{"title":"The Terms of the Text","authors":"Alison M. Rice","doi":"10.1093/oso/9780192845771.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780192845771.003.0010","url":null,"abstract":"Chapter 9 examines how unconventional written work is currently pushing the limits of our understanding of genre. Women from elsewhere are drawing from personal experience in order to disturb tired distinctions between “text” and “life” in imaginative fashions that reconfigure the reading experience. Their creative work is contributing to liberating these authors from overworked modes of expression and worn expectations, and allows them to break free from rigid definitions. It is significant that a number of worldwide women writers are now opting to compose works in a variety of creative forms ranging from the bande dessinée to the journal to the photo essay to récits of all sorts, expanding our conceptions of generic classification by playing with everything from titles to formats within the written work. This inventiveness includes a great deal of attention to visual arts and music, occasionally through the integration of works of art and musical notations in the text itself, and other times through allusions to artistic and musical pieces, or even through the construction of passages that liken literature to these other art forms. Authors are more and more impressively contributing to their own publishing profiles by writing “autobiographically” in variations that elude any clear categorization, but that reveal intimate details in texts that embody movement, progression, and development in exciting new terms.","PeriodicalId":176851,"journal":{"name":"Worldwide Women Writers in Paris","volume":"174 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117170157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Accent Complex","authors":"Alison M. Rice","doi":"10.1093/oso/9780192845771.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780192845771.003.0005","url":null,"abstract":"No matter how long they have lived in France and irrespective of their ability to express themselves in French, writers from outside France find that their French interlocutors consistently subject them to questions focusing on where they come from. Chapter 4 explores this obsession with origins that is often couched in expressions of admiration for an accent. Those who were born in France apparently presume that commenting on the way a woman speaks constitutes an innocent observation, an anodyne remark that will allow them access to a backstory on how she came to speak that way. Whether they are well-intentioned or not, such queries are nonetheless often prying and inappropriate, and they make many foreign-born women writers feel self-conscious when they utter even the shortest phrase in French. Paradoxically, this discomfort in oral exchanges often enhances these authors’ written productivity, prompting them to produce literary creations that place an accent on other, often ignored experiences in their adopted land, on the plights of immigrants and migrants of different ages and birthplaces who have endured xenophobic attitudes in France.","PeriodicalId":176851,"journal":{"name":"Worldwide Women Writers in Paris","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128795126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Forging a Name","authors":"Alison M. Rice","doi":"10.1093/oso/9780192845771.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780192845771.003.0002","url":null,"abstract":"Chapter 1 focuses on the name of the author in a contemplation of the ways worldwide women writers in Paris contribute to the construction of a publishing profile. There are a number of constraints placed on writers from beyond French borders who seek to publish and publicize their work in Paris, but many of these writers have created a reputation that exceeds these restrictions through careful choices that constitute subtle reactions to the rules. They comply with many requirements just the same, and cooperate in necessary ways that reveal their conviction that their creative written work will have the last word, ultimately defining them beyond a set of expectations that will necessarily evolve as time goes by. Certain collections such as “Continents Noirs” at the prestigious publishing house Gallimard illustrate how publishers and critics often subscribe to and propagate specific stereotypes about writers from elsewhere. But there is an indication that engaging in textual play with proper names as well as with the distinction between a writer’s life and work contributes to more elaborate understandings of the author. When they renew their profiles through writing that emphasizes movement and change, writers counteract restrictive images contained in the packaging of their publications. It is striking that, even though they are aware they might encounter prejudice, women authors from around the world have opted to sign their published work in French with names that do not conceal their background but that instead demonstrate an embrace of their histories and identities.","PeriodicalId":176851,"journal":{"name":"Worldwide Women Writers in Paris","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121659062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Family Fugues","authors":"Alison M. Rice","doi":"10.1093/oso/9780192845771.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780192845771.003.0006","url":null,"abstract":"Chapter 5 identifies a compelling new tendency in contemporary written works to represent locations that are found beyond the author’s homeland or France. While many of their texts depict either their birthplace or their adopted location, some of the more recent works by worldwide women writers in Paris reflect first-hand knowledge of sites, languages, and customs that are neither native nor Parisian, and that provide enriching complements to the French-language literary corpus. Before reaching this stage in their writing careers, most of these women departed from all that was familiar, distancing themselves from their loved ones in a move that foreshadowed larger transnational movements to come, and that hinted at the promising potential of literary works that do not conform to expectations tied to geography or ethnicity.","PeriodicalId":176851,"journal":{"name":"Worldwide Women Writers in Paris","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134340453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Improvising Improperly","authors":"Alison M. Rice","doi":"10.1093/oso/9780192845771.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780192845771.003.0009","url":null,"abstract":"Chapter 8 is attentive to the innovation that women writers from around the world are introducing into their work in French. It explores how certain books depict inappropriate behavior in inventive textual turns that are transgressive but also transformative, ultimately allowing for the complex formulation of truths that are so often elided in euphemistic writings. Many of the writers who have come to France have encountered prejudice in various forms that they address in their work. They portray racial discrimination and gender bias, and they contemplate the plight of migrants in Europe at a time of political change. Theatrical metaphors frequently emerge in the work of authors who describe encounters in performative terms, emphasizing how the script their characters are assigned appears to preclude all forms of improvisation. Despite the difficulties of this vocation, many women writers describe a compulsion to compose literary works, an irresistible pressure to take up the pen that propels them to write, even when their texts meet with criticism and misunderstandings. The role of generic categorizations often predetermines textual interpretations in ways that mirror the confining societal categorizations these authors represent in their writing. The fictional space of literary creations nonetheless allows for the creative staging of unacceptable actions in which characters from elsewhere who have experienced trauma effectively act out, demonstrating the pent-up frustration and releasing the tension that has accumulated in a setting where they are often not afforded the opportunity to express themselves verbally.","PeriodicalId":176851,"journal":{"name":"Worldwide Women Writers in Paris","volume":"164 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122558020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lessons in French","authors":"Alison M. Rice","doi":"10.1093/oso/9780192845771.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780192845771.003.0004","url":null,"abstract":"None of the writers in my study can call French, without hesitation and qualification, a mother tongue. Some of them didn’t start studying the language until they arrived in Paris in their twenties and grappled with learning a new form of expression at a relatively late age. When they recall their initial exposure to this foreign tongue, they describe a fascinating apprenticeship involving dictionaries and renowned works of French literature, and they often shed light on the distinction between oral and written competence in their experience. It is crucial to note that even those authors who have long been fluent in French underscore their non-native relationship to it. Chapter 3 addresses the approaches of these worldwide women writers to French and examines their inventive literary publications in this tongue. It is sensitive to the history of this language and its inextricable connection to a colonial past that many of these writers experienced or became aware of in their homeland. It also focuses on the reality that, for almost all of these authors, this is not the only tongue with which they are familiar. For multilingual individuals, selecting French as their language of literary creation is often the result of a conscious choice motivated by a particular affinity. What comes through in their reflections is most often a passion for this language and a confirmation of the freedom it affords them, as well as an affirmation of its inimitable music that makes it especially well-suited for creative compositions.","PeriodicalId":176851,"journal":{"name":"Worldwide Women Writers in Paris","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116189171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Pull of Paris","authors":"Alison M. Rice","doi":"10.1093/oso/9780192845771.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780192845771.003.0003","url":null,"abstract":"Chapter 2 concentrates on the complex role Paris has played for worldwide women writers. This spot has long occupied a privileged position in the literary world and is an undeniably important place for the authors in my study, many of whom have studied, built careers, published their works, and taken up permanent residence here. The metropolis serves as an inspiration for a number of the texts they compose, and it figures in their written works in interesting ways that often reveal the authors’ conflicted relationship with it. In the end, a majority of these writers convey a connection to the French capital, indicating a sense of belonging—or a desire to belong—within the city. They have become aware that they will forever be perceived as foreigners in Paris, and have occasionally suffered from a precarious status tied to financial challenges. They nonetheless celebrate the possibilities that accompany their position at the margins of this central literary location that they have come to embrace as a promising space. It is deeply significant that, in a number of instances, they do not express the same sentiment with respect to France as a whole. It is equally meaningful that, instead of proclaiming patriotic sentiments, these writers often articulate a more profound identification with the European continent than with the nation they inhabit.","PeriodicalId":176851,"journal":{"name":"Worldwide Women Writers in Paris","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130319325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Gendered Glissandos","authors":"Alison M. Rice","doi":"10.1093/oso/9780192845771.003.0008","DOIUrl":"https://doi.org/10.1093/oso/9780192845771.003.0008","url":null,"abstract":"Chapter 7 explores how worldwide women writers have adopted new approaches to feminist concerns. They find inspiration in their own heterogeneity, their diverse backgrounds and proclivities, as well as their familiarity with the experiences of many others to create literary compositions that weigh questions of undeniable importance to women, ranging from professional fulfillment to sexual harassment. Gendered requirements for women in various countries and cultures are evoked in literary compositions that portray the complexity of choices that women who have come to France from elsewhere often face on a regular basis. These authors explore in vivid terms the pressures to conform that so many women experience in this country, regardless of their origin, with a special focus on the seemingly inflexible expectation that women will become mothers. They also delve into conceptions of femininity in a variety of contexts, and extol malleable, multiple, even musical models of behavior that transcend gender-based stereotypes. While they give voice to a wide range of viewpoints in their texts, in my interviews they exhibit an almost unanimous reluctance to accept the label “feminist,” due in large part to the pejorative connotations the term took acquired in many circles in France in the years following the women’s movements of the 1970s. Just as their spoken comments reveal judicious reconsiderations of the term, their written work hints that it isn’t wise to dismiss it altogether; they urge instead the creation of expressions that promote women’s human rights in ways that vary according to context.","PeriodicalId":176851,"journal":{"name":"Worldwide Women Writers in Paris","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121129842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The “Francophone” Fermata","authors":"Alison M. Rice","doi":"10.1093/oso/9780192845771.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780192845771.003.0007","url":null,"abstract":"Chapter 6 focuses on the widespread reluctance among worldwide women writers to accept the word “Francophone” to describe their lives and work. For many, this disinclination is due to their understanding that this term is frequently employed in order to set their work apart as separate from and implicitly inferior to writing by French authors from France. Some admit that the classification is useful in certain settings, but most are quick to deny its pertinence to the French literary scene. An examination of bookstore displays and literary prizes reveals that narrow definitions of what constitutes “French literature” and a tendency to hastily classify authors as “Francophone” can lead to forms of exclusivity with deleterious effects. A consequential number of women signed a manifesto arguing for abolishing the ambiguous application of the descriptor “Francophone” in favor of the adoption of the much broader, more encompassing phrase “world-literature in French.” Two months after the publication of this document in the French newspaper Le Monde on March 16, 2007, an accompanying collective book volume came out, featuring chapters by a relatively high percentage of authors in my study. Their signatures and essays indicate a desire among worldwide women writers of French to be respected simply as authors, free from the oft-confining specifications that restrict the way they are received and read. Their involvement in this movement also exhibits a willingness to advocate avidly for different angles of interpreting written works that transcend the limits of a label.","PeriodicalId":176851,"journal":{"name":"Worldwide Women Writers in Paris","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125461163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Publishing Profile","authors":"Alison M. Rice","doi":"10.1093/oso/9780192845771.003.0001","DOIUrl":"https://doi.org/10.1093/oso/9780192845771.003.0001","url":null,"abstract":"The Introductory chapter examines the recent resurgence of the author in the Parisian literary landscape, approximately fifty years after critics like Roland Barthes and Michel Foucault put into question the centrality—indeed, the very concept—of this figure. Maryse Condé asserts that this is a development with great potential, for it allows the author to express her point of view in ways that she hadn’t felt authorized to do previously. There is also, however, the parallel possibility of according too much significance to the author, an option that becomes problematic when critics and readers concentrate on the identity of writers at the expense of a concern with the content of their work. Women writers from outside France are particularly susceptible to classification that sometimes permits a single trait (birthplace, ethnicity, gender) to determine how their texts are received. The “publishing profile” is a notion that refers in this analysis to the complicated and nuanced images of contemporary authors as they are currently composed. Their involvement in a number of undertakings—ranging from contributions to a book publication’s paratextual apparatus to public appearances such as television interviews and book festivals—means that authors are increasingly engaged in efforts to shape a composite impression of themselves. They thereby take advantage of diverse opportunities to contribute to carving out a profile that is made up of additive attributes that ultimately contradict reductive labels and restore to each author her complexity.","PeriodicalId":176851,"journal":{"name":"Worldwide Women Writers in Paris","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133204005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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