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Marie NDiaye
First critical study of prize-winning French author Marie NDiaye.
Three Strong Women
Forty-year-old Norah leaves Paris, her family and her career as a lawyer to visit her father in Dakar. It is an uncomfortable reunion - she is asked to use her skills as a lawyer to get her brother out of prison - and ultimately the trip endangers her marriage and her relationship with her own daughter, and drives her to the very edge of madness. Fanta, on the other hand, leaves Dakar to follow her husband Rudy to rural France. And it is through Rudy's bitter and guilt-ridden perspective that we see Fanta stagnate with boredom in this alien, narrow environment. Khady is forced into exile from Senegal because of poverty, because her husband is dead, because she is lonely and in despair. With other illegal immigrants, she embarks on a journey which takes her nowhere, but from which she will never return.
Ladivine
Longlisted for the Man Booker International Prize 2016 Clarisse Rivière's life is shaped by a refusal to admit to her husband Richard and to her daughter Ladivine that her mother is a poor black housekeeper. Instead, weighed down by guilt, she pretends to be an orphan, visiting her mother in secret and telling no-one of her real identity as Malinka, daughter of Ladivine Sylla. In time, her lies turn against her. Richard leaves Clarisse, frustrated by the unbridgeable, indecipherable gulf between them. Clarisse is devastated, but finds solace in a new man, Freddy Moliger, who is let into the secret about her mother, and is even introduced to her. But Ladivine, her daughter, who is now marrie...
That Time of Year
A nightmarish vision of otherness, privilege, and social amnesia, the latest from the world-renowned, Prix Goncourt-winning French novelist unveils a small community characterized by absurd kindness, labyrinthine bureaucracy, strange customs, missing persons, and ghostly apparitions.
Self Portrait in Green
'NDiaye is a hypnotic storyteller with an unflinching understanding of the rock-bottom reality of most people's life.' New York Times ' One of France's most exciting prose stylists.' The Guardian. Obsessed by her encounters with the mysterious green women, and haunted by the Garonne River, a nameless narrator seeks them out in La Roele, Paris, Marseille, and Ouagadougou. Each encounter reveals different aspects of the women; real or imagined, dead or alive, seductive or suicidal, driving the narrator deeper into her obsession, in this unsettling exploration of identity, memory and paranoia. Self Portrait in Green is the multi-prize winning, Marie NDiaye's brilliant subversion of the memoir. Written in diary entries, with lyrical prose and dreamlike imagery, we start with and return to the river, which mirrors the narrative by posing more questions than it answers.
Rosie Carpe
When pregnant Rosie Carpe, her fatherless five-year-old son in tow, arrives in Guadeloupe looking for her elusive brother, Lazare, the world already seems a plenty confusing place. Could the man who comes to meet her, an elegant black man calling himself Lagrand, actually be her disheveled white brother? Are her parents, who abandoned her in Paris, rediscovering themselves in an outrageous second youth of outlandish affairs, or have they simply lost their minds? And does Rosie have a hope of slipping the sticky grasp of her former employer and seducer, who moonlights as a video pornographer? If it seems unlikely that the feckless Lazare, missing for five years as he followed his own twisted path, might help, or that carnivalesque Guadeloupe, where murder and mayhem are the natural outcomes of “business ventures,” might be the place for Rosie to find peace, then Marie NDiaye may have a few surprises in store for her reader. Amid the blurring boundaries and shifting values, the indistinct realities and confusing certainties of Rosie Carpe, a love story unfolds, and all that is ambiguous and tenuous–in short, all of Rosie’s world–is underpinned with a measure of tenderness.
My Heart Hemmed in
Nadia, the Narrator, is a school teacher in Bordeaux in the same school as her husband, Ange. They live their profession as apostolates and gain an authentic happiness. But for some time, the couple is the subject of a general, harassing and inexplicable vengeance by the students. Nobody wants to sit in the front row anymore; no one wants to hear the sounds of their voices; the children seem to be afraid of them... Nadia tries to understand the nature of this strange conspiracy through the movement of the story.
Marie Ndiaye
At stake throughout the fictional writings of Marie NDiaye (1967-) is the issue of the stranger's welcome. NDiaye's fascination with a spectrum of outsider figures and with the multiple, often subtle practices which create and sustain social groups as bounded entities, gives rise to detailed and disquieting portrayals not of hospitality but of the mechanisms and rituals of repulsion.Engaging with critical theory on hospitality across the disciplines, Shirley Jordan's closely argued analysis of NDiaye's novels, theatre and short stories probes the tropes of inhospitality around which the writer's work coalesces, exploring the ethical significance of a corpus in which communities, environments and spaces are persistently tainted by unwelcoming. NDiaye is seen to elaborate a fantastic anthropology: one which, through sustained attentiveness to non-observance of the rules of hospitality, provides a focus for debate about belonging in a postcolonial world.
All My Friends
Features five stories all dealing with the boundaries between individuals and illustrating how an idea of the world does not always match reality.
Hilda
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