Focusing on Leïla Slimani's Chanson douce (2016) and Alain Mabanckou's African Psycho (2003), this article traces a grotesque aesthetics that draws on other globally circulated texts, such as North American crime fiction, the literary trope of the serial killer and the 'evil mother',
as well as on the recognition value of the city of Paris to appeal to a global, and in particular Western readership. While this new aesthetics is clearly informed by previous generations of African literature, such as the texts that have served to illustrate Achille Mbembe's articulation
of the grotesque, the 'commandement' in Slimani and Mabanckou's novels is exercised by less tangible dynamics of transnational capitalism, class differentiation, gender stereotypes, and social marginalisation. The article considers the ways in which both Slimani and Mabanckou's narratives
place a new importance on, and instrumentalize the role of the audience — as readership — by making them a central element of their representation of the grotesque. The writers' public performance of their identities as celebrity literary authors then serves to better understand
how their re-configuration of the grotesque as a 'globalized' aesthetic extends to a re-thinking of what African literature in French and its authors are today on the world literary market.
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Document Type: Research Article
November 1, 2020
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The Irish Journal of French Studies is an annual international refereed journal published by the Association des Études Françaises et Francophones d'Irlande. Articles in English, French or Irish are welcomed on any aspect of research in the area of French and Francophone culture, society, literature and thought. Articles published within the last two years are available free online to members and may be purchased by non-members. All other articles are available on an open access basis.
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