By Dervila Cooke
This can be the 1st in-depth research of the twelve Modiano texts in particular curious about life-writing in autobiographical and biographical-cum-historiographical tasks. The texts lined diversity from l. a. position de l'étoile (1968) via to los angeles Petite Bijou (2001). shut textual research is mixed with a theoretical procedure in line with present considering in autobiography, biography, and reader-response. Modiano's use of autofiction and biofiction is analysed within the mild of his carrying on with obsession with either own trauma and heritage, in addition to his not easy courting along with his paternally-inherited Jewish hyperlinks. His view of id (of self and different) is therefore mentioned in terms of a specific literary and socio-historical context - French, postmodern, post-World conflict II, and post-Holocaust
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Extra resources for Present pasts : Patrick Modiano's (auto)biographical fictions
Sample text
28 I suggest that at least part of this ‘something’ is the drive for unity and closure, goals 28 ‘Fiction as Interpretation/Interpretation as Fiction’, p. 170. In order to avoid confusion with Peirce’s use of the term ‘interpretant’, I do not follow Schor’s usage, preferring the less complicated ‘interpreter’, and distinguishing between ‘narratorinterpreters’ and reader-interpreters’. Storytellers and Interpreters 35 which, in the light of Modiano’s texts, appear respectively illusory and unattainable, both on narratorial and readerly levels.
This in itself 42 See also La Place de l’étoile, p. 44. 44 Present Pasts counteracts the effect of authorial ludism and even the deindividualization of character in Modiano’s texts. Perhaps surprisingly, given their generally strong emotional presence, Modiano’s narrators are not introspective. Though they express consistently similar feelings, they do not dwell on the reasons for them. They are slippery creatures, often refusing to give information about their pasts or to analyse their own feelings.
While several elements in these pronouncements seem disingenuous (Modiano’s fictions are just as full of ‘effets littéraires’ as autobiography could ever be, and, given his autobiographical games, it is hard to believe that he does not expect his texts to produce ‘une illusion autobiographique’), the comment on the importance of allowing imagination to develop demonstrates what seems to be a belief in imaginative truth closely based on autobiographical fact, as well as a view of imagination as a powerful tool in representation.