![]() ![]() As the constant return to the story of the author’s mother illustrates, the ‘strong emotional charge’ of an object can be one of unexpected, or buried, connections. ![]() ![]() The original interview is here.) Of the astonishing object sometimes found in the archive, ‘if it contains information, it also contains a strong emotional charge…To speak that part of the real, to give it thanks and undo its hold, there is only literature’. Exposition, translated from French by Amanda DeMarco (Les Fugitives, 2019) Nathalie Lger is a museum curator, and her published works blend biographical study with personal reflection. (These are my translations of Léger’s responses. In a 2014 interview, in the French journal La Cause du Désir, Léger describes the archive as ‘a field of interpretation’ and therefore also ‘one of the favourite places of fiction’. What is perhaps more notable is the way in which Léger sees the archive as a literary space. ![]() Léger is the Director of the Institut Mémoires de l’Édition Contemporaine (Institute for Contemporary Publishing Archives), so it is unsurprising that archives and the figure of the archive should feature in her work. She bursts onto the right of the image as if it were a backdrop masked with curtains. Exposition, Suite for Barbara Loden, and The White Dress are literary works of research. ![]()
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