Simenon, whose writing gravitates around the predicament of the individual; Léo Malet and André Héléna, developers of noir fiction who seek to expose the violence, corruption, and moral ambivalence of modern society; Jean-Patrick Manchette, Jean Amila, and Didier Daeninckx, writers of politically-oriented néopolars that contest established powers, interests, and ideologies; Pierre Véry, Jean Vautrin, and Pierre Siniac, authors for whom a sense of place dominates the narrative ; Hugues Pagan, Therry Jonquet, Maurice G. Dantec, and Daniel Pennac, novelists whose works illustrate the fundamental eclecticism of modern French fiction; Jean-Claude Izzo, “Le Poulpe,” and Tonino Benacquista, participants in establishing the roman noir as a youth phenomenon; and finally Fred Vargas, who integrates elements derived from magical realism into her rompols. Platten excels at pointing out the originality of the French polar by comparing it to the Anglo-Saxon detective novel. He is sensitive to the generic pliability he uses to categorize the authors and works he discusses. He is knowledgeable about a variety of critical approaches that may be used to interpret a text defined by its investigative structure. He has the gift of evoking a detective novel’s setting , characters, strategic moves, and metaphorical structures without revealing whodunit. His touch is sure when it comes to distinguishing between objects that point directly to the solution of the mystery—clues—and those that create an over-arching symbolic frame—signs—for the philosophical content of the story. Given these strengths, it matters little that the link between cause (rhetorical devices ) and effect (pleasure) is left for the reader to deduce. This volume succeeds as an invitation to read stories where, after skillful brinkmanship on the part of the author, social, cultural, or rhetorical contexts are recuperated in a final act of disclosure that brings satisfaction akin to that of indulging in forbidden fruit. Smith College (MA) Mary Ellen Birkett REECK, LAURA. Writerly Identities in Beur Fiction and Beyond. Lanham, MD: Lexington, 2011. ISBN 978-0-7391-4361-2. Pp. xv + 191. $65. Through a study of Bildungsroman or romans d’apprentissage and travelogues in which the main characters navigate a social identity that is itself in flux over time, this book demonstrates how confronting identity—this shifting space often fraught with tensions—allows the characters to also say something about the authors who have created them. Reeck approaches this concept in a clear, engaging, and succinct text. Her introduction clarifies an oft-muddied literary history of Beur literature by approaching it through generational lines, and her lucid style throughout the book highlights the applications and implications of postcolonial theory on such writing. Reeck dedicates each of her six chapters to an author of ‘Beur’ or cosmopolitan identity: Azouz Begag, Farida Belghoul, Leïla Sebbar, Saïd Mohamed, Rachid Djaïdani, and Mohamed Razane. By framing the entire book in contemporary political conflicts such as the French riots in October 2005, Reeck makes an incontestable case for the continued relevance of Beur writers today, as well as for the pressing need for her study now. As she says of Razane and Qui fait la France?, “they rehabilitate committed literature in such a way as to make it relevant for its times, particularly for the French banlieues défavorisées” (xiv). In fact, each of the authors makes similar important contributions to revitalizing French literature as 1040 FRENCH REVIEW 86.5 each has had to struggle within and against identities to discover an authorial voice (xiii). Recognizing the limitations set upon Beur literature and ‘banlieue writers’ from the outset, Reeck carefully articulates her inclusion of authors of mixedrace , mixed-heritage, and second-generation ethnic minorities (13). For example, Sebbar’s identity is markedly different from the other authors addressed, but her character Shérazade struggles to express her Beur identity and finds herself writing her way through it (85). Following the common thread of journey in the Shérazade trilogy, Reeck shows that “the value of the quest replaces that of arriving at the final destination” so that the “adventure in the self” becomes the most relevant part of the “cosmopolitan conversation” (95). In turn, Reeck’s reading of Sebbar in a cosmopolitan and autofictional...
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