This volume of essays explores what it is that has brought marginalized and often exiled writers, seen as treacherous, alienated, and/or queer by their societies and nations together by way of Paris. Spanning from the inter-war period of the late 1920s to the present millennium, this volume considers many seminal questions that have influenced and continue to shape the realm of exiled writers who have sought refuge in Paris in order to write. Additionally, the volume's essays seek to define alienation and marginalization as not solely subscribing to any single denominator -- sexual preference, gender, or nationality-- but rather as shared modes of being that allow authors to explore what it is to write from abroad in a place that is foreign yet freed of the constrictions of one's home space. What makes Paris a particularly fruitful space that has allowed these authors and their writings to cross national, ethnic, racial, religious, and linguistic boundaries for over a century? What is it that brings together writers such as Moroccan Abdellah Taia, Americans James Baldwin, Richard Wright and, most recently, Ta-Nehisi Coates and Shay Youngblood, Algerian Nabile Fares, Franco-Algerian Leila Sebbar, Canadian Nancy Huston, French Jean Genet and French-Vietnamese Linda Le? How do their representations and understanding of transgression and marginalization transcend national, linguistic and ethnic boundaries, leading ultimately to revolution, both literary and literal? How does their writing help us to trace the history of Paris as a literary and artistic capital that has been useful for authors' exploration of the Self, race and home country? These are but a few of the many questions explored in this volume. This book relies on an inherently intersectional approach, which is not based in reified identities, whether they be LGBT, postcolonial, ethnic, national, or linguistic. Instead, we posit that, for example, queer theory, and a "politics of difference"i can help us investigate the dynamics of these multiple identity positions, and hence provide a broader understanding of the lived experiences of these writers, and, perhaps, their readers from the early 1940s to the present.

"Vietnam and the Colonial Condition of French Literature" explores an aspect of modern French literature that has been consistently overlooked in literary histories: the relationship between the colonies--their cultures, languages, and people--and formal shifts in French literary production. Starting from the premise that neither cultural identity nor cultural production can be
pure or homogenous, Leslie Barnes initiates a new discourse on the French literary canon by examining the work of three iconic French writers with personal connections to Vietnam: Andre Malraux, Marguerite Duras, and Linda Le.
In a thorough investigation of the authors' linguistic, metaphysical, and textual experiences of colonialism, Barnes articulates a new way of reading French literature: not as an inward-looking, homogenous, monolingual tradition, but rather as a tradition of intersecting and interdependent peoples, cultures, and experiences.
One of the few books to focus on Vietnam's position within francophone literary scholarship, Barnes challenges traditional concepts of French cultural identity and offers a new perspective on canonicity and the division between "French" and "francophone" literature.