Voyelles mutilées, consonnes aux jambages arrachés: Linda Lê's Compulsive Tracing, Erasing, and Re-Tracing Fragments of the Self in Writing

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3 Citations (Scopus)

Abstract

This article examines how, through tropes of female madness and female suicide, Linda Le exposes a compulsive process of composition and de-composition of writing and the self. Le traces, erases, and re-traces her mutilated central characters-particularly the (dead) father figure; the central protagonists and narrators (often a femme de lettres); the figure of the potential mother; and the unborn son. The trajectory reveals a self at first in crisis, manifest in the spectral, uncanny madness dominating Voix (Paris: Christian Bourgois, 1998) and exposing an anxiety of female authorship. Le appears to overcome this through an assumption of authorship apparently predicated on abjecting the feminine and the maternal, and incorporating the masculine, early on in the form of the dead father in Lettre morte (Paris: Christian Bourgois, 1999), and later the unborn son. Le's later works present a politics of negation personified in the putatively mad, suicidal, and certainly rebellious figure of Antigone haunting what I call Le's Antigone tryptych, comprising In memoriam (Paris: Christian Bourgois, 2007), Cronos (Paris: Christian Bourgois, 2010), and A l'enfant que je n'aurai pas (Paris: Nil, 2011). I conclude that this process is deeply ambivalent, raising surprising questions about contemporary women writers.

Original languageEnglish
Pages (from-to)438-446
Number of pages9
JournalCONTEMPORARY FRENCH AND FRANCOPHONE STUDIES
Volume18
Issue number4
DOIs
Publication statusPublished - Sept 2014

Keywords

  • Linda Le
  • Madness
  • Women
  • Sacrifice
  • Antigone
  • Women's Writing

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