Other literature of the 1970s
After 1968, literature became committed to the search for different themes, perspectives, and voices. The womenâs movement, with its insistence on seeking out a diversity and proliferation of voices, was highly influential; another important factor, not unconnected with this, was the rise of writing in French from Franceâs former colonies. Other influences must include, in academia, the commitment of critical theory to the business of finding fresh angles and lines of investigation and, on the wider popular front, the exponential expansion of the media and its unprecedented demand for fresh stories, images, and forms. Within this growing commitment to the fashionable, the history of the novel became one of quickly displaced trends and meteoric rises (and disappearances). At the same time, several writers with established reputations continued to demonstrate their merit (Beauvoir, Duras, Beckettâthe latter in powerful pieces of increasingly minimalist prose), and they were joined by others. Georges Perec, one of the best-known members of OuLiPo, had first made his mark in 1965, with the novel Les Choses: une histoire des annĂ©es soixante (Things: A Story of the Sixties), a devastatingly comic account of a young couple in thrall to consumerism and the rhetorics of advertising. He followed this with other discourse games, such as La Disparition (1969; A Void), a text composed entirely without using the letter e, and La Vie: mode dâemploi (1978; Life: A Userâs Manual), his most celebrated work, constructed in the form of a variant on a mathematical puzzle. Michel Tournier caught the public imagination with work that set up an adult relationship with the heritage of childrenâs stories. Vendredi; ou, les limbes du Pacifique (1967; Friday; or, The Other Island) was followed by Le Roi des Aulnes (1970; The Ogre, also published as The Erl-King), an extraordinary combination of myth and parable. His short stories collected in Le Coq de bruyĂšre (1978; The Fetishist and Other Stories) and the novel Gaspard, Melchior, Balthasar (1980; The Four Wise Men) were subversive rewritings of ancient tales. Other writers provided more direct responses to the political and economic frustrations of the decade: J.M.G. Le ClĂ©zioâs apocalyptic fictions, for example, evoked the alienation of life in technological, consumerist society.
In the 1970s writers began to confront the events of the Occupation. Perecâs W; ou, le souvenir dâenfance (1975; W; or, The Memory of Childhood) is an autobiography formed of the alternating chapters of two seemingly unconnected texts, which eventually find their resolution in the concentration camp. The novels of Patrick Modiano used a nostalgic fascination with the war years to explore problems of individual and collective identities, responsibilities, and loyalties.
Historical fiction
The frustrations of the times may have added to the attraction of the historical novel, which remained popular throughout the second half of the century. Marguerite Yourcenar, who in 1980 became the first woman elected to the AcadĂ©mie Française, had shown that the genre could move beyond escapism. MĂ©moires dâHadrien (1951; Memoirs of Hadrian) and LâOeuvre au noir (1968; The Abyss), evoking the making and unmaking of order in Europe, offered portraits of men who grappled with the limitations of their time. In addition to proffering rich evocations of the past, Yourcenarâs accounts had contemporary political resonance. History proved able to accommodate a vast range of fiction, from popular romance and fictionalized biography to the linguistic and narrative experiments of writers such as Pierre Guyotat, whose Ăden, Ăden, Ăden (1970; Eden, Eden, Eden), a novel about war, prostitution, obscenity, and atrocity, set in the Algerian desert, was banned by the censor for 11 years; Florence Delay in her stylish novel LâInsuccĂšs de la fĂȘte (1980; âThe Failure of the Feastâ); and, especially, Nobel Prize-winning author Claude Simon, many of whose works, notably La Route des Flandres (1960; The Flanders Road), Histoire (1967; âTaleâ; Eng. trans. Histoire), and Les GĂ©orgiques (1981; The Georgics), not only evoke deeply human experiences of loss and longing but also explore forms of memory and remembering and questions of subjectivity and historical truth. Historical fiction was sustained by the prestige of historiography, in the shape of Michel Foucaultâs studies of sexuality and attitudes to death, and the narrative and materialist social history associated with the journal Annales, founded in 1929 by Marc Bloch and Lucien Febvre.
Biography and related arts
There was a corresponding interest in biography, autobiography, and memoirs. The novelists Julien Green, Julien Gracq (pseudonym of Louis Poirier), and Yourcenar (discussed above) were among several figures of an earlier generation who began in the 1970s to publish journals and memoirs rather than fiction, and the film versions of Marcel Pagnolâs 1950s recollections of his Provençal childhood met with great success. The vogue would gather momentum in the last decades of the century, in texts which, increasingly, became technically innovative, such as Roland Barthes par Roland Barthes (1975; Roland Barthes), a contradictory, self-critical portrait; and Nathalie Sarrauteâs Enfance (1983; Childhood). Genre boundaries blurred: in Barthesâs Fragments dâun discours amoureux (1977; A Loverâs Discourse: Fragments), criticism and self-analysis became fiction and writing became an erotic act.
Detective fiction
Detective fiction, a genre sometimes exploited by the nouveau roman, had an outstanding practitioner in Georges Simenon, the inventor of Inspector Maigret, who during the 1970s also turned to autobiography. The gangster novels of Albert Simonin, like the parodies of FrĂ©dĂ©ric Dard (better known as San-Antonio), made imaginative use of Parisian argot, but the chief attraction of the thriller for more âliteraryâ writers was its form, which they, like a number of filmmakers, adopted as a framework for the investigation of questions of identity or moral and political dilemmas. In Patrick Modianoâs Rue des boutiques obscures (1978; âThe Street of Dark Shopsâ; Eng. trans. Missing Person), for example, a detective who has lost his memory looks for his identity in the darkness of the wartime past.