Aine Smith
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Evermore or nevermore?
Memory and identity in Marie Redonnet’s fiction of the 1990s

The body of writing produced by Marie Redonnet between 1985 and 2000 is an unusually coherent one. The artistic endeavour is a recurrent feature of Redonnet's texts. From Doublures, with its cast of costume-makers, toy-makers, acrobats and performers, right through to Villa Rosa, whose eponymous villa is a haven for painters, dancers and musicians, the desire to invent and create impels a vast array of characters. In many cases of a veritable compulsion, the creative act is seen by Redonnet's characters as a means of generating identity, or, at the very least, of elaborating a fuller, more cohesive and enduring sense of self than that which originally exists. In Candy story and Villa Rosa, self-portraiture is a common pursuit, whilst photography, and its correlative of film-making, feature in the texts Rose Mélie Rose, Candy story, Le Cirque Pandor and Fort Gambo.

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Women’s writing in contemporary France

New writers, new literatures in the 1990s

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