Mary ndiaye biography
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Marie NDiaye
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Marie NDiaye
French novelist and playwright (born )
"NDiaye" redirects here. For other people of similar names, see Ndiaye (disambiguation) and N'Diaye (disambiguation).
Marie NDiaye (born 4 June ) is a French novelist, playwright and screenwriter. She published her first novel, Quant au riche avenir, when she was She won the Prix Goncourt in Her play Papa doit manger is the sole play by a living female writer to be part of the repertoire of the Comédie française. She co-wrote the screenplay for the legal drama Saint Omer alongside its director Alice Diop, and Amrita David. In September the film was selected as France's official selection for Best International Film at the 95th Academy Awards.[1]
Biography
[edit]NDiaye was born in in Pithiviers, France, to a French mother and a Senegalese father. She grew up with her mother and her brother Pap Ndiaye in the suburbs of Paris. Her parents met as students in the mids, but her father returned to Senegal when she was one year old.
She began writing at the age of As a senior in high school, she was discovered by Jerome Lindon, founder of Éditions de Minuit, who published her first novel, Quant au riche avenir, in [2]
She subsequently wrote six more novels, all published by Minuit, and a coll
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Interview with Marie NDiaye
Over the course of her career, Marie NDiaye has carved herself a unique position in French literature, situated somewhere between the real and the otherworldly. The force of her writing stems from its apparent softness, with its slow twists and turns that draw the reader into situations that are constantly shifting: we emerge trembling, with a sensation somewhere between pleasure and terror.
Born in France in , NDiaye made her literary debut at seventeen when her first novel, Quant au riche avenir [As for the Rich Future], was published by Éditions de Minuit. This was followed, in , by Comédie classique [Classic Comedy], a novel composed of a single sentence about the trials and travails of a very Joycean protagonist. Its success earned her, at twenty-one, an invitation to appear on the preeminent literary TV show of the time, Apostrophes.
Before long, the story of this prodigious young woman, raised by a single mother who was a teacher, whose style resisted the constraints of genre or label, became legendary. She achieved mainstream success in with Rosie Carpe, an uncanny story of displacement, shame and family betrayal which won her the Prix Femina; her play Papa doit manger [Papa Has to