Women’s Writing in France 2000–2010
Edited By Gill Rye and Amaleena Damlé
Gill Rye Conclusion
Marie-Claire Barnet’s analysis of how the varied work of Marie Darrieussecq engages with the technological age, with the euphoric highs and traumatic crises of modern life, with borders and identities in what is a multilingual, transcultural and globalized world, is an appropriate note on which to end this volume on experiment and experience in twenty-first-century women’s writing in France. As well as taking stock of what has been happening in women’s writing in the first decade, the collection thus also of fers tantaliz- ing glimpses of the next decade to come – in terms of potential topics and issues as well as new forms of writing and performance – implicitly asking what shape our reading matter will take in 2020. Will France’s love af fair with literature and the material book continue or will digital publishing have taken over? Or will e-books and e-readers already have given way to the next instalment in this whirling technological revolution that we are living through? Who will the new readers be? What is clearer, though, is that storytelling – in all its various guises and forms – will undoubtedly survive. The enduring appeal of storytelling by women, while having centuries of history, continues to develop and to keep pace with, or forge ahead of, its times, both in content and form. As 1990s women’s writing in France of fered new stories of sex and sexuality, the body and the self, and also ushered in a dark side to women’s writing that ref lected the angst and memory...
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