At the Intersection of Self and Other: Marie Redonnet's Splendid Hatel, Forever Valley, and Rose Melie Rose

Faux Titre

Volumn 114, Issue , 1996, Pages 267-273

  Stump, Jordan ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 79958190583     PISSN: 01679392     EISSN: None     Source Type: Book Series    
DOI: 10.1163/9789004648678_030     Document Type: Chapter

References (6)

1. Born in 1948, Marie Redonnet turned to writing in the mid-1980s: first poetry (Le Mort &: Cie [pOL, 1985]) and short stories (Doublures [pOL, 1986]), then three novels (Splendid H6tel, Forever Valley, Rose Melie Rose [Minuit, 1986-87]), three plays (Tir et Lir, Mobie-Diq, Seaside [Minuit, 1988-92]), and a novella (Silsie [Gallimard, 1990]). She has recently published a further two novels (Candy Story [pOL, 1992] and Nevermore [pOL, 1994]) and two plays (Le Cirque Pandor and Fort Gambo [pOL, 1994]). She discusses her own writing in several illuminating essays: "Redonne apres maldonne" (L'Injini 19 [1987]: 160-163); "Reponses pour une question brouillee" (Quai Voltaire 2 [1991]: 45-48); liThe Story of the Triptych" (Rose Mellie Rose, trans. Jordan Stump [Lincoln: U of Nebraska P, 1994]: 111-120). She has also written on Artaud ("Le dernier grand maudit" [Quai Voltaire 1 (1991): 33-45]) and on Vian ("Une petite arche miraculeuse" [L'Infini 38 (1992): 80-87]). Important critical analyses of Redonnet's writing include Elizabeth Fa11aize's "Filling In the Blank Canvas: Memory, Inheritance and Identity in Marie Redonnet's Rose Melie Rose" (Forum for Modem Language Studies 28.4 [1992]: 320-334)
2. Katharine Gingrass-Conley's "Check-Out Time at the Splendid H6tel: Marie Redonnet's New Mythological Space" (Neophil%gus 77.1 [1993]: 51-59)
3. Warren Motte's "Redonnet's Symmetries" (French Forum 19.2 [1994]: 211-224)
4. Yvette Went-Daoust's "Ecrire Ie conte de fees: l'a:uvre de Marie Redonnet" (Neophilologus 77.3 [1993]: 387-394).
5. For another analysis of the themes examined here, emphasizing the self-deconstructive nature of the oppositions implied in the three novels, see Stump, "Separation and Permeability in Marie Redonnet's Triptych" (French Forum 20.1 [1995]: 105-119).
6. Claude Prevost and Jean-Claude Lebrun, "Prom: Marie Redonnet," Nouveaux territoires romanesques (Paris: Messidor / Editions Sociales, 1990) 193.