By Erika Ostrovsky
From the production of a neuter pronoun in her earliest paintings, L’Opoponax, to the confusion of genres in her most up-to-date fiction, Virgile, non, Monique Wittig makes use of literary subversion and invention to complete what Erika Ostrovsky safely defines as renversement, the annihilation of present literary canons and the production of hugely leading edge constructs. Erika Ostrovsky explores these facets of Wittig’s paintings that top illustrate her literary technique. one of the numerous innovative units that Wittig makes use of to accomplish renversement are the feminization of masculine gender names, the reorganization of delusion styles, and the alternative of conventional punctuation together with her personal method of grammatical emphasis and separation. it's the unforeseen volume and caliber of such literary units that make interpreting Monique Wittig’s fiction a clean and lucrative event. Such literary units have earned Wittig the acclaim of her critics and peers—Marguerite Duras, Mary McCarthy, Alain Robbe-Grillet, Nathalie Sarraute, and Claude Simon, to call a few. While interpreting the intrinsic price of every of Wittig’s fictions individually, Erika Ostrovsky lines the innovative improvement of Wittig’s significant literary units as they seem and reappear in her fictions. Ostrovsky continues that the seeds of these ideas that seem in Wittig’s newest texts are available way back to L’Opoponax. This facts of development helps Ostrovsky’s concept that clues to Wittig’s destiny endeavors are available in her earlier.
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Additional info for A Constant Journey: The Fiction of Monique Wittig (Crosscurrents Modern Critiques)
In L'Opoponax, this notion is instantly demolished. Sex rears its head in the very first sentence, where a premature exhibitionist offers all and sundry a view of his "quéquette," an infantile term for penis (O, 7). And it is certainly not an accident that his name is Robert Payen (pronounced in the same manner as "païen," meaning pagan), thus immediately linking him with forces that are antitraditional and un-Catholic. Another behavior of a similar Page 16 nature also occurs in the novel, but is, however, of far greater import and occupies a much more prominent place: the growing sexual desire between young girls.
9 She thus totally reverses the habitual notion of a personal viewpoint and desubjectifies a traditionally subjective narration. This emotional distancing is achieved by several innovative techniques instantly discernible in the textthe refusal of the pronoun I, and the substitution, not of she, but of the impersonal pronoun on. This is an arresting choice, for on (almost impossible to translate into English, the closest approximation being one) has numerous connotations. It is indefinite, neutral, neuter, indeterminate, and guarded; but it is also collective, generalized, "both oneself and everybody"; (thus suggesting universalization).
Everman History and the Contemporary Novel By David Cowart The Dialogic Novels of Malcolm Bradbury and David Lodge By Robert A. Morace The Character of Truth: Historical Figures in Contemporary Fiction By Naomi Jacobs Page iii A Constant Journey The Fiction of Monique Wittig Erika Ostrovsky Southern Illinois University Press Carbondale and Edwardsville Page iv Copyright © 1991 by the Board of Trustees, Southern Illinois University All rights reserved Printed in the United States of America Edited and designed by Jill Butler Production supervised by Natalia Nadraga 94 93 92 91 4 3 2 1 Les Editions de Minuit has generously given permission to use extended quotations from their copyrighted publications of L'Opoponax, Les Guérillères, Le Corps lesbien, and Virgile, non.
A Constant Journey: The Fiction of Monique Wittig (Crosscurrents Modern Critiques) by Erika Ostrovsky