Aside from every stupid Buzzfeed list ever, the number one link I’ve seen on my social media networks over the past few days has been to the new Words Without Borders issue. On the one hand, this is a testament to the amazingness of WWB; on the other, it illustrates that the vast majority of my friends are book nerds who like a little constraint with their writing.
This month we’re showcasing the sparkling innovations in form and literature produced by the members of the Oulipo. The Paris-based literary collective explores how literature might arise from structures, rules, and constraints, working within restrictions—alphabetical, narrative, rhythmic, metric—to set genres and language loose. Ian Monk’s tour of an apartment building maintains a strict numeric unity in lines and words. Olivier Salon travels through a gradually dwindling alphabet. Michèle Métail claims a chain of possessives, and Anne F. Garréta offers a rogue reading of Proust. In playing with poetic forms, Jacques Bens finds sonnets easy as pi, and Jacques Jouet extends the sestina. And François Caradec’s aphorisms offer less than meets the eye. Guest editor and translator Daniel Levin Becker provides a useful key to the considerations at play in both French and English versions. Join us in marveling at the verbal gymnastics of the writers, and at the dazzling ingenuity of the translators.
To regular readers of Three Percent, it’s clear that anything Oulipo would appeal to us—even more so if Daniel Levin Becker is involved. We’ve run a mini-dissertation on the Oulipo to tie into the publication of his book, Many Subtle Channels, and we also had him on a podcast to talk about the same thing. And with so many great Oulipians involved, this is guaranteed to be one of WWB’s great issues.
Sticking with DLB for a moment, and to give anyone who’s not already brain-deep in Oulipianism a bit more of a context, here’s an excerpt from the introduction to this issue:
As the prevailing image used by book reviewers to praise literary translations is that of transparency—limpid, pellucid, crystalline—it seems clear, so to speak, how ready we are to think of language as a window onto meaning. Whatever difficulties a translator may have encountered in carrying that meaning over into a new syntactic, lexical, and cultural idiom, we tend to expect his or her fingerprints to be wiped away by the time the text arrives before us, and for the resulting view to be more or less the same as the view enjoyed by the native reader. For better and occasionally for worse, we tend to be correct.
The Oulipo—ouvroir de littérature potentielle, or workshop for potential literature, a Paris-based literary collective dedicated to exploring how literature might arise from structures, rules, and constraints borrowed from linguistics or mathematics or parlor games—presents an uncommonly acute challenge to that expectation. To write an Oulipian text is both to draw a picture and to solve a puzzle, and more often than not these two missions blur together to the point where it becomes impossible to discern where the language ends and the meaning, such as it is, begins.
So, as you might imagine, things get doubly complex when a second language comes into play. Each language is a system unto itself, with its own rules and cheat codes, its own alliances and enmities and tunnels and trapdoors—and since exploiting all of these is the very essence of Oulipian methodology, since language is not only the raw material of an Oulipian experiment but also its demonstrandum, we might ask what, in this context, translational transparency even means. What happens when, to bedevil McLuhan, the window is the view?
The selections in this issue are an attempt to hint, by demonstration, at the range of potential answers to those questions.
Exactly. Now go check it all out.
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .
Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .