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Nicole
Brossard
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 The
Aerial Letter by
Nicole Brossard
"I think the wild love between two women is so
totally inconceivable that to talk or write that in all its
dimension, one almost has to rethink the world, to understand what
it is that happens to us. And we can rethink the world only
through words." - Nicole Brossard
She
Would Be the First Sentence of My Next Novel by
Nicole Brossard Part
autobiography, part history, part confession, this intertwined,
powerful essay wonderfully describes the multiplicity of
disciplines required to construct fiction. In this lyrical
exploration of her own approach to writing novels, master writer
Nicole Brossard offers to her readers the secrets and the
struggles of writing in the feminine.
Discoveries
of the Other : Alterity in the Work of Leonard Cohen, Hubert
Aquin, Michael Ondaatje, and Nicole Brossard (Theory/Culture)
by Winfried
Siemerling
 Liminal
Visions of Nicole Brossard by Alice Parker
Prize-winning author Nicole Brossard has more than thirty volumes
of poetry, "fiction-theory," postmodernist prose, and
theory to her credit. Her experimental "writing in the
feminine" is infused with a political energy that derives
from her location as a lesbian-feminist. Associated with modernity
in the literary renaissance of her native Montral, she explores
figures for the next millennium. Her embodied, desiring writing
focuses on the liminal spaces around words, and the enigma of
lapses in the language. Brossard's major works, La Lettre arienne,
Amantes, L'Amr, Le Dsert mauve, Picture Theory, and Baroque d'aube,
are available in English translation.
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Excerpt:
A two time Governor General award winner (Mecanique
jonglease (Daydream Mechanics), 1975 and Double Impression,
1984) Nicole is one of Canada's finest writers and readers.
Confronting a full range of women's issues, she has written 19
collections of poetry, seven novels, a play and several pieces for
radio...
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The female photographer tells the female
writer...
Excerpt:
Working deeply you unearth your subject. Isn't
that what all writers hope for: going into the deepest part of
human nature while searching through the dictionary, within the
history and the shallow pool of one's childhood memories. Touching
the bottom is the best you can do. The more you excel in your art,
the more you penetrate the obscure world of passions and
motivations. Your art rejects superficiality, speed. It remains
profoundly moral...
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| Nicole
Brossard
Excerpt:
FIGURE
The figure is real like a political intent to subject her to the
plural before our eyes, or, singularly, to power. The realistic
figure is thus the most submissive there is. Quite simply, she
agrees. She can be reduced then to the general (to the house) by
using the singular: woman or image of milk women, lait figures.
So the figure turns, two-faced, accelerates, bores into the eyes,
the incidents, again, in a final struggle against blindness:
apprehend her. Now the figure is in motion. At full speed the
figure is unrecognizable. Intense unreadable. Sequence. The figure
is migratory.
FIGURATION
She breaks the contract binding her to figuration. In the theatre
of the past full of countless nostalgias, she alone, along with
all women, creates the entire body of impressions...
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Interview
Entretien avec Nicole Brossard
par Cépald Gaudet
Depuis Aube à la saison (1965) et plus
particulièrement depuis L'Écho bouge beau (1968), on l'a
souvent dit, Nicole Brossard a marqué l'univers littéraire québécois
d'une écriture tout entière soutenue par la recherche de
"la pensée et de l'émotion comme motif et motivation"
où il s'est agi essentiellement de faire le tour d'elle-même. En
cours de travail, la passion est devenue fatale, s'intégrant au
texte, surgissant comme énigme et énergie, comme voix et désir
de beauté.
Même si elle a toujours pris en note l'état du
monde et, plus particulièrement, la condition faite aux femmes,
avec, entre autres, des essais comme La Lettre aérienne
(19'85), des recueils comme Le Centre blanc (1970),
Double Impression (1984) et Amantes (1980), des proses
comme L'amèr ou le Chapitre effrité (1977), Picture
Theory (1982) et Le Désert mauve (1987), jusqu'à
Installations (1989) et À tout regard (1988), pour
lesquels elle recevait le Grand Prix de poésie de la Fondation
Les Forges, cette écriture n'a jamais rien eu de bloqué ou de dépressif,
ne s'est jamais attardée à souligner "la défaite de la
pensée", "l'ère du vide", le déclin de l'empire
moderniste. Elle exulte plutôt...
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Names Index:
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