![]() ![]() ![]() “That wasn’t at all how we took photographs at home,” she remembers: “My father took a full-body shot of the family and a portrait of my mother (seated, her hands pulled back in an elegant and faint-hearted gesture at the collar of her sweater seated, at a diagonal, on some stone edging, her gaze far out over the distance profil perdu, before a sorry landscape).” Eventually, the mistress has removed all of her garments and the father scoops her nude body off the railing. One afternoon, peeping through the thin hedgerow that separates the two, Nathalie catches her father taking risqué photographs of his lover on the veranda, using a camera that her mother had recently given him for his birthday. “o keep herself from being forgotten,” her father’s mistress (whom Léger and her mother refer to as “l’autre,” the other) had rented a house directly across from the one in which Léger lived with her parents. Midway through Exposition, the first volume of Nathalie Léger’s trio of feminist biographies, the author-narrator recalls a poignant memory from her girlhood. ![]()
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