The Emerging Caribbean: Direction and Purpose for the 2IS' Century ABSTRACT

Creative, Purposeful Memories: Relwritings for the Present Future

Assise sur le tronc d'un arbre mort au bord de la mer, a Capesterre Belle eau, je ferme les yeux, je me fais transparente et j'entends le vent raconter des histoires folles que j'ecrirai un jour si ma plume est vaillante.

Gisele ~ineau ' I1 n'y a pas de theories seulement de candides souvenirs que la memoire travestit, des broutilles agaqantes, une pantomime extatique. La terre comme une mere, qui enfante, nourrit et recueille.

GisPle ~ineau'

According to Edward Said, memory's representations touch upon human space as questions

of identity, nationalism, power and authority. They involve narratives, all disputable, often invented,

which function to produce rituals and objects of value: literature, dance, music, art, (hi)stories. Their

arrangements-social constructions too-annex topographies to sketch as 'imaginative geographies'

the graft of past-present whose passages, loopy comings and goings resonate off and on, partially as

absorbing ricoches. In his Reflections on Exile and Other Essays, Said criticises a form of worlding

of intelligence,' which maps one group's ideology or image of the Other onto another, without

regard for each culture's internal dynamic plurality. Such approaches ignore the flux and the

repressed in in historical accountings. In contrast, contemporary "autofictions" from the

Francophone Caribbean pull at the threads in the recurring patterns of socio-cultural and political

issues. Within these subjective memorisations, repetitions in differences, i t e ra tk &remental

change - or what I shall mark as echo - resonate in other - wise designs.

Inquiry into memories stakes out territorial claims of intertexts. context and idiolects without

ideally at least hierarchical distinctions between genres. Moving from one practice, where meaning

may be specified, to another, where it appears latent, fleshes out identities and arrays of socio-

cultural practices.' Mapping the different items as they occur in their own discursive spaces and rub

up against one another generates patterns of transformations, translations, contradictions and

symmetries, or meeting points of structural relations that emphasize an arrangement of truths or

ideological metaphors rather than a conflated master narrative. Such metaphors corporealise

thresholds of conceptualisations, the liminalities of repetition and difference.

The works of such women authors from the Francophone Caribbean as Maryse Conde,

Edwige Danticat, Giselle Pineau, and Simone Schwarz-Bart trace body- and image-spaces through

their imaginative geographies which reflect upon areas of contestation about usurpation,

incorporation, stereotypical categorization and associations as well as narrative modes and

enunciation. Just as the readable text cannot be separated from the act of reading, the act of

producing any text cannot be rent from its (present) bearings. Engaging the skiens of stories enacts

inter- and extra-textually challenges to literature's own forms.

These authors (among others) transmit contentiously the intimacy of women's memories.

Memories which as heteroglossia, shared and repeated, proverbial and oral, personal and local,

monologic and dialogic, stretch out across generations and touch other knowledge. The exigencies

of Carib-antislean perspectives which inflect their narrations with what Deleuze and Guattari call

"an intensive utilisation of lang~age,"~ corporealise the language of the storytellers. Braids

constructed with agile fingers incorporate in their daily re-creations the sinuosity of then-now-thens

Certaines [nattes] sont epaisses, d'autres minces. Ou tres lourdes. Ou tres 1Cgeres.

A l'image des differentes fernmes de ta famille. Celles qui, chaque jour, de leurs doigts agiles, te confectionnent une nourriture de survie enrichie par leurs fables et leurs metaphores, leurs comparaisons et leurs soliloques, leurs faqons de parler et ce je ne sais quoi qui les caracterise. (Krik? Krak! 236-7)

As Danticat's narrator in the Epilogue to Krik? Krak! insinuates, memories, as fables (spun

metaphors) and metaphors themselves, enrich the basic necessities of life. They enact the etymology

of metaphor as transposition: with meta signifying what goes beyond or turning and phora: to

transport or to carry. The mother's and grandmother's oral whisperings together with the beating of

the other thousand hearts that have gone before, resonate as creative purposeful memories to be

heardl read:

Mille fernmes . . . t'exhortent a parler avec la mine emoussee de ton crayon. Tu les appelles des poetes de cuisine. Des fantames qui evoquent les branches brunes d'un flamboyant. Ces femmes ont besoin de ta voix pour, a travers elle, convaincre ta mere que les femmes comme toi peuvent se faire entendre, oui m2me si leur langage est difficile a comprendre. MCme si elles parlent en patois, en dialecte. En creole. (238-239)

The memories, in calling up language and gender issues, convey the micro-structuring of power.6

They work and rework the materials from differing angles. Woven into braids, these memories

question the positionings of socio-cultural and economic frontiers, together with politics which

demarcate and direct the various Francophone Caribbean territories vis-a-vis France and their

situations within the American hemisphere. Sharing some concerns especially about the condition

of woman, these writers call up memories to re-tell fictionally stories about subjectivity. These

voyages against chronological time work out Faulkner's notion that the past is never dead, that it's

not even past. They do not turn back: they advance a past-present projection. They recount the

figurations of the 1's relation to (its) others, in terms of spheres of influence (fantasy) and mobility

(echo).

Fantasy Echo7:

I borrow this syntagm from historian Joan W. Scott who first came across it in a student's

final exam. It was a question of an unfamiliar language and of accents which led the student to

determine creatively that the German professor teaching in English about the French 'fin de siecle'

phenomena was enunciating 'fantasy echo'. And some thirty years later, remembering still this

phonetic echo, Scott found it a useful entry point into her interpretive work of history and the

construction of identity:

fantasy echo has a wonderfully complex resonance. Depending on whether the words are both taken as nouns or as an adjective and a noun, the term signifies the repetition of something imagined or an imagined repetition. In either case the repetition is not exact since an echo is an imperfect return of sound. Fantasy, as noun or adjective, refers to plays of the mind that are creative and not always rational. (Scott, 287)

The two, fantasy and echo, whether they be fantasized echo or echoed fantasy are inextricably linked

as imagined repetitions or repetitions of imagined resemblances (Scott asserts 287), and they

participate in the narratives and structure of literature. As intertextuality, such echoes abound. One

need only think of the recent explicit example of Maryse Conde 's La Migration des Coeurs rewriting

of Wuthering Heights, or less evidently of Suzanne Dracius-Pinalie's references to Madame Bovary

in her short story: "Emma B." In this paper however I turn my attention to the intratextual re-calls,

to those not-quite "quotations", inherent to telling again so as to remember the 'sous-silence', the

under-the-cover of-night.

But first let me turn to Ovid 's tale ofNarcissus and Echo,' which appears in Metamorphoses

whose opening reads in English as: "My mind is bent to tell of bodies changed into new forms"

(Echo 180). Narcissus, born of the rape of his mother, Liriope, by Cephisus, emerges from

sanctioned violence within the political economy of the gods. Not surprisingly then, in discussions

of the myth of Narcissus, erasures of woman occur, even if in many instances his femininity is

emphasized in his passage from the choric to the symbolic mirror stage. Echo's position as silenced

woman is merely alluded to as the result of her prudent chatting which prevents Juno from

witnessing her husband's play with nymphs. And the constitution of the "I", of the subject, coheres

around the male figure of the story, around the one who repeatedly rejects the nymphs, the women

of his society.

Thoughout the reported exchange between Echo and Narcissus, she behaves according to her

punishment which deprives her ofher beguiling prudence. Unable to speak for herself, she can only

give back the end of the utterances. Thus until her Ovidian narrative dismissal, which follows an

account of their dialogue, she gives back the end of each of Narcissus'speech acts. Ovid "quotes"

Echo's responses except for when Narcissus asks "Why do you fly from me?" Caught in the

discrepancy between second person interrogative (jkgis) and the imperative figi), Ovid cannot allow

her to be Echoand instead reports her speech the the third person narrative voice: quot dixit, verba

recepit - he receives back the words, he says. Whereas the discrepancy is effaced in an English

translation, one into French allows for aquestioning response rather than the passage fiom a question

to an imperative which the English invokes. To Narcissus' question: "pourquoi t'envoles-tu?", Echo's

answer graphically and orally multiplies the meanings of her response: "Voles-tu?" -do you fly?

do you steal? and implies a differing of an answer.

Despite Echo's definition as dependent subject, she remains uncoupled from the effect of

which she is the cause. Indeed as Gayatri Spivak aptly states: "Echo is staged as the instrument of

the possibility of a truth not dependent upon intention, a reward uncoupled from, indeed set free

from. the recipient." The effect of her torn response, as in her brief exchange with ~ a r c i s s u s . ~ marks

the withheld possibility ofa truth outside intention (Spivak )-an irreducible difference (Scott 288).

It re-marks fantasy as sustained metaph~ricity,'~ wherein fantasy (re)arranges a past-present to secure

in the repetition of narrative the stealth of (a) desire. With hindsight, fantasy as sustained

metaphoricity sets up a relationality and a set of criteria to give an identity to previous affairs."

However the gap in time and space which an echo enacts, in its fragmentary repetition, altered

mimicry. Such mimicry undermines the notion of enduring sameness and weaves alteration into

such narratives as Pineau's LrEsperance-macadam, Danticat's Breath, eyes, memory, Simone

Schwarz-Bart's Pluie et Vent sur Te'lume'e-miracle or Conde's Traverse'e de la mangrove. For within

the fantasy patterns braided over and over again, echoes pull at and distort the passages, diffracting

the details and figurations of the individual characters' storyline.

As intratextuality, the echo of gestures and of happenings figures as mise en abyme of

occurences within the story, or of representations of silenced socio-historical behaviour knotted into

the body of the text. Fantasy alludes to the imaginative, to the literary qualities of a text. Its attribute

of play or so-called irrationality works out purposefully the trace of memory in a creative repetition

of past fragments into a present'future for the beholder of the story.

With her decorporealised voicing, Echo shapes herself into iterations. In Pineau's

LrEspe'rance-Macadam, the cyclone's return outs the silences of the past - distortions imposed by

violence:

En dedans d'elle, quelque chose lui disait que le Cyclone de 28 avait ete et resterait le plus terrible qu'elle ait jamais connu. Celui-la pouvait bien emporter sa case. Quoi! elle avait soixante-huit ans. Vecu soixante ans avec un cyclone niche en dedans d'elle comme un serpent qui etouffait tous les bebes qu'elle aurait pu porter, tous les poupons a qui elle aurait aime donner ses tetes a sucer. Un cyclone qui avait

terrasse l'arnour en elle. Une b2te longue comme un ver solitaire et soumois qui lui avait mange les entrailles et la cervelle. Elle serra plus fort la main dlAngela, son bebe Angela qu'elle avait attendue des temps et des temps. La destinee avait fait qu'elles avaient rencontre la m2me poutre avec son visage grimaqant, ses dents longues et voraces, ses yeux fous. Cyclone! (280-8 1)

At the age of eight, Eliette, with the passage of the 1928 cyclone which her mother, Seraphine always

refered to as "la Beten , lost her speech and her memory. She only regained her tongue three years

later when she heard her step-father Joab talking to the animals and asking the grasses's forgiveness

for walking upon them even lightly. However it is not until the time of the second cyclone Hugo that

the events surrounding "la Bgte" re-emerge for her:

Alors un morceau de la memoire dlEliette se detacha doucement des ricifs de l'oubli, s'en vint flotter devant ses yeux, pareil a un bout d'eponge ballote par les eaux, et puis finit par s'echouer tout palpitant de vie. (233)

As Hugo passes over her godmother's house, she sees herself as a child hicupping with laughter as

her father, always already nicknamed Ti Cyclone throws her up and catches her in his arms:

C'est ainsi qu'apparut le visage de la bste, bossuant d'abord la poutre de bois mol, et puis s'en detachant. il chantait d'une voix rude, ma1 accordee aux eclats de rire qui sortaient dedans sa gorge. Tisons de desir, pepites de pacotille, ses yeux, tout lezardes aux remous de son &me foui!Iaient deja Eliette, la violentaient en songe. Tristes copeaux de la memoire ... (296)

Whereas, for Eliette, the ordeal of "la Bgte" surfaces with the passage of Hugo in 1989, a cyclone

as forceful or more so than the 1928 to finally crystalise her pain; for Angela, Hugo's touchdown

marks the end of her repeated rapes as she strives to save her younger sister Rita. For six years, her

father, the son of Ti Cyclone the reader learns eventually, had raped her repeatedly after having also

laughingly thrown her up in the air and caught her as a child. Understanding that her father was

about to perpetuate the same violence upon her sister, Angela, who had been forced into silence

"Enfermee dans un silence. Rien a dire. Jamais rien a raconter" (245), denounces Rosan to the

police to her mother Rosette's astonished disbelief.

In forcing herself to take her neighbour's eldest daughter in as she flees her mother's anger,

Eliette encounters the echo of her past in the presence of Angela. Again and still, she advocates

forgetting even as she knows that no-one does:

Ces mots lui avaient presque ecorche la bouche. Personne n'oubliait jamais. Mtme si'il n'y avait pas traces de cicatrices sur son ventre, hieme si une autre memoire lui avait rapporte tous les souvenirs qu'elle arnassait pour s'etourdir les jours de solitude et louer Dieu de l'avoir laisser rechapper vive de ce cyclone tant raide. Mon Dieu, meme si la mort la prenait sans tarder, une part d'elle mtme. etouffee et profonde, se souviendrait toujours du Passage de La Btte sur son corps, dans son ventre. (21 8- 2 19)

Indeed Angela instrumentalises the possibility of a truth not dependent on intention (Spivak).

Responding without answering her father's narcissistic returns to his ideal site - his paradise -

Angela assumes the role of Echo. As she breaks the code of silence, the narrative's seeming

cyclicality encounters a wedge.I2 Gradually Eliette's memory retraces the night of her own tearing

as she encounters in Angela, the graphic of iteration, an echo of the past.

Angela's denunciation of her father to save her younger sister Rita critically awakens two

women (Rosette and Eliette) to their self-preserving deafness and blindness, bringing Echo into the

story. Distant echoes, hushed and transformed by the silencing of the past over sixty years erupt as

cyclone Hugo traces its re-turn. The iteration in 'like father like son', (tel pere, tel fils) replays

Eliette's rape as multiple. As the male figure, Rosan repeats his access to the Ideal - his paradise

-as he returns to the same, forcing her into silence so that his family situation does not suffer, his

aggression iterates his father's upon Eliette.

However in their iterativity, echoes respond as other to the input. Whereas Ti-Cyclone was

whipped by the 1 928 cyclone when Eliette's mother threw him out, having only succeeded in cutting

off his ear, his son lives the passage of Hugo in prison as his devastated disbelieving wife punishes

her daughter for destroying the family unity. Even though Eliette has lost the use of her

reproductive organs, her womb remains a sound box, an echo signifying the possibility of difference

or transformation (Scott 291).13 Although revolution does not occur as the imbricated changes of

mindsets unfold, fantasy nevertheless forwards an opening out of the logic of repetitious repression,

out of the bind of silencing into what Jacques Derrida and Gayatri Spivak imagine as the graphic of

iteration. While the graphic eludes the logic of verifiable reason, iteration incorporates alterity, a

differed difference.I4 Indeed Eliette's godmother Anoncia asks for time to get out of her hideout of

fear:

Si le Bon Dieu pouvait me donner une seule rallonge de vie, je resterais pas enge81ee ici-dans a mettre du ti-bois pour garder vif le feu de ma douleur. Je sortirais dessous les arnarres de la honte, dessous la peur et ses lacs infinis. Si le Seigneur permettait que je reste deux jours encore sur cette terre, je laisserais pas mon frere zombi giiter mon existence, je deposerais cette charge d'infamie. (297-98)

Changing into a new form, Anoncia like Eliette and Angela short circuit the identity of repetition.

As figures of Echo, unintentionally, they experience identity as wound (SpivakIEcho 183- 1 84).15

At this point in lieu of a conclusion, I would like to gesture to similar soundings welling up

to recast the story of Echo as rhetorical figure for women's lifestories, told and untold and retold

fragmentarily. Ovid's textual body of Echo transfers into other forms and enacts not her

disappearance nor her silencing but her metaphor - her translation - of repetition. The turning

of the repetition retunes its formulation to elaborate the domain of the partitive symbolic of

metonymy (an echo/ truncation) into a transparent metaphoric representation of mise en abyme

(fantasy).

In Danticat's Breath, Eyes, Memory, the breath or the scream. as the novel's title in French

-Le Cri de I'oiseau rouge- points out memory's tortuous zigzags. Iterative moves structure the

novel as mother and daughter register repetition in difference and seek solace in proximate silence.

The mother's unheard screams at her rape return in her dreams and in the haunting silence of her

daughter's virginal determination:

I did it . . . because my mother had done it to me. I have no greater excuse. I realize standing here that the two greatest pains of my life are very much related. The one good thing about my being raped was that it made the testing stop. The testing and the rape. I live both every day. (1 70)

Like memories, echoes transmit messages:

My mother always listened to the echo of my urine in the toilet, for if it was too loud it meant that I had been deflowered. I learned very early in life that virgins always took small steps when they walked. They never did acrobatic splits, never rode horses or bicycles. (1 54)

Yet even as there exists permissive transgression, that is to say the possibility of women absenting

themselves or of responding otherwise, Echo's reactive possibilities set up limitations. Thus in

Breath, Eyes, Memory, young women learn to double - to transport themselves elsewhere to escape

the pain of the testing - but the tactic remains with them in their interaction with men. The

doubling recurs continuously.

In Schwarz-Bart's Pluie et vent sur Te'lume'e Miracle, counterpoints modulate the succession

of cercles which structure the novel. Its series of acts as in a play linked to the character and narrator

Telumee effaces a cause and effect continuum and neverthless constitutes the spiral of her life.

Iteration figures as repetitions in difference and augurs for example the gentle transition passage

from Toussine to Telumee. Between the first and second part of Pluie et b'ent, stories answer each

other without repeating themselves. As Telurnee's perpective on her life changes from that of a child

through to old age the juxtaposed resonances of similar circumstances abound as echoes. without

a patterned identity to connote the unforeseeable difference and similarity in repetition.

Such novels exit the circuit of repetition with their incorporation of the figure of Echo. Their

broken chronological linearity bear witness to the similarities of generations of stories. Yet each

recollection emphasizes the mise en abyme's distended mirror to bring into play the forgotten women

in Narcissus' story. Each dismissed in turn, they nevertheless have purposeful memories which

propose with creative ricochets other responses to Narcissus' "will you fly with me?"

Bibliographie:

Deleuze, Gilles et Felix Guattari. "What is a minor literature." Out there: Marginalization and Contemporary Culture. Eds. Russel Fergusson et al. Cambridge, Mass.: MIT Press, 1990.

Nouvet, Claire. "An impossible Response: the Disaster of Narcissus." Yale French Studies 79 (1991). 113.

Pineau, Gisele. "Sur un morne de Capesterre Belle-Eau." A Peine plus qu'un cyclone aux Antilles. Cognac, France: Le Temps qu'il fait, 1998.

---. L 'Espe'rance-macadam. Paris: Stock, 1995. ---. L'Exilselon Julia. Paris: Stock, 1996. Scott, Joan. "Fantasy Echo: History and the Construction of Identity." Critical Inquiry 27 (Winter

2001): 284-304. Spivak, Gayatri Chakravorty. "Revolutions That As Yet Have No Model: Derida's "Limited Inc.""

The Spivak Reader: Selected Works of Gayatri Chakravorty Spivak. Donna Landry & Gerald MacLean. eds. London: Routledge, 1996. pp.75- 106.

--- . "Echo (1993)." The Spivak Reader: Selected Works of Gayatri Chakravorty Spivak. Donna Landry & Gerald MacLean, eds. London: Routledge, 1996. pp. 175-202.

--- . "Three women's texts and a critique of imperialism." Critical Inquiry Summer 18:4 (1 985): 756-769.

Endnotes: 1. Gisele Pineau, "Sur un morne de Capesterre Belle-Eau," A Peine plus qu'un cyclone aux Antilles, Cognac, France: Le Temps qu'il fait, 1998.

2. Gisele Pineau. L'Exil selon Julia. Paris: Stock, 1996.

3. Devant tant de bouleversements en un temps si court, rien d'etonnant que nous soyons a la recherche de nos reperes, et pas seulement sur le plan des ... vaieurs. Normal, notre civilisation est encorejeune : 20 000 ans de culture ! Au plus vite, il nous faut prendre ce recut oh ! paradoxe pour colter de plus pres au developpement scientifico-technique. Sans cela. nos modes de production et de consommation nous conduiront droit a la catastrophe. Les technologies mettent en peril le Village : rechauffement de la planete, trou d'ozone, nucleaire et, last but not least, la folie bovine. Les recents developpement de la maladie de la vache folle constitue un interessant terrain d'etude de I'irnpact des technologies sur notre societe et de nos reactions face a un danger global.. Chacun pense pouvoir s'en sortir dans son coin.

Or, il est desormais clair que seule une discussion citoyenne sur la nourriture que nous voulons manger permettra d'entrevoir des solutions realistes. Plus generalement, ce que nous enseigne le 20e siecle, c'est que I'intelligence doit, comrne la production et le commerce des marchandises, se globaliser. L'intelligence individuelle, ponctuelle n'a plus cours. C'est toute notre societe qui doit devenir intelligente. L'intelligence pour I'intelligence, n'a plus de raison d'dtre ... L'intelligence de la raison doit cohabiter avec celle, plus importante, des valeurs ... a inventer et a prornouvoir ensemble bien stir, c'est-a-dire a un projet collectif. Foin de I'individualisme ....

I reword his collective project which replaces for him the desire for each and everyone (as individuals or communities - whether nation-states or other political groups such as Green Peace, or corporations like Chiquita) to solve its problem without much attention to its impact on others.

"worlding" is Gayatri Spivak's term, one ofthe processes of'othering", expresses the ways in which imperialism works to overwrite the colonized space just by being there or mapping it explicitly to know itlcontrol it. (See "Three women's texts and a critique of imperialism" in Critical Inquiry Summer 18:4 (1985): 756-769, see esp. p 133).

4. [[Authors]] track the meandering and errant traces left behind by ordinary persons moving thru their day. Man,v of these traces, rather than conform to dominant social specrfications for behaviour, document the thought -filled gestures ofthose who having assessed and rejected the normative, simply move in different ways. These gestures constitute a vital reservoir of resistance to the overwhelming force exerted by dominant orderings of the social.

5. Deleuze, Gilles et Felix Guattari, "What is a minor literature," Out there: Marginalization andContemporary Culture, eds. Russel Fergusson et al. (Cambridge, Mass.: MIT Press, 1990) 61-62 & 64. Dans son Discours antillais, Glissant elabore en ses propres termes I'idee de l'intensification du langage: "La poetique du metissage est celle mdme de la Relation: non lineaire et non prophetique, tissee d'ardues patiences, de derivees incompressibles" (430).

6. Michel Foucault explains how power relations are conveyed into into the body, are corporealised by the subject. Susan Foster speaks of power relations in-sinew-ating themselves into the dancer's very musculature (unpublished paper from FIRT, "Corporeality workshop, Sept 2000).

7. I borrow this syntagm from Joan Scott's article "Fantasy Echo: History and the Construction of Identity" in Critical Inquiry 27 (Winter 2001): 284-304, wherein she defines it as "the designation of a set of psychic operations by which certain categories of identity are made to elide historical differences and create apparent continuities. Fantasy echo is a tool for analysts of political and social movements as they read historical materials in their specificity and particularity . It does not presume to know the substance of identity, the resonance of its appeal, or the transformations it has undergone (304).

8. I do not here address what Gayatri Spivak raises in "Echo" (pp175-202) regarding Freud's "on Narcissism: An Introduction" regarding his implications that non-European cultures are stuck in varieties of Narcissism because they can't pass through Oedipus, just as women can't and hence inhabit a secondary marcissism of attachment to the (boy) child to save them from themselves.( 176- 177)

9. Narcissus is punished with the knowledge of the relationship between death and self-knowledge because he had not responded to the desire of others. But this punishment is not in the name of Echo (Spivak 183?)

10. Joan Scott quotes Denise Riley's definition of fantasy as "sustained metaphoricity". (p 288) TO be in fantasy is to live as if.

1 1 . Epistemic breaks in this light appear as construction of hindsight which permit such categorisations as colonial and post colonial even as Guadeloupe for example continues to be governed from France.

12. The tear in the circ~larity of repetition displaces such binaries as spokedwritten which construct the post-colonial paradigm.(Spivak)

13. Scott (p291) rereading Claire Nouvet's "An impossible Response: the Disaster of Narcissus" Yale French Studies 79 (1991) 113.

14. See "Revolutions That As Yet Have No Model: Derida's "Limited Inc."" in Donna Landry & Gerald MacLean, The Spivak Reader. Selected Works ofGlryatri Chakravorty Spivak, London: Routledge, 1996, pp.75-106, especially 75-76.

15. the a-venir of history not written? (SpivakIEcho pp183-184). Even Rosette, having come to terms with her 'bovarysme' and her resultant blindness and deahess, hears again the resonnances of a truth. Echoes in her behaviour, of her mother's who threw her out when she was pregnant with Angela (by Rosan). Also 11 of the Bob Marley music echoing the events in their lives and the effect of the refrain : no woman, no cry cited in different ways as partial bis or complete refrain.