By Erika Ostrovsky
From the production of a neuter pronoun in her earliest paintings, L’Opoponax, to the confusion of genres in her newest 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 most sensible illustrate her literary method. one of the numerous progressive 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 analyzing Monique Wittig’s fiction a clean and worthwhile adventure. 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 strains the revolutionary improvement of Wittig’s significant literary units as they seem and reappear in her fictions. Ostrovsky keeps that the seeds of these thoughts that seem in Wittig’s most modern texts are available way back to L’Opoponax. This proof of development helps Ostrovsky’s concept that clues to Wittig’s destiny endeavors are available in her previous.