The Return of Martin Guerre

are clear,” he writes. “Unfortunately, none of the central points of the book-the knowing Bertrande, the devious court strategy, the tragic romance, the Protestant justification, the self-fashioning peasants, the conflicted judge, the 'multivalent’ text-depend on the documentary record.”

Natalie Zemon Davis, “On the Lame,”

American Historical Review

93, no. 3. Davis’s response to Finlay .

Anthony Guneratne, “Cinehistory and the Puzzling Case of Martin Guerre,”

Film & History

20, no. 4. Guneratne suggests that

their falling out, Pierre may have found another impostor to stage the last-minute courtroom drama .

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