By Laura Kasischke
Final 12 months Godwin Honors corridor used to be draped in black. The collage used to be mourning
the lack of considered one of its personal: Nicole Werner, a blond, attractive, straight-A sorority
sister tragically killed in a automobile coincidence that left her boyfriend, who was once driving,
remarkably—some say suspiciously—unscathed.
Although a 12 months has handed, as iciness starts and the nights darken, obsession with
Nicole and her dying reignites: She was once so beautiful. So sweet-tempered. So blameless. Too
young to die.
Unless she didn't.
Because rumor has it that she's again.
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Extra resources for The Raising: A Novel
Example text
Univers, 1972 Romanul poetic (Le Roman poétique) Ed. Univers, 1977 Poussin – 3UD[LV úL PHWRG 3RXVVLQ – Praxis et méthode), Ed. Meridiane, 1981 Modernii, precursori ai clasicilor (Les Modernes, précurseurs des classiques), Ed. Dacia, 1981 3RHWLF úL SRLHWLF 3RpWLTXH HW SRïétique), Ed. Univers, 1982; IIe édition, Ed. Scrisul Românesc, 1998 Stendhal – 6FULLWXU úL FXQRDúWHUH 6WHQGKDO – Écriture et connaissance), Ed. Albatros, 1985 Punctul central (Le Point central), Ed. Eminescu, 1986 D’ autres essais se succèdent et les années ’ 90-2000 apportent de nouveaux titres, fondés, tout comme les précédents, 46 sur cette « description phénoménologique du rapport de l’ écrivain à son œ uvre en train de se faire » : Mâna care scrie (La Main qui écrit), Ed.
Un premier argument en faveur de la modernité stendhalienne est l’ apparition d’ une autre formule romanesque et d’ un nouveau style, ce « degrè zéro de l’ écriture », propre à une littérature de date plus récente. Dans la vision d’ Irina Mavrodin, cette modernité suppose, en même temps, un autre processus : passer d’ un art de type « représentatif » à un art de type « productif ». L’ accent que le romancier français a mis sur la 54 spécificité du texte et sur la fonction de communication de l’ art, le rôle qu’ il assigne au lecteur, comme collaborateur de l’ auteur, la lecture envisagée comme « re-création », l’ intuition des « attentes » du public et de « l’ effet » que la littérature produit sur un certain groupe social préfigurent les débats sur ces questions, de la seconde moitié du XXe siècle.
Il impose l’ idée de la traduction comme faire jamais fini, «poiesis» comme toute véritable création mais serrée comme par des sangles, par des contraintes inexorables. D’ ailleurs le droit de la traduction d’ être reconnue comme création authentique est toujours souligné par la traductrice de Proust et de Cohen, mais, en même temps, poète et essayiste connue et récompensée par de nombreux prix et qui connaît, par conséquent, l’ écriture et le faire créateur du dedans des choses.
