By Angela Lambert

First released in 1992, a slightly English Marriage tells of Roy Southgate and Reginald Conynghame-Jervi, who've not anything in universal yet their loneliness and their wartime memories.

Roy, a retired milkman and Reggie, a former RAF Squadron chief, are widowed at the related day. to soothe their grief, the vicar arranges for Roy to maneuver in with Reggie as his unpaid manservant. To their shock, they shape an odd alliance, according to obedience, desire and the strangeness of unmarried existence. Then Reggie meets Liz, a colourful yet near-bankrupt lady of impossible to resist allure, whereas Roy and his son's family members develop steadily nearer. Marriage, it kind of feels, although faraway from perfect, could be a nice protector opposed to isolation.

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Page 5 Even more than this striking choice however, the nature of the text itself constitutes its principal originality. Incisive yet simple, it expresses Wittig's fundamental convictions in terms that, free of jargon or specialized terminology, are immediately accessible to a general audience. It thus clearly expresses the desire to destroy literary elitism, and it attacks the pervasive tendency to indulge in theoretical discourse (which could be considered a type of establishment). Instead, she chooses to appeal to the imaginative potential of her listeners.

For example, Catherine Legrand shouts all the names of her classmates but leaves out the name of Valerie Borge (O, 235). This blank, this absence of enunciation, is far more eloquent than speech. The name of the beloved remains hidden, unspoken. It is thus allied with the unnameable and the ineffable, which suggests that it is sacred. It also has the allure of the forbidden, of taboo, of transgression (characteristics already evident in the initial portrayals of Valerie Borge, and a motif that reoccurs, in its most powerful form, in a later work by Wittig, Le Corps lesbien).

Also, the lack of precision might allow the setting to maintain its dream-like, utopian quality to the fullest. Or the absence (or deletion) of the refrain may indicate Page 22 an objection to the words "ordre" and "calme," which do not coincide with Wittig's portrayal of love. Another interesting treatment of the Baudelairian poem is its placement in Wittig's text. The former is interspersed, and yet perfectly integrated, in the latter. This is accomplished by an innovation that has already been noted in the case of Scève's Délie: the lack of any marks of punctuation (such as quotation marks) to distinguish Baudelaire's text from Wittig's own.

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