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.
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .