By Erika Ostrovsky
From the construction of a neuter pronoun in her earliest paintings, L’Opoponax, to the confusion of genres in her most modern fiction, Virgile, non, Monique Wittig makes use of literary subversion and invention to complete what Erika Ostrovsky correctly defines as renversement, the annihilation of latest literary canons and the construction of hugely leading edge constructs. Erika Ostrovsky explores these facets of Wittig’s paintings that most sensible illustrate her literary process. one of the numerous innovative units that Wittig makes use of to accomplish renversement are the feminization of masculine gender names, the reorganization of fantasy styles, and the alternative of conventional punctuation along with her personal approach of grammatical emphasis and separation. it's the unforeseen volume and caliber of such literary units that make studying 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 studying the intrinsic worth 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 concepts that seem in Wittig’s most modern texts are available way back to L’Opoponax. This proof of development helps Ostrovsky’s idea that clues to Wittig’s destiny endeavors are available in her earlier.
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Extra resources for A Constant Journey: The Fiction of Monique Wittig (Crosscurrents Modern Critiques)
I also want to thank Monique Wittig herself for speaking with me about her past, present, and future work with such openness and for providing me with invaluable first-hand information. I am deeply indebted to them both. Page 1 A Constant Journey Page 2 Abbreviated References B: Brouillon pour un dictionnaire des amantes. With Sande Zeig. Paris: Editions Grasset and Fasquelle, 1976. C: Le Corps lesbien. Paris: Editions de Minuit, 1973. G: Les Guérillères. Paris: Editions de Minuit, 1969. O: L'Opoponax.
On the contrary, the work received the coveted Prix Médicis, and the radical nature of Wittig's undertaking was recognized by the most discerning of her contemporary writers: in France, Marguerite Duras, Nathalie Sarraute, and Claude Simon; and in America, Mary McCarthy. A rare tribute indeed, considering that L'Opoponax was the first work by a writer who was, until then, totally unknown. In the twenty years or so that followed, Wittig continued to write fictions that won her international renown, that were translated into numerous languages,4 andeven more sig- Page 4 nificantlythat confirmed her initial stance, her enduring capacity to subvert literary traditions and recreate them utterly and to do so with increasing audacity and inventiveness: Les Guérillères; Le Corps lesbien; Brouillon pour un dictionnaire des amantes; and Virgile, non.
Publisher : Southern Illinois University Press isbn10 | asin : 0809316420 print isbn13 : 9780809316427 ebook isbn13 : 9780585192444 language : English subject Wittig, Monique--Criticism and interpretation, Feminism and literature--France. 914 subject : Wittig, Monique--Criticism and interpretation, Feminism and literature--France. Page ii Crosscurrents/Modern Critiques/Third Series Edited by Jerome Klinkowitz In Form: Digressions on the Act of Fiction By Ronald Sukenick Literary Subversions: New American Fiction and the Practice of Criticism By Jerome Klinkowitz Critical Angles: European Views of Contemporary American Literature Edited by Marc Chénetier American Theater of the 1960s By Zoltán Szilassy The Fiction of William Gass: The Consolation of Language By Arthur M.