The dialogue between form and message is intrinsic to the novel as genre. Yet the strength of that discourse has been shaken in the twentieth century by an increasing doubt about affirmations of any kind and a growing awareness of the relativity of knowledge and perception. The novel reflects this intellectual current by turning its glance inward to mediate on the creative act as a form of self-contained assertion of its own particular significance. The three writers on whom this study focuses, all major twentieth century authors, were chosen because they can be considered as important representatives of this novelistic self-consciousness. Building on Andr� Malraux's vision of the colloquium as an open-ended verbal interchange, this study calls upon the voices of Anne H�rbert and Patrick Modiano to enter into a dialogue on novelistic form.

About the Authors

Constantina Thalia Mitchell is Professor of French at Gallauder University (Washington D.C.). She holds a Ph.D. in French literature from McGill University and a licence �s lettres from the Sorbonne. Her publications include works on Paul Verlaine, Anne H�rbert, Yves Beauchemin, and nineteenth- and twentieth century deaf history of Qu�bec. She has served on the executive and editiorial boards of the American Council for Qu�bec Studies, as well as the Galluader University Press editorial board.

Paul Raymond C�t� is Associate Professor of French at The American University (Washington D.C.) and received his Ph.D. in French literature from McGill University. The author of Les Techniques picturales chez les romains de Malraux: interrogation et m�tamorphose (1984), he has also written on other contemporary French authors and has published a number of articles dealing with the literature of Qu�bec. He has served as managing editor of The Andr� Malraux Review and as as member of the Qu�bec Studies editorial board.

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