sensual experience, the nature of womanhood, and identity horror, all centering around a lost tooth. In typical Rachilde fashion, the main character begins to experience a sexualized obsession and drown in a mixture of memory, fantasy, and fact. She also published two poorly received volumes of poetry: Les Accords Perdus (1937 - "Lost Deals") and Survie (1945 - "Survival"). Non-fiction Rachilde wrote countless reviews and essays for the various magazines and newspapers that thrived in Paris during this time. These are, strictly speaking, non-fiction, but their purpose was really to manage the fictional world that the writers were creating. She wanted to amplify the work of those she admired or supported, and she knew well how much of a role just being talked about could play. In typical Rachilde recursive behavior, non-fiction was a vehicle for fiction. After World War I, Rachilde wrote a variety of biographical portraits of various writers. This included her friend Alfred Jarry, whose career she actively supported throughout his life.:96 In her biography of Jarry that she established the myth of the infamous opening night right of his play Ubu Roi at the Theatre de I'Ouvre.:96 In 1928 she published her brief monograph, Pourquoi je ne suis pas féministe ("Why I am not a Feminist"). In this book she discloses an upbringing in which her mother Gabrielle (Feyaud) Eymery assertively devalued her father, remained cold and distant, and insulted young Marguerite at every opportunity. At the same time her father Joseph Eymery was abusive and liberated to pursue his own sexual pleasures outside of marriage, something Gabrielle made clear was not appropriate for a proper lady. She also relayed the story of her mother's ancestral sins and the curse that was placed on her family because of it. Her rejection of feminism was for autobiographical reasons and an envy of freedom, founded in a distaste for both men and women. In the end, she preferred animals to both. During this latter phase of her career, Rachilde also published collections of letters and a variety of memoir volumes, most of which demonstrate flexibility and creativity in their varying presentations of her life story. She wrote the most famous of these amidst the 1942 German occupation of France. In Face à la peur ("Facing Fear") she laid forth a strange origin myth for herself, recalling the family curse she had disclosed in 1928. In this version of