Quebec Studies

"The Killer Awoke Before Dawn": The Multiple Mirrors of Hélène Rioux's Eléonore

Quebec Studies (1995), 20, (1), 56–65.

Abstract

56 QS "The Killer Awoke Before Dawn": The Multiple Mirrors of Hélène Rioux's Eleonore by Paula Ruth Gilbert Abstract Tout en employant des sources intertextuelles qui sont empruntées de la mythologie grecque, des poètes français et surtout des chansons de Jim Morrison et son groupe des années 70, The Doors, Hélène Rioux a construit une structure postmoderne et féministe qui implique le narrateur/la narratrice, l'image d'une certaine Eleonore, ses amis et le lecteur/la lectrice. Elle met en relief la nature de la violence et de la narration en ce qui concerne le regard ou de l'homme ou de la femme. Rien n'est certain; rien n'est réel; toué est inventé et a lieu dans la tête des créateurs/créatrices—jusqu'au dénouement terrifiant où le monde de Morrison s'installe de nouveau. What is the distance between the face in the mirror and the mirror in front of the face where the boundaries blur? The real is the unreal. . . and I say I. But when I say I, I'm not the woman who is writing this very page. When I say I, I'm merely imagining myself. She is the one who is writing. And my face in the mirror? Who is it? Who is the woman who writes me? I know because I made her up. . . . She has no I. She's the other. I am I. . . . [S]he has no knowledge of her I. Done in by a single letter. In one letter I am I. And in my faces in the mirror. I? Helena Parente Cunha, Woman Between Mirrors Are you a lucky little lady in the city of light? Or just another lost angel? Jim Morrison, "L.A. Woman" Girl, unhappy girl, left all alone playing solitaire. Jim Morrison, "Unhappy Girl" Music is your only friend Until the end. . . . Jim Morrison, "When the Music's Over" Some are born to sweet delight Some are born to the endless night. Jim Morrison, "End of the Night"

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Author details

Gilbert, Paula