In The Opoponax
the translator used "you" instead of "one" even though, as she has noted, the use of "one" in English is no heavier than in French; and in Les Guerilleres the feminine plural elle is most often translated as "the women" rather than "they"--both of which offer a different valence than elle.
." This similarity may have led Wittig's translator to use the English word you to render the ubiquitous on of L'Opoponax
. Wittig's subsequent annoyance over this choice suggests an important difference between the two, a difference I suspect is rooted in divergent narrative persons.
At the same time, these critics underline the innovative nature of L'Opoponax without making it into a sort of meteorite, fallen to earth from a radical otherness: Wittig, starting from her experience as a little girl, has produced a "form-meaning" which transforms the cultural models of childhood and also those of the narrative of childhood - and this is valid for men as much as for women.
of L'Opoponax, by Monique Wittig, in L'Express (30 Nov.-6 Dec.
Among other treasured Daughters Press titles on my bookshelf, I have copies of Monique Wittig's The Opoponax
, Bertha Harris' Lover and June Arnold's Sister Gin and The Cook and the Carpenter.