By Siobhan McIlvanney
During this first serious research in English to concentration completely on Annie Ernaux’s writing trajectory, Siobh?n McIlvanney presents a stimulating and hard research of Ernaux’s person texts. Following a commonly feminist hermeneutic, this examine engages in a sequence of provocative shut readings of Ernaux’s works in a circulation to spotlight the contradictions and nuances in her writing, and to illustrate the highbrow intricacies of her literary undertaking. via so doing, it seeks to introduce new readers to Ernaux’s works, whereas enticing on much less commonly used terrain these already accustomed to her writing.
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Extra resources for Annie Ernaux: The Return to Origins (Liverpool University Press - Modern French Writers)
64). ’ (CDR, p. 65). ) – Ce qu’ils disent ou rien succeeds: as with Les Armoires vides, Ce qu’ils disent ou rien addresses the lacuna its narrator perceives in literature generally by providing a candid account of heterosexual relations – with the emphasis predominantly on the sexual – unlike the sterilised versions of romantic love on which she has been raised. Ce qu’ils disent ou rien differs from the rest of Ernaux’s corpus not only in its representation of an extreme form of alienation but also in its general content.
147), which forms a leitmotiv of the narrative, rising up repeatedly through the heteroglossic diversity of voices – becomes a self-fulfilling prophecy. Linguistic Representation The principal signifier of difference between the narrator’s home and educational environments, and one to be addressed in greater detail in Ce qu’ils disent ou rien, is language. In Ernaux’s writing, language use is never innocent and cannot be analysed as a self-contained, neutral system in the manner of structuralist linguistics.
This death can be interpreted as signalling the end of Anne’s childhood, an end given allegorical significance in her act of masturbation on the evening of her grandmother’s funeral: ‘Ç’a été ma façon à moi de l’enterrer’ (CDR, p. 79). p65 41 04/06/01, 14:20 42 Annie Ernaux: The Return to Origins Ce qu’ils disent ou rien, the family meal following the funeral crystallises the narrator’s feelings of hostility towards her family by feeding her distilled doses of their conversation. 39 Anne’s rejection of the mother/daughter symbiosis culminates in the wish for her own mother’s death – the definitive physical severance – a wish which is presented as the logical conclusion to the narrator’s psychological estrangement from her: ‘Là j’aurais aimé autant qu’elle soit partie, morte, puisque de toute façon je suis partie d’elle dans ma tête’ (CDR, p.