... re-reading 'Nadja'.
What - many years ago - seemed distracting (the shifting narrative voice, the photographs, the lengthy summary of the play, the uneven energy of the prose, the parenthetic & digressive sentences, the closing cutting from a newspaper) now seem of central importance. Fundamentally, what is this text? How is it to be read?
And that Nadja was "really" Léona-Camille-Ghislaine D - does this 'solve' anything?