(My initial plan was to create a title for this podcast that was actually an acrostic spelling out “Oulipo.” The best I came up with was “Our Unique Lab Instigating Poetic Opportunities,” which is decent, self-referential, and strange, but not perfect. Unfortunately, drinking didn’t help me improve upon that, so . . .)
This week’s podcast features a special discussion with Daniel Levin Becker, author of Many Subtle Channels: In Praise of Potential Liteature, a history of of the Oulipo, past, present, and future. For the uninitiated, the Oulipo is a 50-year-old group of writers and mathematicians and others interested in the idea of “potential” literature. At times highly technical and esoteric in their thinking about literature, the group also has a sort of prankster streak, which comes out in the liveliness of many of their writings. Some of the most famous works produced by Oulipian writers include Georges Perec’s Life A User’s Manual, Italo Calvino’s If on a winter’s night a traveler . . ., and Harry Mathews’s Cigarettes. (Also see: all of Raymond Queneau and Jacques Roubaud, the works of Jacques Jouet, and those of Paul Fournel.)
Of our thirty-six podcasts so far, this is one of the more serious, thoughtful, and PG-13 rated. To help provide a bit more context for the Oulipo and the discussion, check out my GoodReads review of Many Subtle Channels before listening.
To slightly amend that GoodReads review, I pulled down my copy of Zazie in the Metro today to see what it was that was written on the opening page that so intrigued me and kicked off my lifelong addiction to this sort of linguistic puzzle-making:
In case you can’t read it, that says: “I don’t see why such language must be used in a book. It destroys the good in it. If authors can’t write books without all this unenjoyable language, then they shouldn’t write at all,” with “oh, shut up!” added by a third reader.
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .