By Susan Bainbrigge, Jeanette Den Toonder
Because the book of her first novel in 1992, Amélie Nothomb keeps to have interaction and to impress her readers via her exploration of the fluid limitations among good looks and monstrosity, stable and evil, myth and fact, in addition to through her attention-grabbing presentation of early life, anorexia, and the abject. In Amélie Nothomb: Authorship, id and Narrative Practice, the 1st full-length research in English of Nothomb’s paintings, those parts are awarded and interpreted from a number of views, with the members targeting a unmarried novel or evaluating diversified texts. created from a set of essays on her autobiographical and fictional works, with contributions from her anglophone translators, it's also 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 serious responses to them are contextualized in a common advent and arranged lower than the subsequent key topics: autobiography and gender identification, representations of the physique, and narrative perform. This assortment is a necessary source for college students and students of twentieth-century modern literature and gender stories
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Additional info for Amélie Nothomb: Authorship, Identity and Narrative Practice
Peut pas s’empêcher de voler! 29 Whereas Cixous’s girl cannot stop ﬂying, Amélie cannot stay out of the water, her element of choice. Swimming produces the weightlessness of ﬂying. It is in the Bainbrigge & Den Toonder: Amélie Nothomb page 33 Piscina 33 water that Amélie almost drowns twice, where her father is symbolically ridiculed in the sewer (‘eaux sales’). It is also in water that young Amélie ﬁnds liberation, swimming in ‘Le Petit Lac Vert’ (MT 122), and recaptures her identity. In her beloved lake, swimming until she melts, the mind-body split is healed, and she reestablishes an identity unfettered by gender.
It comes as no surprise that Nothomb, daughter of a diplomat with a multitude of short-term postings, should be concerned with national identity. 14 National identity is also a prevalent theme in Belgian literature. ’15 Speciﬁc to Nothomb however are the exaggeration and humour she puts to good use in dealing with this core theme: the chocolate-induced revelation initiates a search for identity through language and, again as a ‘metaphysical’ child, she ﬁnds not her individual identity but a universal law.
Coupez-lui la langue! – Qu’est-ce qu’elle a? – Peut pas s’empêcher de voler! 29 Whereas Cixous’s girl cannot stop ﬂying, Amélie cannot stay out of the water, her element of choice. Swimming produces the weightlessness of ﬂying. It is in the Bainbrigge & Den Toonder: Amélie Nothomb page 33 Piscina 33 water that Amélie almost drowns twice, where her father is symbolically ridiculed in the sewer (‘eaux sales’). It is also in water that young Amélie ﬁnds liberation, swimming in ‘Le Petit Lac Vert’ (MT 122), and recaptures her identity.
Amélie Nothomb: Authorship, Identity and Narrative Practice by Susan Bainbrigge, Jeanette Den Toonder