By Claire Legendre
« Le Crépuscule de Barbe-bleue est un recueil cohérent de onze récits. Les dix premiers mettent en scène los angeles mort réelle, rêvée ou symbolique d'une femme. Et le dernier évoque une héroïne qui tue un homme. « Mes » femmes ont entre three et eighty two ans. Elles sont souvent gracieuses, presque toujours amoureuses. Elles vivent à Rome, à great ; elles partent pour Vienne, pour l'Ile d'Elbe ; elles quittent Bath... Elles sont à l'école, en vacances, à l'Opéra, à l'église. Elles constituent les facettes d'un kaléïdoscope que serait l. a. femme d'aujourd'hui : une femme qui pense et qui aime, une femme amoureuse, blessée, tout en idéal, qui ne trouve d'autre factor à l'impossible fusion que l. a. mort. l. a. mort est tantôt un sacrifice, tantôt un ultime défi. l. a. mort n'est jamais laide. C'est l'ultime acte amoureux. Quand un homme tue une femme, c'est pour prolonger son histoire avec elle. Quand une femme tue un homme, c'est pour clore l'histoire. Dans ma dernière nouvelle, une jeune fille tue un homme qui ne los angeles fait pas rêver ». C.L.
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Extra resources for Le crépuscule de Barbe Bleue
But in the last analysis, what matters is achievement, not motive (p. 344): I refuse to regret the energy spent writing polemics against war and fascism. Still less the energy given to helping a few, too few, men and women to escape the hell of German concentration camps, and then to keep them alive. Nothing in me is fiercer…than my loathing of the cruelty that issued in Auschwitz, except the sense that exile is only the human condition pushed to its farthest limit. These images have burned me to the bone.
Yet between 1930 and 1939, the publishing houses Chatto and Windus, Gollancz, Wishart, Jonathan Cape, Hamish Hamilton, Macmillan and John Murray all published important women writers, while the literary magazines included reviews of women’s fiction, poetry, autobiography and documentary writing throughout the 1930s—facts which have somehow passed unnoticed by the literary historians. 50 The claim to represent the consciousness of their generation is central to the work of Spender and Isherwood both in and after the 1930s.
47 Why, then, has this galaxy of female talent remained invisible to almost all historians’ telescopes? Sexual prejudice is an obvious explanation—and, up to a point, convincing. 48 On the other hand, there is no sign of misogynism in the notably fair-minded Samuel Hynes (who, incidentally, edited an anthology of Rebecca West’s writings in 1977: a decision which does not suggest a dislike of feminism). And it is difficult, to say the least, to think of Virginia Woolf as prejudiced against women writers.
Le crépuscule de Barbe Bleue by Claire Legendre