Dialogue with a Work: Artifact

Dialogue avec une oeuvre: objet fabrique Quinze ans plus tard, Lucille Nelson contemple sa rencontre adolescente avec les romans et le journal intime d'Anais Nin.EIle introduit dans le moment present du souvenir certains objets-des extraits deson propre journal, une lettre d'Anais Nin et une carte postale envoyee par elle -qui temoignent de l'intensite et de la signification de ses lectures de jeunesse.En ecrivant en tant que femme Cl d'autres femmes, y compris LueiIle, Anais Nin a legitime les experiences internes vCcues par cette ecrivaine adolescente et l'aaidee Cl oser se creer, aformuler son etre actuel et potentiel.Cette creation d'une vie est un processus qui continue encore jusqu'au present.Iei cette evolution est juxtaposee a des objets appartenant Cl son adolescence, qui rappeIlent le dialogue important avec l'oeuvre d'Anais Nin qui l'a influencee Cl l'Cpoque.Adolescence: the years between fifteen and twenty.Between '69 and '74.In Quebec.High school, cegep.An all English environment.On the political scene, the Quiet Revolution, the FLQ, the October Crisis, the first common front strikes, Women's Liberation.On the home front, my eldest brother is killed in a car accident.The family moves across the river to a house in St. Eustache.My father loses his job and starts his own business; my mother continues her work as a nurse.Not my favourite years, those late teens.Taking refuge in books, I read voraciously.It was not until my second yearin cegep that I discovered Anais Nin.I no longer remember how I found out about her.But I read one of her novels and was touched as I had been by no previous writer.She was the first author I read who described emotional reality in a way that