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An obsessive and revealing self-portrait of a remarkable woman humiliated by the circumstances of her birth and by her physical appearance, La Bâtarde relates Violette Leduc’s long search for her own identity through a series of agonizing and passionate love affairs with both men and women. When first published, La Bâtarde earned Violette Leduc comparisons to Jean Genet for the frank depiction of her sexual escapades and immoral behavior. A confession that contains portraits of several famous French authors, this book is more than just a scintillating memoir—like that of Henry Miller, Leduc’s brilliant writing style and attention to language transform this autobiography into a work of art.
This study, which reads Leduc's narratives from a feminist and psychoanalytic perspective, has a double focus: - Part One scrutinizes the intricacies of her treatment of feminine bonding, seeking to bring new insights - inspired inter alia by theorists such as Melanie Klein, Freud, and Luce Irigaray - to bear on her representations of mother/daughter and lesbian relations. Part Two examines Leduc's use of language in Therese et Isabelle, probing the extent to which this novella contains examples of feminist and/or feminine discourse. By exploring Leduc' s lyrical evocation of feminine homosexuality from both a gender-related and a more traditional, formalist standpoint, the writer exposes the limitations of a purely feminist approach to her work
'Violette Leduc's novels are works of genius and also a bit peculiar' Deborah Levy, from the introduction An old woman lives alone in a tiny attic flat in Paris, counting out coffee beans every morning beneath the roar of the overhead metro. Starving, she spends her days walking around the city, each step a bid for recognition of her own existence. She rides crowded metro carriages to feel the warmth of other bodies, and watches the hot batter of pancakes drip from the hands of street-sellers. One morning she awakes with an urgent need to taste an orange; but when she rummages in the bins she finds instead a discarded fox fur scarf. The little fox fur becomes the key to her salvation, the friend who changes her lonely existence into a playful world of her own invention. The Lady and the Little Fox Fur is a stunning portrait of Paris, of the invisibility we all feel in a big city, and ultimately of the hope and triumph of a woman who reclaims her place in the world. 'A moving, beautiful and authentic classic. We must be grateful to the Penguin European Writers series, a precious venture in these dark times, for bringing it back to us.' John Banville, Booker prize-winning author of The Sea 'The great French feminist writer we need to remember' Guardian
In the second remarkable volume of her life story, Leduc paints a vibrant picture of the brilliant minds around her--and the dark passions and insecurities that drove her to write. National features, reviews planned.
Two French schoolgirls discover obsessive pleasures in repressed secrets in this “masterpiece on the tyranny of love” (Independent, UK). “Violette Leduc was Simone de Beauvoir’s protege, an erotic writer to match Jean Genet and a feminist tour de force” (Rafia Zakaria, The Guardian). With this startling new translation of Leduc’s hidden classic, the groundbreaking Thérèse and Isabelle proves an authentic and liberating exploration of queer sensibilities, which still stands as “one of the greatest examples of French-Language erotic literature” ever written (Times Literary Supplement). Censored for half a century for its vivid depiction of budding female sexuality, this is the “dark and luminous” (Nicole Borssard) novel of two young women in the consuming and at times frightening throes of first love. Navigating their schoolgirl relationship becomes a rapturous secret, as they sneak away from repressive boundaries to go beyond the limits of friendship with “all the raw urgency of female adolescent sexuality: its energy and intensity, the push-pull of excitement, its dangers and glories” (Kate Millett, award-winning author of Sexual Politics and Mother Millett). Filmed in 1968 by Radley Metzger, starring Essy Persson and Anna Gaël, Thérèse and Isabelle is finally available as it was intended to be read. “I have waited a very long time to slip back into the unexpurgated, delicious darkness with these iconic lesbian lovers” (Amber Dawn, Lambda Literary Award-winning author Sodom Road Exit).
A fragmented, lyrical essay on memory, identity, mourning, and the mother. Writing is how I attempt to repair myself, stitching back former selves, sentences. When I am brave enough I am never brave enough I unravel the tapestry of my life, my childhood. —from Book of Mutter Composed over thirteen years, Kate Zambreno's Book of Mutter is a tender and disquieting meditation on the ability of writing, photography, and memory to embrace shadows while in the throes—and dead calm—of grief. Book of Mutter is both primal and sculpted, shaped by the author's searching, indexical impulse to inventory family apocrypha in the wake of her mother's death. The text spirals out into a fractured anatomy of melancholy that includes critical reflections on the likes of Roland Barthes, Louise Bourgeois, Henry Darger, Theresa Hak Kyung Cha, Peter Handke, and others. Zambreno has modeled the book's formless form on Bourgeois's Cells sculptures—at once channeling the volatility of autobiography, pain, and childhood, yet hemmed by a solemn sense of entering ritualistic or sacred space. Neither memoir, essay, nor poetry, Book of Mutter is an uncategorizable text that draws upon a repertoire of genres to write into and against silence. It is a haunted text, an accumulative archive of myth and memory that seeks its own undoing, driven by crossed desires to resurrect and exorcise the past. Zambreno weaves a complex web of associations, relics, and references, elevating the prosaic scrapbook into a strange and intimate postmortem/postmodern theater.
In Politics with Beauvoir Lori Jo Marso treats Simone de Beauvoir's feminist theory and practice as part of her political theory, arguing that freedom is Beauvoir's central concern and that this is best apprehended through Marso's notion of the encounter. Starting with Beauvoir's political encounters with several of her key contemporaries including Hannah Arendt, Robert Brasillach, Richard Wright, Frantz Fanon, and Violette Leduc, Marso also moves beyond historical context to stage encounters between Beauvoir and others such as Chantal Akerman, Lars von Trier, Rahel Varnhagen, Alison Bechdel, the Marquis de Sade, and Margarethe von Trotta. From intimate to historical, always affective though often fraught and divisive, Beauvoir's encounters, Marso shows, exemplify freedom as a shared, relational, collective practice. Politics with Beauvoir gives us a new Beauvoir and a new way of thinking about politics—as embodied and coalitional.