. Cited from Autobiography and Questions of Gender, ed.
In contrast, the gaping mouth of the carp represents the feminine sex. There is thus a slippage in the carp symbol from the masculine to the feminine. When Amélie claims, upon noting the useless and annoying nature of boys (and speciﬁcally older brothers), ‘peut-être faudrait-il les exterminer’ (MT 99), her disgust for the masculine gender echoes Prétextat Tach’s own disgust of the adult feminine body in Hygiène de l’assassin. Tach imagines that the extermination of all women is the only solution to the feminine condition: (‘il faut simplement exterminer les femmes .
Amélie Nothomb: Authorship, Identity and Narrative Practice by Susan Bainbrigge, Jeanette Den Toonder