@hjh @kittenlikeasmallcat oh I have many it's very special, I love the writing style in complete indirect language dominated by the pronoun on, Wittig's first three novels each really have a central pronoun that defines them and on makes it kind of very detached and yet Catherine is still a really strongly developed character and we pick up so much of her personality from indirect language. I think that is a lot like childhood, she doesn't fully grasp the big picture of what is going on any better than the reader does. she's a very memorable and lovable character and Wittig's other works don't even usually have specific characters at all so one could think it's a weak point but here it's clear those are deliberate choices and she could be good at anything.
I think a lot about how the shadow of death hangs over this narrative, with each of the chapters kind of broken up by somebody dying in the background, from a young child to an archbishop, and in any case it doesn't really affect Catherine at all and she just kind of floats through these heavy emotional spaces with childlike detachment like the rituals around death are just a curiosity like everything else but it always seems to be in the back of her mind.
her hyperfocus on every plant and flower she sees is really so endearing too and also taught me a lot of vocabulary, and seeing her start to get into other special interests like geology too, it opens a lot of doors for what she might be into when she grows up. but my favorite section might have been the summer on the farm, the imagery there was all just so vibrant and real. Wittig is powerful at the trivial and she can describe a wheat field or a farming tool or something in L'Opoponax with every bit of depth and color as she does a girl's body in Le Corps Lesbien.
and ultimately how smoothly it built up and flowed into being a lesbian story was beautiful and subtle and the ending was fantastic