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An episodic novel set in rural north Texas in the 1920s, this thesis concerns the life of Lizzie Brown and her son Luke. Suffering from a series of emotional shocks combined with a chronic hormonal imbalance, Lizzie is hospitalized shortly after Luke's fourth birthday. Just as she is to be discharged, he husband dies unexpectedly. Viewed by society as incompetent to care for Luke and operate her ranch alone, she finds herself homeless. She returns to her brother's home briefly, but eventually is declared NCM and institutionalized. The story also concerns Luke, his relationships with his father and other relatives who care for him in Lizzie's absence. As he matures, he must deal with society's attitudes regarding mental illness and orphans. The story ends with Lizzie's funeral when he is twenty.

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Cette thèse en création est consacrée au campus novel (qu’on pourrait traduire par «roman universitaire»). Son premier volet explore la nature et la portée de ce sous-genre romanesque issu des littératures britannique et américaine. Le deuxième, les fragments romanesques Sur une clôture, constituent un court campus novel franco-ontarien, fondé sur l’expérience d’un bachelier en lettres françaises à l’Université d’Ottawa. Un retour réflexif englobant les lectures de corpus et théoriques, et le processus de création lui-même, conclut le tout. L’ensemble de la démarche s’inspire largement du roman This Side of Paradise (1920) de F. Scott Fitzgerald, et donc cette thèse présente en quelque sorte un effort de réécriture accompagné de notions théoriques et critiques. Sur une clôture, tout comme This Side of Paradise, se présente à la fois comme une fiction librement inspirée de l’expérience personnelle de son auteur et comme un commentaire social et une satire du système d’éducation, au temps présent. À cet effet, l’esthétique comme le sujet de Fitzgerald (mais aussi ceux d’extraits de plusieurs autres romans universitaires) sont repris, voire pastichés, et sont ensuite étudiés dans la rétroaction de cette thèse. Il en résulte un aperçu de la réalité contemporaine, subjective quant à son auteur, notamment du bilinguisme en Ontario, de la culture franco-ontarienne, et du sentiment (ou ressentiment) de la génération des Millénaires.

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This thesis is presented in two parts. The first part, Dreamriser, is a verse-novel in two books, the second part a critical essay, ‘Writing the Postcolonial Body’ in Les Murray’s 1997 verse-novel Fredy Neptune. Dreamriser is split into two books. In ‘The Runner’ Felix Morning wakes on a backstreet of a strange city with no memory of who he is. Flick shows him the way to The Bunker, an underground club where he meets the Dreamriser, a mysterious woman he half remembers. She gives him a parcel he must deliver to the place of the lost things. In ‘Pinky’ Iain and Esther meet on a train and they start a love affair. Damaged by her experience with men, Esther has been sent by the Dreamriser cult to take her revenge. When she falls in love with Iain she must make a choice between destruction and union. Dreamriser was inspired by the idea of the verse-novel, its possibilities and parameters. But where Fredy Neptune is an extended narrative through Twentieth Century history, Dreamriser messes with time frames and layers of reality and is located within the lost interior ‘history’ of the protagonists. I was interested in finding out how far I could push the lyric under the pressure of narrative, and play with the idea of linear narrative under the pressure of the lyric. I hoped to achieve a sense of the lyric poem across the whole structure of the ‘verse-novel’ as much as within each stanza, section or chapter. In this way Dreamriser mimics rather than attempts to emulate the conventional idea of the novel. Fredy Neptune moves towards and is constantly seeking that resolution and return to wholeness for its protagonist; Dreamriser refuses and actively undermines expectations of resolution and conclusion. Where Dreamriser and Fredy Neptune meet is in their treatment of the body as subject and material for the poem, in the location of the mind and the myriad layers of identity within the body, and in its consideration of gender and gender relations. In the following critical essay, ‘Writing the Postcolonial Body in Les Murray’s Fredy Neptune’ I look at how Murray addresses postcolonial identity in Australia in his verse novel through the medium of the body. History, gender, national identity and the poem itself are embodied in the very act of writing and in the physical experience of reading the poem. I argue that Murray writes identity through the body in the poem of Fredy Neptune.

SOUTH ROAD, a novel told in third-person limited, follows Adrienne Harris as she navigates the trials of her coming-of-age summer and then must deal with the aftermath. 1997: seventeen-year-old Adrienne Harris wants nothing more than to flee her eccentric grandmother’s rule and leave Harbor Point and never look back. When she meets her new neighbors, Adrienne knows her life will never be the same. Adrienne quickly falls in love with the charismatic Quinn Merritt. They decide to keep their relationship a secret since both families disapprove. This secret starts a chain reaction that seemingly leads to the suicide of the troubled and poetic Lucas Merritt. The summer culminates with Adrienne running away, pregnant and heartbroken. 2011: thirty-one-year-old Adrienne is an out of work line cook and single mother. The story opens as Adrienne reluctantly returns home to Harbor Point to care for her ailing grandmother. Once home, Adrienne has to confront the things that haunt her—the summer she met and lost both Merritt brothers, and also her dysfunctional relationship with her grandmother—in order to heal and repair her own life and her relationship with her daughter. In the end, Adrienne discovers many truths that alter her perception of her past in Harbor Point. Adrienne is finally able to move forward and start to build a life for her and her daughter. Harbor Point, the last place in the world Adrienne Harris wanted to be, turns out to be the only place she wants to call home.

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Cette thèse se propose de travailler à la définition d'un sous-genre du roman historique en expansion : le roman de la contre histoire, aussi appelé roman historique subversif. Les œuvres choisies permettent une analyse diachronique du problème, en commençant par la naissance du roman historique et allant jusqu'à nos jours. Pour cela, nous aborderons les œuvres de Scott, Hampâté Bâ, Roa Bastos, et Chamoiseau, s'attachant ainsi à différents continents et cultures, avec l'Europe, l'Afrique, mais également l'Amérique Centrale et l’Amérique du Sud. Pour cette recherche, il est nécessaire d'étudier le contexte de naissance de ces romans, ainsi que les moyens mis en place à l'écriture de cette histoire autre. Nous en viendrons à travailler sur le glissement de l'écriture de l'Histoire à celle d'une identité, ce qui nous poussera à nous interroger sur la place de la littérature dans la constitution de l'identité nationale. Nous ferons ici face à des controverses, étant donné que les romans vont partiellement à l'encontre des Histoires officielles, ce qui permettra de voir l'importance que peut avoir le point de vue autre dans la construction identitaire. La présence des contes et du folklore, sera étudiée afin de déterminer leur rôle dans la création de l'identité. Une étude de la réception de ces œuvres sera menée afin de voir l'impact concret de ces textes sur la construction identitaire. Ceci permettra donc d'avoir une vision totale de ce sous-genre en plein essor, et de voir son réel impact, amenant à une réflexion sur la place de la littérature dans la société actuelle ainsi que sur son rapport à l'histoire. / This thesis proposes to work on the definition of a sub-genre of the expanding historical novel: the novel of the counter-history, also called subversive historical novel. The selected works allow a diachronic analysis of the problem, starting with the birth of the historical novel and going until our days. For this, we will cover the works of Scott, Hampâté Bâ, Roa Bastos, and Chamoiseau, thus focusing on different continents and cultures, with Europe, Africa, but also Central America and South America . For For this research, it is necessary to study the birth context of these novels, as well as the means put in place to write this other story. We will come to work on the shift from the writing of history to that of an identity, which will push us to question the place of literature in the constitution of national identity. We will face controversy here, since the novels go partially against the official histories, which will allow to see the importance that the other point of view can have in the construction of identity. The presence of tales and folklore will be studied to determine their role in the creation of identity. A study of the reception of these works will be conducted to see the concrete impact of these texts on the construction of identity. This will allow us to have a total vision of this sub-genre booming, and see its real impact, leading to a reflection on the place of literature in today's society and its relationship to history.

archives@tulane.edu / The Internal War in Peru (1980-2000) had as its political actors the Peruvian army and police forces against the self-called guerrilla groups Sendero Luminoso (SL) and the Movimiento Revolucionario Túpac Amaru (MRTA) that sought to destabilize the institutional order. One of the most affected areas, mainly by SL, was the Central and South Andean regions. The inhabitants of this region, considered one of the poorest and most abandoned by the State, received the deepest impact from the violence of the crossfire and also participated in their own defense through the “rondas campesinas”. There is a novelistic corpus and an important criticizing presence that has narrated and analyzed from different perspectives the problem of violence of those years. This dissertation examines the problem of the representation of the Andean subject in the narrative of the Internal War. I propose that, through updates to the ghost or the ghost condition, it is intended to present a vision of the Andean world in the first novels; the ghostly Andean subject establishes a search and a social demand. Likewise, a criticism of the homogenizing vision of anthropology can be seen, through the use of the ghost, in the first novels, and the invisibility of the Andean subject in the most recent ones. This work is based on four novels: Adiós, Ayacucho by Julio Ortega, Candela quemaluceros by Félix Huamán Cabrera, Un lugar llamado Oreja de Perro by Iván Thays, and La hora azul by Alonso Cueto. In addition, we will dialogue with the Informe de la Comisión Investigadora de los sucesos de Uchuraccay, a commission headed by Mario Vargas Llosa and a report also written by him. / 1 / Carlos Capellino Fuentes