From the hugely acclaimed author of Three Strong Women—“a masterpiece of narrative ingenuity and emotional extremes” (The New York Times)—here is a harrowing and subtly crafted novel of a woman captive to a secret shame. On the first Tuesday of every month, Clarisse Rivière leaves her husband and young daughter and secretly takes the train to Bordeaux to visit her mother, Ladivine. Just as Clarisse’s husband and daughter know nothing of Ladivine, Clarisse herself has hidden nearly every aspect of her adult life from this woman, whom she dreads and despises but also pities. Long ago abandoned by Clarisse’s father, Ladivine works as a housecleaner and has no one but her daughter, whom she knows as Malinka. After more than twenty-five years of this deception, the idyllic middle-class existence Clarisse has built from scratch can no longer survive inside the walls she’s put up to protect it. Her untold anguish leaves her cold and guarded, her loved ones forever trapped outside, looking in. When her husband, Richard, finally leaves her, Clarisse finds comfort in the embrace of a volatile local man, Freddy Moliger. With Freddy, she finally feels reconciled to, or at least at ease with, her true self. But this peace comes at a terrible price. Clarisse will be brutally murdered, and it will be left to her now-grown daughter, who also bears the name Ladivine without knowing why, to work out who her mother was and what happened to her. A mesmerizing and heart-stopping psychological tale of a trauma that ensnares three generations of women, Ladivine proves Marie NDiaye to be one of Europe’s great storytellers. Translated from the French by Jordan Stump
Laing, R. D. 1960. The Divided Self: An Existential Study in Sanity and Madness (London: Tavistock). Laing, R. D., and Aaron Esterson. 1964. Sanity, Madness and the Family (Harmondsworth: Penguin). Laplanche, Jean. 1999.
Nomadic Voices of Exile: Feminine Identity in Francophone Literature of the Maghreb. Athens: Ohio University Press. Rye, Gill. 2002. 'New Women's Writing in France', Modern and Contemporary France, 10.2, 165–75.
Issued in conjuction with the exhibition of the same title held at the Metropolitan Museum of Art, New York, 18 Sept. - 31 Dec. 2000.
This Enlightenment fancy, fed by proto-ethnographic reading, could be compared to current hypotheses concerning hunter-gatherer societies; Sykes remarks: The intimate and indivisible connection of hunter-gatherer communities to their ...
... Ladivine, it is the unspeakably black grandmother, Ladivine Sylla, who offers the reader, in the book's devastating final section, the glimpse of a form of genuinely moving aliveness. Communing on the morning of her daughter's killer's ...
... Ladivine's wish-fulfilling phantasies about the new country are (pre)conscious while her repressed phantasies, indistinguishable from, say, ancestral memories, are unconscious and appear in her dreams as nightmarish events. The first of ...
... Ladivine, NDiaye admitted that the ten days in Ghana had naturally interested her (ça m'a évidemment intéressée) and no doubt shaped “the vacation” in Ladivine, the core scene around which the whole novel had been composed (NDiaye, “J ...
Fremantle: Fremantle Arts Centre Press. ———. 2010. That Deadman Dance. Sydney: Picador. 2017. 'Kaya'. In The Fremantle Press Anthology of Western Australian Poetry, edited by John Kinsella and Tracy Ryan, 270‒72. Fremantle: Fremantle ...
... Madame Bovary ( Flaubert ) , 88 , 134 , 156 , 241 Madame Bovary of the Suburbs or Suburban Condition , The ( Condi- tion pavillonnaire , La ) ( Divry ) , 104 , 240-41 Madame Figaro ( magazine ) , 147 Madelin , Alain , 36–37 Madjidi ...
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