![]() ![]() While an attempt to determine a final "truth" about the historical events recounted in "Monsieur X." would be very naive indeed, taking note of the variances between different versions of the story is, again, worthwhile, for such an analysis reveals something about how. ![]() If we admit some aspects of Pean's "historical" account to be more accurate than Duras's, to what then can we attribute the inaccuracies in the latter text? Did Duras deliberately fictionalize some details, as she did with Rabier's name, thus making a significant if above-board exception to her unequivocal statement ("It's out of respect for the wife and child of that man, called here Rabier," she writes, "that.I take the precaution of not calling him by his real name" )? Did she change some details in order to render her story more dramatic, as Lesl ie Hill suggests she did in the first autobiographical text in the volume, "La Douleur" (125-26)? Or are the "mistakes" due simply to faulty memory? ![]() Certain details in Une Jeunesse that contradict or at least differ from those in La Douleur are presumably verifiable facts (taken from court transcripts or corroborated by several witnesses, for example) and thus seem to belie Duras's prefatory assertion. While some of the differences between Duras's and Pean's accounts can be attributed simply to divergent interpretations of events by the various actors involved, others are more difficult to explain. But taking Duras at her word and investigating discrepancies between her version of the affair and Nan's is a worthwhile task nevertheless, for it sheds light, as I will show, on the very sticky process of turning memories into narrative. Dupin Dupin 11 rue Dupin, 75006 Paris 6 13/20 Lavis de Gault&Millau Station Sèvres-Babylone, Nathan Helo tient lune des tables les plus en vue du quartier, pour sa décoration engageante et branchée, avec un beau bois clair et un étonnant plafond végétalisé. Duras's statement can of course be taken simply as artistic hyperbole intended to alert readers of her fiction that "Monsieur X." is indeed a true story, however accurate in its details. But the bold and characteristically impru dent claim Duras makes in the foreword to "Monsieur X.," that "This is a story that is true down to the last detail" (90, 71), does tempt her readers to take interest in counterclaims. At the time of these events, Francois Mitterr and was the leader of Duras's and Antelme's Resistance group, and in Une Jeunesse francaise : Francois Mitterrand, 1934-47, Pierre Pean offers alternative versions of many of the events Duras recounts in "Monsieur X." That there are differences in these two authors' stories is not surprising. It also tells of the relationship she subsequently maintained with him in order, she says, to obtain information about her husband's whereabouts. In the hands of Eric Hazan, author of The Invention of Paris, the revolution becomes a rational and. "Monsieur X." tells the story of Duras's chance encounter near the end of the Occupation with a French Gestapo agent who several weeks earlier had arrested her husband, Robert Antelme, for involvement in the Resistance. Bureau De Poste Rue Dupin (Folio) (French Edition). ![]() Donnez votre avis sur La Poste Dupin très facilement. This essay focuses on the second text in the volume, "Monsieur X. La Poste Dupin Paris 6e 75006, Poste, consultez les avis, numéro de téléphone, adresse et infos pratiques. Urn:oclc:801425597 Republisher_date 20140627022450 Republisher_operator Scandate 20140626030814 Scanner Duras's La Douleur (1985) is a collection of six disparate texts concerning her experience of World War II. Access-restricted-item true Addeddate 14:47:37 Bookplateleaf 0003 Boxid IA189001 Camera Canon EOS 5D Mark II City Donorįriendsofthesanfranciscopubliclibrary External-identifier ![]()
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