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	BOOKFORUM \| dec/jan 2005
		Sarraute's regal manner made it commonplace, in press features and on dust jackets, for her to be cast as the doyenne of the French avant-garde.
		Sarraute was one of the last in a line of artists who sought through radical innovation to renew entire aesthetic traditions, shattering the encrustations of threadbare ideas, official commonplaces, conventional and therefore lifeless forms of perception.
		Sarraute's claims that she was most intent on exploring the substrate of selfhood, the residue of a primordial state preceding language and even sexual differentiation—"On the inside, where I am, the sexes don't exist," she declared—cut to the heart of her concerns.
	www.bookforum.com /archive/dec_04/gibbons.html (3535 words)

	Nathalie Sarraute - Wikipedia, the free encyclopedia
		Nathalie Sarraute, born July 18, 1900 in Ivanovo, Russia - died October 19, 1999 in Paris, France, was a lawyer and a Francophone writer of Russian origin.
		Sarraute was born in Ivanovo, near Moscow, and passed her childhood between France and Russia.
		Her daughter is famous journalist Claude Sarraute, wife of French Academician Jean-François Revel.
	en.wikipedia.org /wiki/Nathalie_Sarraute (188 words)

	Nathalie Sarraute
		Sarraute studied literature and law at the Sorbonne, spent one year at Oxford in 1921, and continued her studies of legal science in Berlin, before becoming a member of the French bar (1926-41).
		The family friend Martereau is a solid, calm man, whom Sarraute uses as the focus of the inner monologue, and whose character she gradually disintegrates, along with other members of the family, a stone-hearted uncle, the silent mother, the unpredictable daughter and the insecure young man living at his uncle's house.
		Sarraute dismissed the need for a cohesive narrative, and welcomed the death of the "character" in fiction, to be replaced by "a matter as nameless as blood, a magma." Sarraute published L'Enfance (1983, Childhood) when she was over eighty.
	www.kirjasto.sci.fi /sarraute.htm (1181 words)

	Catherine Peebles
		Sarraute here describes her writing as a process of experiencing some prediscursive feeling, and then attempting to find or create a form which might accommodate it, an effort which results in, among other things, a particular way of representing characters.
		Sarraute's prose here and elsewhere is both disarming and seductive, and these qualities are bound up with what is often felt to be the immediacy of her writing.
		Sarraute's writing would locate any space of sexual difference or another subject not in a utopian future or not-yet moment, but in the now, a now to which there is, however, no immediate access, and in a subjectivity or subjectivities which are also impossible to conceive as immediate.
	www.usc.edu /dept/comp-lit/tympanum/4/peebles.html (14021 words)

	Nathalie Sarraute Biography and Bibliography at LitWeb.net
		Sarraute became one of the pioneers and leading theorist of the nouveau roman alongside Alain Robbe-Grillet, Claude Simon, Marguerite Duras, and Michel Butor.
		Sarraute studied literature and law at the Sorbonne, spent one year at Oxford, and continued her studies of legal science in Berlin, before becoming a member of the French bar (1926-41).
		Although Sarraute's early works are precursors of the New Novel, some critics have placed her in the great tradition of Proust and Henry James as a theoretician of a psychological novel.
	www.litweb.net /biography/47/privacy_policy.html (595 words)

	Nathalie Sarraute Biography and Summary
		Nathalie Sarraute (1900-1999) was one of the seminal figures in the emergence of France's "Nouveau Roman" ("New Novel") in the 1950s.
		Nathalie Sarraute (born July 18, 1900 in Ivanovo, Russia- died October 19, 1999 in Paris, France) was a lawyer and a Francophone writer of Russian origin.
		Sarraute was born as Natalia/Natacha Tcherniak in Ivanovo, near Moscow, and passed her childhood be...
	www.bookrags.com /Nathalie_Sarraute (236 words)

	French Culture \| Performing Arts \| Nathalie Sarraute: Just for Nothing (Site not responding. Last check: 2007-10-31)
		Nathalie Sarraute's taut 1982 duologue between estranged childhood friends typifies her nouveau roman aesthetic.
		This colloquy, whose conundrum remains unsolved despite invocation of audience perspective in a wry coup de théâtre at midpoint, is the existential raison d'être.
		Nathalie Sarraute had published l'Usage de la parole / The Use of Speech in 1980, and Enfance / Childhood in 1983.
	www.frenchculture.org /perfo/events/02sarrautejust.html (359 words)

	Review article: `Fools say' by Nathalie Sarraute, translated (Site not responding. Last check: 2007-10-31)
		Sarraute getting her own back on those among her readers who insist on categorizing her as a sweet innocent old lady: a kind of Grandma Moses of the Nouveau Roman who doesn’t bother her head with all those tiresome new-tangled literary theories.
		In fact Mme Sarraute is not only far from innocent; she is also, here, explicitly concerned with the value of abstract ideas, and with whether or not these values can remain independent of the acquired prestige of their proprietors.
		Sarraute’s novels are constantly designating things, qualities and people while refusing to name them; hence the almost obsessive use of indefinite pronouns—‘No, it’s that, and that alone, which I must get rid of.
	english.fsu.edu /jobs/num05/Num5britton.htm (1467 words)

	Nathalie Saraute
		In the 1950s and '60s Sarraute developed the ideas of the new novel in such works as Portrait d'un Inconnu (1947, Portrait of a Man Unknown), an 'anti-novel' according to Jean-Paul Sartre, in which she took from Balzac's Eugénie Grandet the central theme - the relationship of a miserly father and his daughter.
		The family friend Martereau a solid, calm man, whom Sarraute used as the focus of the inner monologue, and gradually disintergrates the character, and other members of the family, a stone-hearted uncle, the silent mother, the unpredictable daughter and the unsecure young man living at his uncle's house.
		Sarraute uses again short flashes of from her past, and torn lines from discussions.
	www.asu.edu /languages/fre/FrenchWomen/frewomen/NSaraute.htm (781 words)

	washingtonpost.com: In Search of Lost Words
		What Sarraute is relentlessly concerned with in Here is the power and poverty of words, especially words of bad faith--the inevitably deceptive, cliche words we constantly use and the anxiety and despair they create in us.
		Sarraute begins her narrative, composed in 20 numbered sections, by recreating the thwarted struggles to recall forgotten names, be it the name of a person, tree or renowned artist from the Renaissance.
		Sarraute is able to accomplish this in part because of her coolly precise yet evocative prose, finely translated by Barbara Wright.
	www.washingtonpost.com /wp-srv/style/longterm/books/reviews/here.htm (641 words)

	Nathalie Sarraute, (Site not responding. Last check: 2007-10-31)
		Everything about Nathalie Sarraute has followed a singular course: her literary career and her personal destiny, her Russian origins and the immense place she occupies in the literary world in France are all sources of astonishment, if not wonder.
		It is no coincidence, then, that Nathalie Sarraute's work should finally have attracted the attention of her contemporaries.
		Nathalie Sarraute's entire theatre work illustrates this idea: language is nothing if not artificial and accentuates the lack of authenticity of life in society.
	www.diplomatie.gouv.fr /label_france/ENGLISH/LETTRES/SARRAUTE/sarraute.html (776 words)

	Artful Dodge - Original Interviews - Nathalie Sarraute
		Sarraute's work, well known in France and now being translated and read abroad, has been one of the strongest creative influences on the New Novel movement in France, a movement held together not so much by stylistic agreement as by a common renouncement of accepted literary forms.
		Sarraute challenges the modern reader to forget what he has been conditioned to expect in a novel and to approach her works as acts calling for creative reading.
		Sarraute: I have participated considerably in this movement because The Age of Suspicion was one of the foundations of the movement.
	www.wooster.edu /artfuldodge/interviews/sarraute.htm (3217 words)

	CONTEXT: Issue No. 14
		Nathalie Sarraute quite often came to England to give lectures, and I always went to listen to her.
		Nathalie immediately saw that that was what I was going to try to give her, and she was pleased.
		Nathalie opens the door to me. Latterly, we went straight to her bedroom, which was where she liked to work.
	www.centerforbookculture.org /context/no14/wrightnew.html (2589 words)

	LitWeb.net
		Sarraute became one of the pioneers and leading theorist of the nouveau roman alongside Alain Robbe-Grillet, Claude Simon, Marguerite Duras, and Michel Butor.
		Sarraute practiced law until about 1940, when she became a full-time writer.
		Sarraute again employs short flashes from her past, and snatched lines from discussions.
	www.biblion.com /litweb/biogs/sarraute_nathalie.html (701 words)

	Nathalie Sarraute, (Site not responding. Last check: 2007-10-31)
		Everything about Nathalie Sarraute has followed a singular course: her literary career and her personal destiny, her Russian origins and the immense place she occupies in the literary world in France are all sources of astonishment, if not wonder.
		It is no coincidence, then, that Nathalie Sarraute's work should finally have attracted the attention of her contemporaries.
		Nathalie Sarraute's entire theatre work illustrates this idea: language is nothing if not artificial and accentuates the lack of authenticity of life in society.
	www.france.diplomatie.fr /label_france/ENGLISH/LETTRES/SARRAUTE/sarraute.html (776 words)

	In Writing: I Haven't Read Her (Site not responding. Last check: 2007-10-31)
		Barbara Wright remembers on her professional relationship (as a translator) with the late Russo-French novelist Nathalie Sarraute.
		Sarraute often gave talks in England and, Wright says, "I always noticed that the moment she came into the hall and started to walk up to the platform, it was as if the whole audience had fallen in love with her".
		Sarraute always resented what she saw as Beckett's lack of decency and gratitude at that time.
	www.inwriting.org /weblog/archives/000080.html (351 words)

	Nathalie Sarraute, "New Novel" writer, 99 (Site not responding. Last check: 2007-10-31)
		Sarraute's death was announced by her son-in-law, Jean-Francois Revel, a philosopher.
		Sarraute turned out her first book, ``Tropismes,'' in 1939 and wrote more than 20 works, from novels to plays to essays.
		Sarraute has said that it was with her third novel, ``L'ere du Soupcon'' (Era of Suspicion), published in 1956, that she realized a new form of writing was emerging that tried to get at the ``interior drama'' of people's lives.
	slick.org /deathwatch/mailarchive/msg00562.html (298 words)

	Partners in slime: The liquid and the viscous in Sarraute and Sartre Romanic Review - Find Articles
		Nathalie Sarraute would not have appreciated this essay, because in it I propose to compare, as other critics have done in the past, her work with that of Jean-Paul Sartre.
		Sarraute's testiness about the nature of her intellectual relationship with Sartre simply "oozes" (in keeping with the theme of this essay) from the pages of a 1989 interview with Francoise Dupuy-Sullivan ("Dialogue avec Nathalie Sarraute") in which Sarraute describes her first contact with Sartre.
		For Sarraute, what the masters did in the past was all well and good for their time, but new artists have the responsibility of going beyond their masters and discovering through their work new realities, using new artistic forms.3
	findarticles.com /p/articles/mi_qa3806/is_200105/ai_n8933894 (998 words)

	Nathalie Sarraute, Fiction and Theory - Ann Jefferson - Adobe Reader eBooks
		Nathalie Sarraute (1900-1999) is regarded as one of the major French novelists of the twentieth century.
		In this major new study of Sarraute, the first in English since her death, Ann Jefferson offers a fresh perspective on Sarraute's entire oeuvre - her novels, her outstanding autobiography Enfance and her influential critical writings - by focusing on the crucial issue of difference which emerges as one of her central preoccupations.
		She argues that difference is simultaneously asserted and denied in Sarraute's work, and that the notion of difference, so often celebrated by other writers and thinkers, is shown in Sarraute's work to the inseparable from ambiguity and anxiety.
	www.ebookmall.com /ebook/156510-ebook.htm (503 words)

	Nathalie Sarraute, Jacques Doillon, 1995 [Writers] (Site not responding. Last check: 2007-10-31)
		She modestly admits that adult years do not beckon to be described, and she duly conjures up what she had already retraced in Enfance [Childhood]–the comings and goings between France and Russia, the discovery of literature, the "very hard" Fénelon lycée, studying history at Oxford, a happy period spent among books, tennis and rowing...
		Nathalie Sarraute is altogether part and parcel of the present nature of words and books, and Jacques Doillon reverts time and again, of necessity, to her work.
		The film is noteworthy for the trust that the film-maker established with Nathalie Sarraute and the emotional power that their exchanges bring to the fore.
	www.france.diplomatie.fr /mediasociete/documentaire.gb/promotion/diffusion/collections/ecrivains/film33.html (290 words)

	Threepenny: Cohen, Nathalie Sarraute
		Nathalie Sarraute was born Nathalie Tcherniak in 1900 in Ivanovno, of Russian Jewish parents.
		Sarraute's work gradually took a revered place on the shelves of French bookstores and in the syllabi of French universities and in the Pléiade edition (from which I've made most of the translations here), brought out in 1996, two years before Sarraute's death.
		When the child Sarraute said to her mother of a hairdresser's window model, "She is more beautiful than you, Maman," implicitly she asked her mother not to give in to fixed divisive evidence and to speak instead from the enfolding continuity of knowledge.
	www.threepennyreview.com /samples/cohen_f06.html (1235 words)

	BBC News \| Europe \| French writer Nathalie Sarraute dies
		The French novelist, Nathalie Sarraute, has died at her home in Paris at the age of ninety-nine.
		Sarraute, who was born in Russia, was one of the pioneers of the so-called New Novel which revolutionised post-war European writing.
		Sarraute, who was of Russian Jewish extraction, moved to France when she was a child and won fame with her first novel "Tropismes" in 1939.
	news.bbc.co.uk /1/low/world/europe/479972.stm (111 words)

	Nathalie Sarraute -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-31)
		In 1909, her family moved permanently to (The capital and largest city of France; and international center of culture and commerce) Paris.
		She studied law, history, and sociology and became a lawyer.
		In 1932, she wrote her first book called "Tropismes", published in 1939 and applauded by (French writer and existentialist philosopher (1905-1980)) Jean-Paul Sartre and (Click link for more info and facts about Max Jacob) Max Jacob.
	www.absoluteastronomy.com /encyclopedia/n/na/nathalie_sarraute.htm (99 words)

	Nathalie Sarraute - Search Results - MSN Encarta
		Nathalie Sarraute - Search Results - MSN Encarta
		Sarraute, Nathalie (1900-1999), French novelist, essayist, and playwright, best known for innovations associated with the nouveau roman (new novel)...
		Despite its ancient origins, the Egyptian mau was not recognized as a breed by the Cat Fanciers’ Association (CFA) until 1968, and then only through...
	encarta.msn.com /Nathalie_Sarraute.html (116 words)

	Nathalie Sarraute, Fiction and Theory
		Nathalie Sarraute (1900-1999) is regarded as one of the major French novelists of the twentieth century.
		Initially hailed as a leading theorist and exemplar of the nouveau roman, she has come to be regarded as an important author in her own right with her own distinctive concerns.
		In this major new study of Sarraute, the first in English since her death, Ann Jefferson offers a fresh perspective on Sarraute’s entire oeuvre - her novels, her outstanding autobiography Enfance and her influential critical writings - by focusing on the crucial issue of difference which emerges as one of her central preoccupations.
	www.litencyc.com /php/adpage.php?id=511 (173 words)

	Nathalie Sarraute (Site not responding. Last check: 2007-10-31)
		Nathalie Sarraute and the Feminist Reader: Identities in Process.
		Nathalie Sarraute: Metaphor, Fairy-Tale and the Feminine of the Text.
		There is a book of interviews with Sarraute which provides an interesting look into her feminist philosophy: Benmussa, Simone.
	www.cddc.vt.edu /feminism/Sarraute.html (72 words)

	R A I N T A X I o n l i n e Summer 2004 - Do You Hear Them? by Nathalie Sarraute
		may be that Sarraute has taken one simple scene—a father's object fetishization, his children's in-character childishness, the resulting conflict—and fashioned something wonderfully strange and complex.
		Thus the reader is given revolving points of view, so that the book's anger and its sympathies are continually shifting among the characters.
		Sarraute's elliptical prose can be exhausting and frustrating, but it will ultimately reward the reader who can keep time with the book's unusual rhythm and accept its plotlessness.
	www.raintaxi.com /online/2004summer/sarraute.shtml (376 words)

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