Marie (FICTION) (French Edition)

She is currently writing a book on Marcel Proust. After I received my PhD, I spent a number of years in academia, without ever finding a tenure-track job. I had taken several translation seminars in graduate school, and going free-lance offered me a great deal of freedom to live where I like, set my own hours and working conditions.

And I greatly enjoy translation work. That is always a plus, of course. Expertise in a given topic is not a prerequisite for translating a book—I have done many books that are far afield from my scholarly interests—but in this case, the two dovetailed nicely. It was quite a straightforward translation. Wieviorka writes well and clearly, and he was very helpful with the questions I had.

There were a few plays on words, usually taken from pro-German or anti-German propaganda: I do a number of increasingly polished drafts, rather like a sculptor rough-hewing a stone, then going back for the detail work. My first draft is very rough, more like typing than writing, to paraphrase Truman Capote on Jack Kerouac.

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I feel like, to really understand how to translate p. So I tend to go over a translation many times. I was a co-winner of the prize: Most of my friends here in Portland are writers of fiction, not translators. So winning the prize made me feel like I belonged to a larger world.

I went back and reread or, in some cases, read for the first time all of In Search of Lost Time. For the most part, I translate scholarly books. Not all academic authors put a premium on clarity: And then, when a book is outside my fields of expertise and there are many technical terms, that too can be difficult. I had very little background in the fine arts. Since then, translating museum catalogs and other art criticism has become my favorite sort of work.

A kind of brief yet rich meditation on the details of the ocean, this piece searches for the abstract essence of the marine world while manifesting, finally, a distinct sensorial universe:.

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In this work, Darrieussecq creates a complex web of shifting internal monologues, which further illuminate the nature of grief and the dimensions of communication and consciousness. As Isabelle Martin observed in Le Temps 1 September , "Fugue, flight, disappearance, presence-absence, somnambulism, accidents of memory: The story is, in fact, that of a family devastated by grief.

Darrieussecq, by evoking the individualized yet overlapping emotions of each family member, reveals both the implications of loss and the painful, variegated textures of emotional experience. The novel therefore offers a nuanced, abstract consideration of conscious existence, and the reader ultimately finds himself "in the interior of heads, of consciences, of spirits" Le Monde , 31 August Marie has even hinted that this is the most autobiographical of her books; however, this cannot be confirmed as neither the mother nor the baby is given a name in the novel.

Written in part to address the lack of babies as subjects in literature, this novel is very much focused on reality and the study of maternal life, and it is designed to make us ask ourselves questions typically ignored in popular writing.

What are we to make of the discourse surrounding infants? Why do women give birth instead of men? Are we assigned to our biological body? More specifically, Darrieussecq questions the conflict inherited from Simone de Beauvoir between motherhood and the freedom to be an intellectual. Both have demons in their past from which they are running, and both seem to find solace in the barren landscape which lies secluded from the rest of the world. Though drawn to the idea of nothingness, the characters must be careful not to join the community of ghosts haunting the nearly inhospitable landscape.

In an artistic and precise execution, White comes across as "…a sort of poem—soft and funny, mathematical and fantastical—in which perceptions of the world—material, mathematical, as well as sentimental—are put into words, impressions, visions and equations.

Combining motherhood with authorship, Le Pays asks us not only what happens when one gives birth to human life or literary life, but approaches the two as concurrent and ultimately very similar forces. Married and with one two-year-old child, Marie decides to leave the city of Paris in pursuit of her own roots.

She returns home to find the remains of her family: In the country, where a slower way of life proves to be a great contrast to the bustle of Paris, Marie finds herself submerged in a sensory revisit to her own history whilst contemplating the future. Very self-aware, Le Pays exposes the creative process of existing and of bringing something else into existence, whether biologically or textually P.

Written over the last 20 years, this is a collection of fifteen short stories, each of which can truly function independently without coming across as a mere unfinished fragment of a novel. In these stories one can find recurring themes of science, dreams, and animals, as well as some amazing human beings Literary Fiction. Again tackling one of the most horrifying aspects of human existence, Marie Darrieussecq urges her readers to appreciate the complete pain of loss in her novel Tom est mort.

Ten years after the death of her son, the main character suffers still. Darrieussecq has a point: Marie Darrieussecq has been nominated for many prestigious awards. In , her first novel Pig Tales was chosen as a finalist for the Prix Goncourt. Pig Tales was accepted by its editor POL in less than 24 hours.

It sold more than , copies and was translated in more than 30 languages. The book was a best-seller and sold 3, copies per day. In France, Pig Tales was the most popular first novel by a new author since the s. Jean-Luc Godard bought the rights to the film.

Tom est mort was also nominated for the Prix Goncourt where it remained in the running until the second round. From Wikipedia, the free encyclopedia. This list is incomplete ; you can help by expanding it. Le Monde in French. Retrieved November 13,