Abstract
The contemporary French novel is striking in its diversity, its complexity, and its resistance to easy classification. This is not an utterly new phenomenon (one recalls both Gide and Queneau, in the 1920s and 1930s respectively, describing the novel as a fundamentally lawless genre), but it is legitimate to say that the novel's horizon of possibility has broadened during our time, allowing for new kinds of expression. Those latter may be based in formalist experimentation (I'm thinking of writers like Jacques Roubaud, or Paul Fournel, or Stéphane Vanderhaeghe), or personal confession (Édouard Louis, Camille Laurens, Philippe Forest, for instance), or an insistence upon narrativity (Jean Rouaud, Christian Gailly, Christian Oster), or autofiction (Christine Angot, Annie Ernaux, Chloé Delaume), or social and political concerns (Gérard Gavarry, François Bon, Laurent Mauvignier), or hyperfiction (Manuela Draeger, Lutz Bassmann, Elli Kronauer), or indeed in a conscious hybridization of any of the foregoing directions.
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