Focusing on representations of women’s experiences in contemporary France, ‘Taking Up Space’ examines how women inhabit a variety of work spaces. It also speaks to the importance of cultural productions in calling out labour issues affecting women, as well as in offering a platform that allows us to imagine a future where inclusive and equitable work spaces are the norm. Drawing on Sara Ahmed’s phenomenological use of objects, the book explores women’s experiences through different metaphors of the door related to labour. The contributors demonstrate how doors are not only closed or open, but also serve as a threshold. Taken together, the chapters convey how women’s work experiences can range from states of oppression to survival and celebration, and demonstrates how through deliberate stances and actions, various work spaces can become sites of liberation and revolution.

Focusing on representations of women’s experiences in contemporary France, ‘Taking Up Space’ examines how women inhabit a variety of work spaces. It also speaks to the importance of cultural productions in calling out labour issues affecting women, as well as in offering a platform that allows us to imagine a future where inclusive and equitable work spaces are the norm. Drawing on Sara Ahmed’s phenomenological use of objects, the book explores women’s experiences through different metaphors of the door related to labour. The contributors demonstrate how doors are not only closed or open, but also serve as a threshold. Taken together, the chapters convey how women’s work experiences can range from states of oppression to survival and celebration, and demonstrates how through deliberate stances and actions, various work spaces can become sites of liberation and revolution.

Focusing on representations of women’s experiences in contemporary France, ‘Taking Up Space’ examines how women inhabit a variety of work spaces. It also speaks to the importance of cultural productions in calling out labour issues affecting women, as well as in offering a platform that allows us to imagine a future where inclusive and equitable work spaces are the norm. Drawing on Sara Ahmed’s phenomenological use of objects, the book explores women’s experiences through different metaphors of the door related to labour. The contributors demonstrate how doors are not only closed or open, but also serve as a threshold. Taken together, the chapters convey how women’s work experiences can range from states of oppression to survival and celebration, and demonstrates how through deliberate stances and actions, various work spaces can become sites of liberation and revolution.

Spectrality disrupts and fissures our conceptions of time, unmaking and complicating binaries such as life and death, presence and absence, the visible and the invisible, and literality and metaphor. A contribution to current conversations in memory studies and spectrality studies, Mind the Ghost is an experiment in reading ghosts otherwise. It explores, through contemporary fiction in French, sites of textual haunting that take the form of names, lists, objects, photographs, and stains. The book turns to Jacques Derrida and Hélène Cixous to rethink what constitutes and functions as a ghost, proposing that this figure solicits readers’ investment in mnemonic practices. Considering the memories and legacies of violence that have marked the greater part of the twentieth-century – in Algeria, Bosnia, Croatia, France, and Rwanda – this book traces absences, disappearances and reappearances, textual omissions and untimely irruptions to posit literature’s power to both remember and communicate beyond the bounds of chronological time. Through close readings of recent fiction by Kaouther Adimi, Jakuta Alikavazovic, Gaël Faye, Jérôme Ferrari, Patrick Modiano, Lydie Salvayre, Leïla Sebbar, and Cécile Wajsbrot, Mind the Ghost articulates the mechanisms through which readers themselves become haunted.

Focusing on representations of women’s experiences in contemporary France, ‘Taking Up Space’ examines how women inhabit a variety of work spaces. It also speaks to the importance of cultural productions in calling out labour issues affecting women, as well as in offering a platform that allows us to imagine a future where inclusive and equitable work spaces are the norm. Drawing on Sara Ahmed’s phenomenological use of objects, the book explores women’s experiences through different metaphors of the door related to labour. The contributors demonstrate how doors are not only closed or open, but also serve as a threshold. Taken together, the chapters convey how women’s work experiences can range from states of oppression to survival and celebration, and demonstrates how through deliberate stances and actions, various work spaces can become sites of liberation and revolution.

Focusing on representations of women’s experiences in contemporary France, ‘Taking Up Space’ examines how women inhabit a variety of work spaces. It also speaks to the importance of cultural productions in calling out labour issues affecting women, as well as in offering a platform that allows us to imagine a future where inclusive and equitable work spaces are the norm. Drawing on Sara Ahmed’s phenomenological use of objects, the book explores women’s experiences through different metaphors of the door related to labour. The contributors demonstrate how doors are not only closed or open, but also serve as a threshold. Taken together, the chapters convey how women’s work experiences can range from states of oppression to survival and celebration, and demonstrates how through deliberate stances and actions, various work spaces can become sites of liberation and revolution.

Focusing on representations of women’s experiences in contemporary France, ‘Taking Up Space’ examines how women inhabit a variety of work spaces. It also speaks to the importance of cultural productions in calling out labour issues affecting women, as well as in offering a platform that allows us to imagine a future where inclusive and equitable work spaces are the norm. Drawing on Sara Ahmed’s phenomenological use of objects, the book explores women’s experiences through different metaphors of the door related to labour. The contributors demonstrate how doors are not only closed or open, but also serve as a threshold. Taken together, the chapters convey how women’s work experiences can range from states of oppression to survival and celebration, and demonstrates how through deliberate stances and actions, various work spaces can become sites of liberation and revolution.

Spectrality disrupts and fissures our conceptions of time, unmaking and complicating binaries such as life and death, presence and absence, the visible and the invisible, and literality and metaphor. A contribution to current conversations in memory studies and spectrality studies, Mind the Ghost is an experiment in reading ghosts otherwise. It explores, through contemporary fiction in French, sites of textual haunting that take the form of names, lists, objects, photographs, and stains. The book turns to Jacques Derrida and Hélène Cixous to rethink what constitutes and functions as a ghost, proposing that this figure solicits readers’ investment in mnemonic practices. Considering the memories and legacies of violence that have marked the greater part of the twentieth-century – in Algeria, Bosnia, Croatia, France, and Rwanda – this book traces absences, disappearances and reappearances, textual omissions and untimely irruptions to posit literature’s power to both remember and communicate beyond the bounds of chronological time. Through close readings of recent fiction by Kaouther Adimi, Jakuta Alikavazovic, Gaël Faye, Jérôme Ferrari, Patrick Modiano, Lydie Salvayre, Leïla Sebbar, and Cécile Wajsbrot, Mind the Ghost articulates the mechanisms through which readers themselves become haunted.