Abstract
This article examines how three contemporary French texts explore two distinct but related preoccupations, mourning and photography. Just as Roland Barthes's La Chambre claire provides a space in which the author may think about photography and simultaneously address his difficulty in mourning his late mother, so François Bon's Mécanique can be regarded as a tribute to the author's father, as well as a meta-reflection on photography. In Mummy, mummies Alain Fleischer relates the practice of mummification to photography; the article argues that the insistence on the mummies of Ferentillo throughout the work obliquely refers to the lack of mourning characteristic of the Holocaust.
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