By Christian Denayer, Thierry Cailleteau, Bertrand Denoulet
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Additional info for Wayne Shelton, Tome 6 : L'otage
101 Following on from the question of AIDS and representation, I stated that the texts under study had different categories: ‘real life/true story’, diary, testimony, interview, confession, autobiography. 102 In these types of narratives, we have started to problematise the issue of ‘truth’ following feminist poststructuralists. One is reminded of Foucault’s Power/Knowledge in which he says that all he has ever written is fiction, before continuing: ‘I do not mean to say, however, that the truth is therefore absent.
Otherwise I wouldn’t be here tonight’). What she is articulating here is that, despite being Martin’s wife, she belongs to the respectable world, and that because of his sexual orientation, Martin is ‘bad’ and ‘bent’ (the opposites of ‘good’ and ‘straight’). She knows what she has to say in order to keep the sympathy of the female doctor. Such reactionary language unmasks the self-deceit entailed in her own ‘transgression’ in marrying him: she is sending the female doctor a powerful message while blowing her own cover.
The imagery is powerful: a wild horse would represent unbridled sexuality; a circus horse trained to waltz would have had all his natural instincts whipped out of him. Hélène is perhaps angry here with what bourgeois society has made of 44 : her, but yet again, she expresses her feeling, this time anger, by turning it on others. Her ‘front’ motive is that she is doing what she is doing out of love for Paul. But there is no regard here for the fact that Martin’s human dignity is being stripped by Ray’s visit: Martin’s dying moments are made a spectacle for the benefit of a complete stranger, or rather for the benefit of Hélène who wants to teach Ray a lesson.
Wayne Shelton, Tome 6 : L'otage by Christian Denayer, Thierry Cailleteau, Bertrand Denoulet