Claude Simon: situations éd. par Paul Dirkx, Pascal Mougin (review)

postnationalism with critics who dispute its representation of the postcolonial subject as “an uprooted, deterritorialized, unfettered, and free-floating migrant” (xiii). Interestingly, gender is the paradigm that underscores the novelty of her analysis, which dwells on Francophone African migrant literatures. The book breaks new ground by deconstructing previous readings of nationalism that ignore the gender paradigm, and by correlating this oversight to their celebration of postnationalism. Engaging three migrant women writers, Coly notes the continuity between“the gender politics of anticolonial nationalism” and those of male/female postcolonial postnationalist narratives (xxv). Her subsequent analysis of postindependent home and belonging as elusive, exclusivist, inviting, and too heteropatriarchal for migrant African women is refreshing. The critic reveals the connected experiences of Calixthe Beyala, Ken Bugul, and Fatou Diome in Africa and Europe. Dealing with Bugul’s novels, the first and second chapters address the female migrant’s experience of the nation and Europe as a non-place and question the reintegration of home and the impact of homesickness on the narrative of homecoming respectively. The relevancy of the nation for women depicted by Beyala is the focus of chapter 3 where Coly correlates the dissident and culturally violent space-clearing gesture of the lesbian desire and their exclusion by the postcolonial/heteropatriarchal nation. If affiliation is positively read as women’s alternative means to attain home, Beyala’s transnationalism is less so, given her obsessive French tropism. In fact, chapter 4 echoes Coly’s critique of Beyala’s Belleville novels as “colonialist narratives of Africa” (71) and addresses the politics of interracial marriage and prostitution as pathways into the French house. Coly also notes how women create contact and appropriate space in France (ch. 5). The final chapters unveil the negative effects of colonial globalization on Senegal and the relevance of the nation, which appear through Diome’s demystification of France and reinstatement of her homeland.Coly ultimately relates identification with the hostland, homeland, and homecoming to gender politics and social status. It features Diome and Beyala’s contrasted depictions of the African woman and the treatment of her body in France. In articulating a bold challenge of the preeminence of the migrant through a concise reading that significantly correlates African women, migration, and nation, Coly refers repeatedly to the ‘nervous condition,’ which informs the trio’s oftentimes ambiguous narrative of home. However, discussing this trope separately would have added valuable substance to this theoretically sound work. Colby College (ME) Mouhamedoul A. Niang Dirkx, Paul, et Pascal Mougin, éd. Claude Simon: situations. Lyon: ENS, 2011. ISBN 978-2-84788-302-2. Pp. 203. 23 a. Awarded the Nobel Prize for literature in 1985; added to the required reading for the agrégation in 1997–98; since 2000 Simon has attracted more critical interest than 220 FRENCH REVIEW 88.1 Reviews 221 any French novelist except Proust. In this volume, eleven scholars discuss how Simon’s fictions enfold the personal—autobiography, dwellings, family, and history—without being dominated or shaped by it. He is neither dependent on real-world referents, nor scornful of them like his contemporaries the New Novelists. Simon’s configurations of referents are systemic but not systematic; and he may eliminate toponymics. His Nobel acceptance speech explains that for him the work of writing produces meaning. The newness created by this work is the adventure of writing. Musical metaphors explain his art. His novels resemble the compositions by those classical and jazz musicians who combine citation with transformation.As a writer,he feels an affinity with artisans and their ethos of craftsmanship. Alternatively, he supports or denies the ideal that living with literature can improve humans. He consistently resists the tyranny of aesthetic norms (preached by the New Novelists, particularly Jean Ricardou), as well as the moralistic imperatives of the Existentialists’ littérature engagée. In this volume, the most informative starting point for non-specialists would be Pascal Mougin’s “La mésalliance parentale” (41–52). Simon’s father was a navy captain, a son of peasants, who proved himself and earned advancement through the discipline of enduring harsh climates and facing dangers, deferring the gratification of rewards. His mother came from an aristocratic family of wealthy landowners that...