Either way, household tasks related to motherhood are designated as interfering negatively with the writing process. At the same time, one notes how the content of the letters to a large extent actually is related to motherhood, which provides the subject matter of the letters. Huston links the depression to the absence of feminist activism in her life and explains that she decides to wean her three month old baby when going to a conference devoted to women, feminism and research.
Breastfeeding, one of the most debated aspects of motherhood, definitely carries negative connotations in this passage. It interrupts the creative process and it is only by freeing oneself from the prison of breastfeeding that one can participate in feminist work. Looking at this passage in detail, one is struck by the intricate weave created by Huston. The paragraph where Huston exposes her reasons for choosing this name for her child contains quite amusing details. Next, Huston explains her fascination for the Jewish Diaspora and links it to her own exile.
Finally, the last page or so is a reflection on how exile influences writing in its relation to borders, limits and genres. Even though the mother of the novel takes a different path than Huston when leaving her family to travel around the world as a professional dancer and choreographer, they both draw from their experiences as mothers when creating. In the same way, it can be said about Lettres parisiennes that Huston desacralizes maternity in a straightforward fashion without rejecting its creative potential.
Telling her reader about the difficulties of combining motherhood and household tasks with the creative activity of writing, insisting on the social construction of normative roles imposed on mothers, Huston makes a feminist statement, easily linked back to both Woolf and Beauvoir. As Woolf, she claims a room of her own and as Beauvoir she refuses to accept restrictions motivated by traditional views on women.
Unlike Beauvoir, however, Huston rejects a situation where children and books are mutually exclusive, embracing simultaneously motherhood and creation. It could be argued that Huston is walking a tightrope, because she is telling one thing while at the same time showing another.
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The sheer amount of text devoted to activities and thoughts surrounding motherhood contradicts the idea of it being an obstacle to creation. The experience of being a mother literally pours into the letters. At the same time, motherhood does not only feed creation on the surface level of content. Close reading of certain passages shows that motherhood also constitutes a springing point for creativity.
It seems clear that the tension between motherhood and creation depicted in Lettres parisiennes is productive rather than reductive. Maternal duties and housework fill the letters with content, placing Huston in the writing tradition of Virginia Woolf, but also function as catalysts for reflections on exile, identity and creation. Lettres parisiennes.
Jardine, Alice. Susan Rubin Suleiman ed. Lorre, Christine. Marta Dvorak and Jane Koustas eds. Persson, Ann-Sofie. Proulx, Patrice J. Franco-Canadian Women Writers of the s. Paula Ruth Gilbert and Roseanna L. Dufault eds.
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Woolf, Virginia. In this particular example, the dialogical pattern is quite complexe, engaging both Sebbar and Woolf. Her doctoral dissertation investigated the poetics of autobiographical childhood narratives by Maria Wine, Patrick Chamoiseau and Nathalie Sarraute.
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She is currently working on post Haitian literature as well as the representation of dementia in contemporary Swedish fiction. Plan Introduction.
Motherhood as inspiration for creation. Paris, H. Souvenirs intimes.
Qualifications culturelles et inscriptions territoriales. Paris, J. Paris, Hachette. Paris, Grasset. Paris, Albin Michel. Paris, Gallimard. Paris, Mercure de France, 2 vol. Paris, Plon, 21 vol. Paris, Le Sagittaire. Essai sur Proust. Paris, Seuil. Interni di scrittori francesi nel XIX secolo. Dissertation sur les maladies produites par la masturbation. Paris, Le Sycomore. Paris, Seghers.
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Thomas Hardy et autres essais. Arnaud Gradhiva Revue d'anthropologie et d'histoire des arts. Marcel Proust: searching for and being Mother. Je ne suis pas un homme fait pour le mariage. Il y a dans la chambre une grosse femme en noir, horrible. Agrandir Original jpeg, k. Agrandir Original jpeg, 1,0M. Sur la logique des envies Arnaud, Claude Proust contre Cocteau. Paris, Nathan. Diesbach, Ghislain de Proust.
Paris, Perrin. Duplay, Maurice Mon ami Marcel Proust. James, Tony Vies secondes , trad. Kantorowicz, Ernst  Les Deux Corps du roi. Lachgar, Lina Vous, Marcel Proust.
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