The journal still welcomes newcomers, like Jean-Loup Dabadie and Regis Debray, and also Nouveau roman writers like Robbe-Grillet, Butor, and
Sarraute a group Nimier looks upon with amused skepticism.
(14) "Presas na parede por cima da escrivaninha", as imagens de Verlaine, Rimbaud e Gide, parodiadas no livro de
Sarraute, parecem tirar sua autoridade de suas vestimentas --da "manta", da "gravata" e do chapeu de gaucho"--para sempre na moda.
In this chapter Borinsky analyzes writers who pose more awkward questions about what motherhood might mean in terms of "apathy, distance, absent-mindedness and abandonment" (134).The Brazilian writer Clarice Lispector, born in the Ukraine of Jewish parents; Marguerite Duras, born in French Indochina; Nathalie
Sarraute, born in Russia before moving to Paris; and Singer all explore mothers who are immutable or cryptic, offering their daughters little sense of wholeness and plenitude.
This is the dilemma posed by French author Nathalie
Sarraute and her book Ouvrez.
Barbara was often there to attend the French public lectures and seminars where she met postgraduate students working on the writers she had translated or was translating, namely Pierre Albert-Birot, Raymond Queneau, Robert Pinget, Nathalie
Sarraute ...
Over the past decade, there has been increasing evidence describing the concept of time in
Sarraute's novels, reality in
Sarraute's novels,
Sarraute's innovative concept of language, and the feminine subject in
Sarraute's writing.
An ear alone is not a being." Why, too, the complete absence of the novelists associated with the nouveau roman, whose interest in characters dissociated from psychological explanation-in what Nathalie
Sarraute calls the "dead silence" of distant objects and persons-found its exempla in Camus's The Stranger, a work written by a novelist with no stated affiliation with
Sarraute and her colleagues, but which Maurice Blanchot could call "the very image of human reality when it is stripped of all psychological conventions"?
Chapter two considers
Sarraute, Flaubert and aesthetics in order to arrive at a critique of the concept of the precursor.
The first is writer and lawyer Nathalie
Sarraute's critique of the traditional novel's reliance on clearly delineated character and plot.
On its publication in 1983, Nathalie
Sarraute' EEnfance was greeted with universal approval--some critics mistakenly seeing it as a belated surrender to convention on the part of the author, but all recognizing the charm of a work that captures the very texture and flavour of childhood.