By Kat Rosenfield
An arresting un-coming-of-age tale, from a wide ranging expertise
Becca has continually longed to damage loose from her small, backwater native land. however the discovery of an unidentified useless lady at the facet of a mud highway sends the town--and Becca--into a tailspin. not able to make experience of the violence of the skin global creeping into her yard, Becca unearths herself taking flight inward, paralyzed from relocating ahead for the 1st time in her lifestyles.
Short chapters detailing the final days of Amelia Anne Richardson's existence are intercut with Becca's personal summer time because the parallel tales of 2 younger ladies being affected by self-identity and relationships at the part twist the reader nearer and in the direction of the reality approximately Amelia's dying.
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Additional resources for Amelia Anne is Dead and Gone
5. 34. Serge Doubrovsky, Le Livre brisé (Paris: Grasset, 1989), p. 212. 35. Interview quoted by Jocelyne Hubert, Amélie Nothomb, Le Sabotage amoureux (Paris: Magnard, 2001), p. 6. 36. Danielle Deltel, ‘Le meccano du souvenir: les doublets autobiographies chez Colette’, Bainbrigge & Den Toonder: Amélie Nothomb 22 37. 38. 39. 40. page 22 hélène jaccomard in Le récit d’enfance en question, Cahiers de sémiotique textuelle, 12, Université Paris 10 (1988) 137–153 (p. 150). Entretien au centre culturel de La Botanique, 3 avril 1998, quoted in Hubert, op.
Vii, pp. 176–82. 26. Much research has been done on the madness (hysteria) of Ophelia. See for example Gabrielle Dane, ‘Reading Ophelia’s Madness’, Exemplaria: A Journal of Theory in Medieval and Renaissance Studies, 10, 2 (1998), 405–23. 27. All three preceding quotations are from MT 169. 28. L. Irigaray, Speculum de l’autre femme (Paris: Éditions de Minuit, 1974). 29. Cixous, op. , p. 17. 30. , p. 62, my emphasis. 31. See note 17.
The writer Amélie establishes her identity through writing (‘eaux puriﬁcatrices’). The ﬁsh dreams of Métaphysique des tubes, or ‘fantasmes pisciformes’ (previously cited) are a motivating theme in Nothomb’s writing. These ﬁsh dreams recall Hélène Cixous’s ‘poissonges’: Plus tard si je sors de mes eaux toute ruisselante de mes plaisirs, si je remonte le long de mes rives, si j’observe depuis mon bord les ébats de mes poissonges, je remarque les ﬁgures innombrables qu’ils produisent dans leur danse; ne sufﬁt-il pas que coulent nos eaux de femmes pour que s’écrive sans calcul nos textes sauvages et populeux?