This article seeks to draw an outline of the critical tendencies of American studies of Céline over the last decades and thus to offer something different from those studies that have provided an overview of Anglo-Saxon criticism of his work more generally. I make no claim here to provide a complete survey, but concentrate above all on works or collections that seem to exemplify an attitude towards Céline’s work that is specifically American. This is done in a slightly expanded field since the scope of the project is not limited to the United States, but encompasses Canadian criticism also which, in many ways, presents interesting points of convergence with criticism coming out of United States.
« Céline en Amérique. L’histoire d’une critique», Revue d’Études céliniennes no 8, printemps 2013, p. 25-39.