Abstract Despite Rhys’s refusal to have a biography written about her, her own life has been the subject of quite a number of memoirs, biographies or portraits: from David Plante’s early, personal and subversive reminiscences of his time and work with her at the end of her life, to the perhaps more consensual Jean Rhys: Life and Work by Carole Angier in 1990, to the more recent memoirs by Alexis Lykiard, Jean Rhys Revisited (2000) and Jean Rhys: Afterwords (2006) or the latest, The Blue Hour by Lilian Pizzichini (2009). These biographies and memoirs may be considered as transmission lines, contributing to the aura of a writer no less than other pieces of criticism. Because Rhys’s fiction was considered as autobiographical, the point of writing biographies should precisely be to differentiate facts from fiction. I shall ponder in this article on the reasons why some biographies are considered as ‘good’ and others ‘bad’, what makes a biography a ‘worthy’ recording of a writer’s life and work. This overview of Rhys’s biographies will be an opportunity to reflect on the evolution of the genre itself and its ability to transmit personality truthfully in a post-modern era when the pitfalls and drawbacks of the genre have been extensively debated by biographical theoreticians and when truth and personality seem more than ever like two very complex and perhaps inimical notions.

中文翻译：

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书写让·里斯一生：让·里斯回忆录和传记中传输线的循环

摘要 尽管里斯拒绝写关于她的传记，但她自己的生活一直是许多回忆录、传记或肖像的主题：从大卫·普兰特 (David Plante) 早期、个人和颠覆性地回忆他的时代结束时与她一起工作的经历。她的生活，也许更合意的让·里斯：1990 年卡罗尔·安吉尔的生活和工作，到亚历克西斯·莱基亚德最近的回忆录，让·里斯重访（2000 年）和让·里斯：后记（2006 年）或最新的，蓝色时刻Lilian Pizzichini (2009)。这些传记和回忆录可以被视为传输线，对作家的光环的贡献不亚于其他批评。因为里斯的小说被认为是自传体，所以写传记的重点应该是区分事实和小说。我将在这篇文章中思考为什么一些传记被认为是“好”而另一些被认为是“坏”的，是什么使传记成为对作家生活和工作的“有价值”的记录。对里斯传记的概述将是一个机会，可以反思该类型本身的演变及其在后现代时代真实地传递个性的能力，当时传记理论家对该类型的陷阱和缺点进行了广泛的辩论，并且当真实和人格似乎比以往任何时候都更像是两个非常复杂甚至可能是敌对的概念。