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.
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. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .