By Susan Bainbrigge, Jeanette Den Toonder
Because the booklet of her first novel in 1992, Am?lie Nothomb keeps to have interaction and to impress her readers via her exploration of the fluid obstacles among good looks and monstrosity, strong and evil, myth and truth, in addition to via her attention-grabbing presentation of early life, anorexia, and the abject. In Am?lie Nothomb: Authorship, identification and Narrative perform, the 1st full-length research in English of Nothomb’s paintings, those components are offered and interpreted from quite a few views, with the members targeting a unmarried novel or evaluating various texts. constructed from a suite of essays on her autobiographical and fictional works, with contributions from her anglophone translators, it's also an interview with the writer, a preface by way of the eminent author and critic, Jacques de Decker and a bibliography of secondary works. Nothomb’s works and the serious responses to them are contextualized in a normal creation and arranged below the subsequent key topics: autobiography and gender id, representations of the physique, and narrative perform. This assortment is a vital source for college kids and students of twentieth-century modern literature and gender stories.
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Extra info for Amélie Nothomb: authorship, identity, and narrative practice
24. Marcel Pagnol, Le Château de ma mère (Paris: Julliard, 1958). 25. Peter Härtling, Ben est amoureux d’Anna (Paris: Bordas, 1981) (traduit de l’allemand, 1980), p. 71. 26. For a psychoanalytical analysis, see, Anon. op. cit. 27. See Picard, op. , pp. 119–38. 28. Hygiène de l’assassin (Paris: Albin Michel, 1992). 29. Tombeur, op. cit. 30. Annick Cojean, ‘La rage des “chiennes de garde” ’, Le Monde, 12 février 2000, p. 13. 31. André Gide, Si le grain ne meurt (Paris: Gallimard, 1954), p. 545. 32.
Like Ophelia, Amélie embraces suicide: ‘délicieusement sereine, j’observe le ciel à travers la surface de l’étang’ (MT 150). She repeats several times, as she is waiting for death: ‘je me sens très bien’ (MT 160). This scene recalls Ophelia’s drowning in Shakespeare’s Hamlet recounted by her surrogate mother (in-law): 32 désirée pries Queen [. 25 Léopoldine, the false noyée of Hygiène de l’assassin, is also reminiscent of Ophelia. Although the name Ophelia is not used in Métaphysique des tubes, there are many parallels between this character and Amélie.
Quoted from an interview with Evelyne Wilwerth, ‘Amélie Nothomb: sous le signe du cinglant’, La Revue générale, 6–7 (1997), 45–51 (p. 47). 21. Marthe Robert, Roman des origines et origines du roman (Paris: Grasset, 1988), p. 76. 22. A critic suggested that the two nannies represent Mélanie Klein’s concept of ‘good’ and ‘bad’ mothers, leaving the biological mother ‘hors jeu’, op. htm (accessed 10 May 2001). 23. Romain Gary, La Promesse de l’aube (Paris: Gallimard, 1960). 24. Marcel Pagnol, Le Château de ma mère (Paris: Julliard, 1958).