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Le Lionnais's own account of the Oulipo's genesis is an interesting one, and appears to confirm that the early initiative was indeed his:
Even outside The Tennis Court Oath Ashbery has sporadically afforded such defying gestures as resorting to the techniques of the Oulipo writers group; or simply making use of cultural differences in direct translations from the French.
Ducasse's best known sentence is: "[In poetry] I am not interested in case studies; I am only into finding rules." (2) Further along he finds it necessary to add a few remarks about the necessary state of mind of a true writer: "The writers who are familiar with the capacities of reason are much stronger than those who are totally unfamiliar with its power." (3) This remark certainly constitutes what the Oulipo movement calls "anticipatory plagiarism" [plagiat par anticipation].
In an interview with Daniel Kane, Mullen says "What attracts me to Oulipo, besides their sense of humor, is their systematic effort to demystify the poetic process." (1) This comment suggests to me that Mullen's politics are based on the humor of disruption.
Among his admirers were the practitioners of potential writing known as the Ouvroir de Litterature Potentielle, or Oulipo. Jarry's pataphysics, along with his notion of the clinamen, declares him an early participant in Oulipian techniques avant la lettre: "anticipatory plagiarists," Oulipo prefers to call them (Mathews and Brotchie 211).
We are put on notice early in this novel that "an attentive reader will always learn more, and more quickly, from good authors than from life." Lest we imagine that Le Tellier makes such a remark in an exclusively self-serving perspective, he peppers his text with allusions to other good authors, principally but not exclusively his colleagues in the Ouvroir de Litterature Potentielle (Oulipo), an effect that brings another consideration to the fore.
As a computer scientist by trade but a lover of literature at heart, it was only natural that Mike become interested in the concept of "constrained writing", as practiced most famously by the Oulipo. Though Mike has experimented with many different constraints over the last thirty years, he especially enjoys the [pi] mnemonic, the palindrome, and, of course, the anagram.
It would also, naturally, host temporary exhibitions: a survey of artist fiction curated by Maria Fusco and a retrospective on literary experiments from the 1960s, presented by the Definitively Temporary Secretary of Oulipo, Marcel Benabou, upon the organisation's 50th anniversary.
101), the philosophical and moral currents in the work (in my view, somewhat overstated: Pannard is, apparently, a precursor of OuLiPo (p.
He was inspired by Queneau's Oulipo, claiming that constraint-based writing allowed him entry into the "magic state [in which] things that are unknown to the writer in his everyday life are found" ("The Act of Creation and its Artifact," Something Said, 9), the idea being that the rules of a given device, such as a sonnet, release the author from complete autonomy over his or her art, allowing for a kind of enchantment to take place that is otherwise impossible.
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