This could arguably be five stars. A beautiful book, carefully constructed, full of interesting ideas.

As Francois Le Lionnais puts it in entry 42/100: "Most writers and readers feel... that extremely constraining structures... are mere examples of acrobatics and deserve nothing more than a wry grin, since they could never help to engender truly valid works of art... People are a little too quick to sneer at acrobatics."

For me, it's not the acrobatics I object to. It's the often uninteresting results - hence the four stars. Some entries are Simone Biles doing acrobatics. Others are more if I donned a leotard and tried to do a somersault - an inelegant mess.

Is it that Oulipo loses much in translation? Partly. But it's also that Oulipo is fundamentally a gimmick designed to both constrain and inspire. But sometimes - often, judging by this selection - the constraint isn't just the rules the authors have self-imposed; it's also their own imagination and literary ability. They're structural games, just not always leading to entertaining results.

Harsh? Possibly. I came to this book wanting to love it (having d the concept of Oulipo ever since randomly picking up a second hand copy of Perec's Life, A User's Manual on a whim aged about 15-16). I was expecting genius, and instead got a patchy selection of creative writing school exercises with a few half-successful experiments thrown in.

Did I just not get the ones I disd or found boring? Probably. In many cases I found myself flipping to the back to try and work out what the constraints were, as I honestly couldn't tell. Which meant that in most cases I couldn't see the point.

But there's enough in here that's interesting to make it very worthwhile. And I did enjoy it.

That's why, despite all that moaning, it's getting a solid four stars. Some entries are funny, some make you think, others are actively beautiful. My favourite is probably entry 84, an extract from Alice Oswald's poem Memorial, which I may well hunt down - "a translation of the Illiad's atmosphere, not its story". I'm not usually one for poetry (which may explain a lot about this review), but this stood out as haunting and powerful among a sea of Oulipian frivolity.2 s Sunni | vanreads237 90 Read

Oulipo is one of the most fascinating genres, working within different types of constraints, often mathematical. It's reading a literary puzzle or a math equation. This is a fun collection of various Oulipo authors and some of their selected works. I how there are notes at the end to explain each of the stories' mechanisms. I do wish there was a more diverse selection of authors, but the name of the "Oulipo" genre originated from France. However, it has been noted in the intro that literary constraints are found in literature from around the world. The only example I could find in the book was a Chinese reversible poem. 2 s Tracy PatrickAuthor 10 books11

I came across OuLiPo (Ouvroir de Litterature Potentielle / Workshop of Potential Literature) years ago while studying for an MLitt. It was a fleeting encounter and all I remembered was that the founders were French and engaged in unconventional techniques such as writing entire works using only one vowel. I also came away with the mistaken impression that methods such as N+7 (replacing every noun with its seventh subsequent noun when looked up in the dictionary) were intended in the main to relieve writer's block. I tried it once, but nothing made sense.

Coming to Penguin Book of Oulipo many years later, I discovered something extraordinary. Not only did I love Oulipo, but I had been using similar techniques in my own poetry as well as coming up with my own constraints. Suddenly, the obscure path down which I had gingerly stumbled was transformed into a thoroughfare. I was no longer alone with my own conventionally nerdy or Asperger-spectrum preoccupations - why did I make entire poems from anagrams, and was it even poetry? - to feeling part of a community of writers discussing and experimenting with form, playing with language, inventing and reinventing meaning. Instead of feeling that perhaps I was simply struggling to write, or wondering if I had a 'condition' I was simply engaged in another way of thinking. Creatively bold and unapologetic.

For those unfamiliar with Oulipo, it is helpful to think in terms of constraints rather than techniques. The constraint of form works by forcing the writer to invent around it, to find the appropriate syntax for the rhythm, to condense and progress the meaning to fit the shape. Now multiply the variety of constraints to include any kind of possibility: numerical, visual, aural, geographical, sequential, linguistic, the list goes on, and apply it to your own or any other work. Writers haven't always been doing these things for centuries, as Oulipians are keen to point out. Otherwise, where does traditional form originate? In fact, Oulipians go so far as to honour the works of previous writers whose linguistic experiments merit inclusion into the Oulipian canon as 'anticipatory plagiarism.' An example from the book is Lewis Carroll's parody of Isaac Watts' moralistic poem 'Against Idleness and Mischief' into 'How Doth the Little Crocodile.'

Better-known forms loved by Oulipians are the mathematical sestina, the Japanese tanka, and acrostic. Highlights from the book are, Oulipo founder, Raymond Queneau's, Exercises in Style, which retells the same piece of flash fiction in 99 different ways, and is much riffed upon by other disciples of Oulipo, and one of my favourites: Harry Mathew's 'Their Words, for You' which uses the vocabulary of proverbs to tell the incredibly moving ups and downs of a love story. However, as Oulipians are the first to admit, it is not to say that any constraint will do. The clue is in the name: 'potential literature.' While the constraint used may drive, shape and even discover the meaning or non-meaning of the work, some language-plays will work better than others, and not all will result in good art. The effect is interesting, or it isn't. The same is perhaps true for readers and those approaching the form, you either working out the puzzle, or you don't. You'll find poetry in it, or you won't. I for one, am a converted Oulipian. 1 Terry Freedman59

How do you deal with writer’s block? Chances are you follow the advice of the experts who advocate free writing: just write the first thing that comes into your head, and see what happens. But how about adopting a strategy that is diametrically opposed to this: using constraints?

It sounds counter-intuitive, but imposing a restriction is ly to lead to more creativity rather than less. For example, if you attempt to write a coherent piece without using a particular letter, you really have to choose your words carefully. The result is ly to be more interesting as a result.

The word Oulipo is an acronym of a French group, Ouvroir de littérature potentielle. This is usually translated as Workshop of Potential Literature, although given its association with the sharing and critique of work on creative writing courses, the word ‘workshop’ might be ditched in favour of ‘work room’. At least, this is the view of Dennis Duncan in his book The Oulipo and Modern Thought (Amazon affiliate link).

So, what is ‘potential literature’ or Oulipo? It’s much more than a technique to combat writer’s block! I think it can best be summed up as applying constraints to see what unexpected literature results.

This book explains, in an extensive introduction, the sorts of constraints that are employed, while an index of constraints points the reader to examples of the techniques used.

One of the constraints, for example, is writing in the form of an acrostic. This is where the first letter of the first word of each sentence or line spells something out. I applied this technique to my article Short Story Adventures.

Another technique, already mentioned, is omitting a letter. This is known as a lipogram. An example is Perec’s novel, A Void, which does not have a single ‘e’ in it.

This book is a veritable cornucopia of examples of Oulipo — in some cases written by authors who predated the movement, which started in 1960. (Those cases are known, somewhat playfully, as ‘anticipatory plagiarism’.)

Interestingly, some of the techniques are mathematical in nature. For example, one of Queneau’s pieces is based on Set Theory, and another (A Hundred Thousand Billion Poems) is based on the mathematics of combinations. In that particular case, the author wrote ten sonnets. Each of the 14 lines of each one can be cut out and used in any of the other poems. The result is more possible sonnets than one could ever hope to read in several lifetimes.

You can approach this book in several ways. One would be to start at the beginning and read through to the end. Another is to use the index of constraints to explore examples of particular techniques. Yet another is simply to dip in at random.

Whichever approach appeals to you, you will be sure to find this book hugely rewarding, both in terms of enjoyment, and for trying out new ways to challenge yourself.

And, of course, for blasting away writer’s block!great-reading-for-writers oulipo writing Orion21

Anything this experimental will, I think, always be hit and miss, especially with a selection of 100 pieces. But there were many that scratched an itch, or told a story in a clever and layered and unique way that I found really worked! Even if not all of them hit home, there's some clever games being played. StanimirAuthor 1 book1 follower

I found this book insanely interesting, as a Creative Writing student. I’m also eager to broaden my reading knowledge in terms of writers and writing arts so this book was perfect. I got to see different kinds of poetry inside as well which just made me fall in love with poetry even deeper. Made60 1 follower

So quirky and clever.2021 anthologies france Just Zack24 1 follower

ohmigosh
unbelievable
lines
in
poetic
order Reka4

cool but don't try to read this for pleasure Alexander106

Genuinely impossible to rate I feel therefore has to be a 12023-books Diana362 113

The Penguin Book of Oulipo [2019] - ????

This book is a very good compilation of Oulipo writings from all major writers, including from Raymond Queneau, Jacques Roubaud, Georges Perec and Italo Calvino. Oulipo stands for Ouvroir de littérature potentielle (Workshop of Potential Literature) and denotes a group, founded in 1960 in France, that adopts a style of writing using “constrained” writing techniques. The goal is to experiment with “new structures and patters” in writing to stretch the possibilities of literature. Thus, the book contains all kinds of linguistic conundrums, narrative riddles, experimental poetry and comics, as well as narratives which experiment with word-play, anagrams, palindromes, repetitive forms and homophonic translations. There are examples of “constrained” or “seemingly nonsensical” writing from such authors as Homer, Lewis Carroll, Jonathan Swift, Jorge Luis Borges and Francois Rabelais.

One prime example of this type of writing is Georges Perec’s A Void (La Disparition). This work was written without using the letter “e” in writing, and then, the translator, Gilbert Adair, also decided to be bound by this rule when translating. Harry Mathews’s Their Words, For You is written using only the words found in forty-six proverbs, while Paul Fournel’s Suburbia contains such sections as “A Word from the Publisher”, “Foreword”, “Supplement for School Use” as well as references/citation, but, extraordinarily, not the main text.

Herve Le Tellier’s Atlas Inutilis has encyclopaedic entries that amaze, conjuring up impossible worlds, including that of one strange desert whose inhabitants play a “virtual” ball or a planet that has “five sexes”. In turn, in Joe Brainard’s work I Remember, each sentence begins with “I remember” as the author recalls and writes down each of his specific memories without pausing to think about their appropriateness or actuality, so we have “I remember the day John Kennedy was shot”, “I remember many dreams of finding gold and jewels”, “I remember when I went to a “come as your favourite person” party as Marilyn Monroe”, and “I remember an American history teacher who was always threatening to jump out of the window if we didn’t quiet down. (Second floor.)”

Another highlight for me was Francois Caradec’s short story The Worm’s Journey, which I found quite original. This tale is told exclusively from the point of view of a worm, from his birth “in a scantling in the bell-tower of Sainte-Mere-Eglise” to his starting a family and raising “a clutch of baby worms”, while, in between, we also read of him substituting his career of a “wood-worm” for the career of a “book-worm”.


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