# Select Publications ### **Peer-Reviewed Scholarship** [**Reveries of a Lesbian Lover: The Haptic Geometry of Monique Wittig’s** ***The Lesbian Body***](https://doi.org/10.1080/10894160.2025.2600785) (*Journal of Lesbian Studies*) In this article, I read Monique Wittig’s *The Lesbian Body* as a radical reconfiguration of language and space. I argue that Wittig’s writing does not simply represent the world but operates as a material practice through which subjectivity and reality co-emerge. I focus in particular on how Wittig unsettles interlocution (“I”/“you”) and the act of naming, both of which typically fix identities and organize subjects within hierarchical relations. Instead, her text produces unstable, relational positions that resist such structuring. I frame this shift as a movement from an optic regime—grounded in projection and visual mastery—to a haptic one, centered on touch and the step-by-step emergence of meaning. This dimension is central to my research, which approaches literature as a site where forms of perception and relation can be reconfigured. --- [**Monique Wittig’s** ***Gnomon*****: Legacy of a Concept between Life and Death**](https://doi.org/10.1353/esp.2025.a968735) (*L'Esprit créateur*) In this article, I revisit Monique Wittig’s concept of the *gnomon* and trace its theoretical and literary significance across her work. Drawing on previously unexamined archival materials, I suggest a reconsideration of how this concept has been understood in Wittig scholarship. I argue that, rather than referring primarily to the familiar image of the sundial, Wittig’s gnomon emerges from a Pythagorean and Aristotelian tradition in which it functions as a tool for producing difference. While existing readings have often emphasized its poetic or metaphorical dimensions, the archival evidence invites a more precise conceptual genealogy. I show how Wittig critically engages this legacy: although the ancient gnomon underpins systems of opposition that later become naturalized (including gender difference), she reworks it into a non-essentializing instrument. I then turn to Nathalie Sarraute, whom Wittig implicitly positions as a “modern gnomon,” to demonstrate how literary form can register variation without fixing it into identity. This approach reflects my broader research interest in how literature transforms inherited conceptual frameworks. --- [**William Golding, Gaia, and the Crisis Ecology of** ***Lord of the Flies***](https://epistemocritique.org/9-william-golding-gaia-and-the-crisis-ecology-of-lord-of-the-flies/) (*Épistémocritique*) In this article, I revisit British novelist William Golding’s *Lord of the Flies* through an ecological lens, arguing that the novel articulates an early form of crisis-oriented ecological thinking. I also explore a still overlooked aspect of Golding’s work: his proximity to, and direct role in shaping, the conceptual horizon of *Gaia*, a key notion in the environmental humanities. Rather than treating nature as a passive backdrop, I read the novel as staging a dynamic entanglement of literature, ecology, and politics. Focusing on the figure of Simon, I propose a reading that foregrounds the text’s experimental dimension, moving beyond strictly moral or allegorical interpretations. This early article reflects my initial engagement with ecocriticism while already pointing toward a broader concern in my work: how literary practice help us rethink the relationships between language, forms of life, and social organization. --- ### **Public Facing Work** [**Spirales de Frankétienne (1936–2025)**](https://www.en-attendant-nadeau.fr/2025/02/27/spirales-de-franketienne-1936-2025/) (*En attendant Nadeau*) In this piece for the French literary review *En attendant Nadeau*, I reflect on the work of Haitian writer and artist Frankétienne following his death, foregrounding the centrality of the spiral as both an aesthetic principle and a mode of thinking. I situate his œuvre as a singular attempt to engage language as a material force, shaped by historical violence, linguistic exclusion, and postcolonial conditions. I begin from a formative scene in which language appears as a site of exclusion, and show how Frankétienne transforms this experience into a generative poetics grounded in the materiality of words. His writing develops as a sustained “body-to-body” struggle with language, one that refuses fixed forms and instead unfolds through spiral movement. More broadly, I read his work as inseparable from a broader artistic practice—spanning literature, painting, and performance—in which the spiral names a dynamic process of creation that resists linearity, closure, and disciplinary boundaries. As a public-facing piece, this article reflects my interest in bringing theoretical questions into dialogue with literary criticism, while highlighting how poetic practices can emerge from, and respond to, historical and linguistic violence. --- [**Sortie d’enfer – sur** ***Paris-la-politique et autres histoires*** **de Monique Wittig**](https://aoc.media/critique/2023/10/04/sortie-denfer-sur-paris-la-politique-et-autres-histoires-de-monique-wittig/) (*AOC.media*) In this piece, written on the occasion of the republication of Monique Wittig’s *Paris-la-politique et autres histoires*, I revisit a lesser-discussed moment of her œuvre, situating the collection within both her literary trajectory and her political engagements. I read the text as a pivotal site where Wittig reworks the relationship between fiction and politics, moving toward a form of writing that displaces established categories—generic, social, and conceptual alike. Through its fragmentary and “parasitic” structure, the collection foregrounds literature as a practice capable of unsettling dominant narratives and exposing the fictional foundations of political order. I engage Anne F. Garréta’s postface, situating it in continuity with her earlier scholarship on Wittig, particularly her emphasis on the materiality of writing against purely conceptual readings. This allows me to highlight how the republication reopens critical questions about form, interpretation, and the stakes of Wittig’s literary practice. More broadly, I argue that these texts mark a moment of both rupture and renewal: emerging from political disillusionment, they open onto a form of writing that refuses closure and instead affirms apprenticeship and transformation. --- [***L'Étrangleur*** **by Sin Wai Kin (translation)**](https://shs.cairn.info/revue-la-nouvelle-revue-francaise-2021-3-page-76) (*Nouvelle revue française*) My French translation of Sin Wai Kin's *The Strangler*, accompanied by a short critical note. I approach the text as a speculative and sensuous exploration of entanglement, where desire, transformation, and violence unfold through vegetal and interspecies relations. I situate Sin’s work within a broader reflection on language as a material and affective force, shaped by regimes of visibility, identification, and desire. Drawing on figures such as Ursula K. Le Guin and Donna Haraway, I read the text as an invitation to imagine alternative narrative forms grounded in interdependence and metamorphosis. This translation reflects my interest in working across languages and forms, while engaging literary practice as a site where new relations between bodies, words, and worlds can be reconceptualized.