Fighting the Other Within and Without: Confrontation as the Driving Force in the Work of Lydie Salvayre

Although the novels of the French writer Lydie Salvayre tend to be soliloquic, they are far from being mono-logical: founded on the clashes of different logics and systems of value, discourses and desires, they embody the protagonists' inherent antagonism and rage, reflecting the violence of the outside world. This study analyses some common matrixes underlying Salvayre’s prose. It focuses on the manifestations of resistance to either external or self-imposed oppressions, restrictions and mystifications. It aims to demonstrate that Salvayre’s novels not only represent subjects in permanent and incurable crises, but also challenge the very imperative of the subject's constitution through the foreclosure of the other, of what is outside the self.Salvayre’s texts are typically monologues in which an individual strives to affirm his or her distinct unicity and separation from the rest of the universe. These discourses are defensive, since the protagonists present themselves as endangered by an external element, oppressed in a relationship or socially marginalized. At the same time, they are sarcastic and often (self)destructive. In those cases where the word is given to more than one character, the interaction does not result in a dialogue but in a series of speeches which do not intersect. The subjects blindly plead their cause and recognize only aggression and malevolence in the others’ discourse. The most obvious example can be found in the novel The Cintegabelle Conference (La Conférence de Cintegabelle): a local intellectual delivers a lengthy, pompous and heavy lecture on what he calls the lost art of conversation—cultural heritage which was once preeminently French, and is today sadly abandoned. Ironically, he who speaks out as a defender of the conversational virtue, remains blatantly monological; although very careful not to lose his listeners, he does not leave them any time even to answer his questions, showing interest in nothing but his own voice. Another irony resides in his confession that he used to be bored by the conversations with his wife while she was alive, whereas now that she is dead, he converses with her regularly and with great satisfaction