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Marie Darrieussecq

1998 |

Naissance des fantômes

« C’est au départ une histoire simple, banale et triste. Un homme disparaît. Sa femme l’attend, elle ne se résout pas à sa disparition, elle le cherche. Alors, le monde va se défaire ou, plus exactement s’ouvrir. Il s’ouvre sur son mystère, sur ses niveaux inconcevables, sur ses énigmes, l’infiniment grand, l’infiniment petit, l’infiniment mouvant puissamment rythmés par l’attente. Tous les repères se déplacent, plus aucune perspective n’est certaine, étoiles et atomes échangent leur poids, leur valeur. De proche en proche, cette disparition désintègre tout ce qui constitue la réalité généralement admise, elle nous projette dans une autre dimension des sentiments et des sensations. Les fantômes peuvent apparaître car, comme la narratrice, nous sommes prêts. »

Editions POL (1998)

« Un mariage de 7 ans. Un mari grand et fort qui gagne l'argent du ménage, fait les courses, donne les conseils, choisit les livres, court, un mari qui fait tout. Un soir après le travail il quitte l'appartement pour acheter une baguette et ne revient pas. Naissance des fantômes raconte la réaction de sa femme à cette perte, d'abord au niveau du corps, puis au niveau de l'esprit. Comme la narratrice/ héroïne de Truismes, celle du second roman de Marie Darrieussecq est peu capable de maîtriser la dure réalité. Mais tandis que la protagoniste de Truismes est une femme simple, sans beaucoup d'éducation, chômeuse au début de l'histoire, la narratrice de Naissance des fantômes est privilégiée, bien éduquée et cultivée. (...)  Cette jeune femme dit de sa mère: "Au bout d'une heure et demi avec elle j'avais six ans, il est aisé de calculer que je perdais environ un an toutes les cinq minutes, ce qui à ce rythme m'interdisait absolument, à moins d'anéantissement ou de sénilité foetale, de rester plus de deux heures en sa compagnie." Ce thème mère-fille est seulement un thème parmi beaucoup d'autres qui contribue à la complexité de Naissance des fantômes. »

Bruce Fickett, étudiant à l’université Rhode Island

1996 |

My Phantom Husband

The prominent theme of consciousness in Darrieussecq's fiction is intriguingly entwined with that of ghosts. As the return of repressed memories, or as outward manifestations of mourning in the living, Darrieussecq's representation of ghosts draws on traditional psychoanalytic understanding of the mind, while troubling the texts' overt reliance on a cognitive model of consciousness. (...) With Darrieussecq’s characters in their grief, we are forced to hesitate between materialism and dualism, between the physical evidence of the death of the brain and the need to believe the loved one is not altogether lost.»

Simon Kemp, St John’s College, Oxford

« A seven year marriage, a husband who is big and strong, who earns the money, who tends to the chores, who gives advice, who chooses the books; in short, a husband who does everything. One evening after work he leaves their apartment to buy the bread and does not return. My Phantom Husband relates the response of his wife to this loss, initially her physical reactions, and then the mental ones. Like the heroine/narrator of Pig Tales, the protagonist of Marie Darrieussecq's second novel is poorly equipped to deal with harsh reality. But while the former is a simple young woman, not well educated and unemployed at the start of the story, the protagonist of My Phantom Husband is well educated, well read and comes from comparatively privileged surroundings. One is led to ask the question: why are these women victims? One becomes a pig, the other perhaps a madwoman. In both novels, and especially in My Phantom Husband, the mother plays an important role, and perhaps in investigating the mother/daughter relation one might find some answers to that question.

If Pig Tales has roots in The Metamorphosis of Kafka (the mutation of course, but more importantly the attitude of the person subjected to the mutation), it is possible to read the section of My Phantom Husband when the mother and daughter are together as one reads The Judgement, where Georges Bendamann, faced with the consuming power of his father, can no longer exist. The pitiable young woman says of her mother: "At the end of an hour and a half with her I am six years old; it's easy to calculate that I would lose about a year about every five minutes, and at this rate it would be totally impossible for me to remain in her company for more than two hours without facing the prospect of annihilation or fetal senility." And, as with a reading of Pig Tales, this mother-daughter theme is only one among many which provide an alluring richness to the reader willing to follow the complexities of My Phantom Husband. »

Bruce Fickett, University of Rhode Island

Traductions

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Allemagne
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Argentine
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Brésil
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France
Gros caractères
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Italie
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Catalogne
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Chine
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Chine
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Corée
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Danemark
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Egypte
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Etats Unis
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Finlande
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Grande Bretagne
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Grande Bretagne
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Inde
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Inde
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Japon
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Norvège
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Pays Bas
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Portugal
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Suède

Adaptations

2007 |
PAR Les gens d'en face

Adaptations

fermer

www.mariedarrieussecq.com

Coupures

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/sites/default/files/styles/light/public/2017-11/portrait%20de%20Dolores%20Marat%20pour%20les%20Inrocks.jpg.jpeg?itok=pi9G05OA Les Inrocks, portrait de Dolorès Marat
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Presse

20 février 1998 | Le Monde

Avec une étonnante assurance, une imagination pour ainsi dire clinique, Marie Darrieussecq raconte cette inondation par l'absence, cette épaisseur palpable du vide. Elle dessine, de mémoire dirait-on, la trace exacte laissée dans l'air, dans l'espace et jusque dans les choses par le disparu. Rien ne reste en place. Les paysages se mélangent, d'urbains, ils deviennent aquatiques, fantastiques ; non loin de la bouche du métro, on s'avance sur la plage ; les fantômes s'en mêlent, acquièrent la consistance que les vivants ont désertée… L'attente se fait universelle… Je sentais dans mon corps et dans tout ce que j'étais une sorte de décollement, d'envol vide et sans but…

26 février 1998 | Libération

Naissance des fantômes est un roman matériel et intime, dans lequel la narratrice, qui s'est mise à écrire le récit de l'événement, tente de décrire au mieux, jusqu'au vertige, les sensations inouïes, nées du manque et de l'attente, qui se déchaînent au plus profond de son corps.

 

 

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