The story of mourning : rehashing or passing ?

Abstract

Writing of mourning : is it possible to mourn in and through literature ? Death takes its ease in the literary text, indulges all linguistic fantasies and satisfies all the hopes of the author and the reader. Death is therefore for literature what it is for life: an indispensable obsession. The experience of grief is universal ; that most people face at one time or another. But what makes it interesting for us is to analyze how it works in the following literary texts : Diary of a grieving mother by Salwa Tazi and Since my heart is dead by Maïssa Bey. In this section we concern ourselves ons to the question of writing the grief of a child can be read through a literary experience. We wondered Rons this experience and tent er ons to understand since the writing of grief is highly personal in his testimony and suffering, reflecting a singular literary posture. The problematic is inscribed in these terms: what are the scriptural resources that make it possible to write about the death of a child and to account for the dynamics of the enterprise of " reconstruction " of the subject writing after the drama experienced? Our analysis will therefore have as a common thread, that of showing the path of grief through the story, commenting on the symptoms and stages of grief experienced by the authors. This approach will offer an answer to the question : is it possible to mourn in and through writing? We therefore wonder how literature as such, through the work on language and on the emotions that it allows, generates a completely new and specific form of experience of mourning. This questioning raises the question of an approach and a constitution of the experience of mourning through and in the literature that would be quite distinct from other types of discourse or self-exposure. From there ; legitimate questions arise : What form (s) does this literature cover ? What influence does this choice have on the treatment of bereavement in the work in question ? Then, how can one hold a critical discourse which demands neutrality and reserve in the face of such intimate texts and which obviously arouse an empathy which could parasitize rigorous analysis?