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Marie NDiaye (born June 4, 1967, in Pithiviers, Loiret) is a French novelist and playwright. She published her first novel, ''Quant au riche avenir'', when she was 17. She won the Prix Goncourt in 2009. Her play ''Papa doit manger'' is part of the repertoire of the Comédie française. ==Biography== Ndiaye was born in Pithiviers, France, less than a hundred kilometers south of Paris, to a French mother and a Senegalese father. She grew up with her mother in the suburbs of Paris. Her parents met as students in the mid 1960s, but her father left for Africa when she was only one year old. She began writing at the age of 12. As a senior in high school, she was discovered by Jerome Lindon, founder of Editions de Minuit (Publications ), who published her first novel, ''Quant au riche avenir''.〔(''Libre d’écrire'' ), portrait dans ''Le Monde'' du 3 novembre 2009〕 After her first novel she wrote a further six, all published by Minuit, and a collection of short stories. She also wrote her ''Comédie Classique'', a two-hundred-page novel made up of a single sentence, which was published by POL when she was 21 years old. As well as writing novels, NDiaye has written a number of plays and a screenplay. ''Papa doit manger'' is only the second play by a female writer to be taken into the repertoire of the Comédie française. In 1988, NDiaye wrote a letter to the press in which she argued that her novel ''La Sorcière'', published two years later, had strongly informed the content of ''Naissance des fantômes'', the second novel of successful author Marie Darrieussecq.〔(''Marie NDiaye polémique avec Marie Darrieussecq'' ) dans ''Libération'' du 3 mars 1998〕 Her novel ''Trois femmes puissantes'' won the 2009 Prix Goncourt.〔(Novelist NDiaye wins France's top literary prize )〕 In his 2013 critical study of the author, ''Marie NDiaye: Blankness and Recognition'', British academic Andrew Asibong describes NDiaye as "the epitome of a certain kind of cultural brilliance",〔Andrew Asibong, (''Marie NDiaye: Blankness and Recognition'' ), Liverpool University Press, 2013, p. 9〕 arguing elsewhere in the book, a psychoanalytic exploration of the writer's evocation of trauma and disavowal, that "NDiaye's work explores the violence done to the subject's capacity for ''feeling'' and ''knowing''".〔Andrew Asibong, (''Marie NDiaye: Blankness and Recognition'' ), Liverpool University Press, 2013, p. 13〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Marie NDiaye」の詳細全文を読む スポンサード リンク
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