La Disparition

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And I’m not even trying to omit the ‘e’. I’ll just say that both my parents are very much alive. My grandparents, with the exception of my paternal g-pa, lived to rather rich old ages, given their dirt=farming lives. P r c imagin s th lik ly r ad r “rapt in a book, a work of fiction, constantly hoping for a solution, for a solution that’s driving him crazy by lurking just out of his grasp, a solution that has had throughout, in fact from its first word, an infuriating habit of staring at him whilst continually avoiding his own scrutiny, might find, advancing into its story, nothing but ambiguous mystification and rationalisation, obscurantism and obfuscation, all of it consigning to a dim and murky chiaroscuro that ambition, so to say, that lit its author’s lamp.” Ses 78000 mots et approximativement 297000 signes [4 ] sans la lettre e ont été vus comme une expérimentation littéraire concevant l’écriture comme une exploration de l’inventivité de la langue, davantage que comme le fruit d’une inspiration, aux origines et aux résultats incertains [5 ]. This is a hard one to review because most of what I want to say would divulge too many spoilers and I just can't ruin something this good. Y'all need to experience this wonder firsthand to appreciate how mind-bogglingly fantabulous it is. Cop out? Perhaps. Cheap ploy to encourage even one other person to read this? Hell. Yes.

La Clôture et autres poèmes, (Paris: Hachette, 1980) – Contains a palindrome of 1,247 words (5,566 letters). [10]Author, how can you sustain your own imagination (and ours) for as long as is obligatory for our mutual gratification? What if victory avoids your pathway? What if you don't find triumph on your road? What if both of us jointly fail? What if it was all in vain or to no avail? Deux principes parfois respectés par les travaux oulipiens, in Oulipo , Atlas de littérature potentielle, Gallimard, Collection Idées, 1981, p. 90. La Disparition est parsemée de réécritures, parfois partielles, parfois complètes, de textes littéraires pour leur faire respecter la contrainte du lipogramme [16 ]. As by way of example of what a reader is in store for, here's a short paragraph from the first section of the book: A narration starts with apocalyptical visions… A narrator is flying high, soaring in indigo sky amongst clouds… I follow suit…

Dominique Bertelli et Mireille Ribière, Entretiens et conférences, Éditions Joseph K., 2003, volume I, p. 104. Mireille Ribière, «Maudit Bic!» ou la maldiction, in Études Littéraires: Georges Perec: écrire/transformer, Université de Laval., Québec, vol 23. n o1-2, été-automne 1990, ( ISSN 0014-214X). Lavallade, Le roman (policier) dans le roman, in La Disparition, 1969-2019: un demi-siècle de lectures, Cahiers Georges Perec, vol.13, Bordeaux, Le Castor astral, 2019, p. 100. Perec himself helpfully gives the reasons for his experiment in the penultimate section of the book. He says (1) the book might be a "stimulant... on fiction-writing today," (2) that it would be "a spur to [the] imagination," (3) that it might be a "wilfully critical" provocation "vis-a-vis fiction." The third of these is apparently intended to be the most substantial. For an ideal reader, then, this book might be a model (or at least a "provocation") indicating the kind of radical strategies that have to be adopted to make the novel a viable form. An Attempt at Exhausting a Place in Paris, trans. by Marc Lowenthal (Cambridge, MA: Wakefield Press, 2010)

Georges Perec was a highly-regarded French novelist, filmmaker, and essayist. He was a member of the Oulipo group. Many of his novels and essays abound with experimental wordplay, lists, and attempts at classification, and they are usually tinged with melancholy. Said law gov rns th compl xly plott d book; that it can b r ad in at l ast two languag s without th common st l tt r d ploy d is a r markabl f at ind d. Asid from th xhibitionistic goal of the nov l, it's a hilarious r ad. Th l ngths P r c go s to avoid (A Void) th l tt r ‘ ‘ is at tim s hilariously absurd. Th fact is allud d to through m taphors, plot points, and asid s throughout the nov l. Cantatrix Sopranica L. is a spoof scientific paper detailing experiments on the "yelling reaction" provoked in sopranos by pelting them with rotten tomatoes. All the references in the paper are multi-lingual puns and jokes, e.g. "(Karybb et Scyla, 1973)".

But... I must ask... why? Why this book? OULIPO (and G.P. above all) wound up doing fantastic things with human thought and words, but, sadly, this is not in that high canon. It's certainly a worthy bout of linguistic pugilism, but I'm still wanting, you know, anything I might wind up actually caring about.

He uses common acronyms of terms that contain the letter “e” e.g.. PDG (pr ésid ent dir ect eur g en éral e).

Georges Perec (1994). A Void (hardcover). Translated by Gilbert Adair. The Harvill Press. ISBN 0-00-271119-2. Stella Béhar, Georges Perec: écrire pour ne pas dire, Currents in Comparative Romance Languages and Literatures, Peter Lang, 1995, p. 87. So, let's take a look at the first short paragraph of The Bathroom by the contemporary Belgian author Jean-Philippe Toussaint: Le roman a été traduit en allemand sous le titre Das Verschwinden, en espagnol sous le titre La desaparición, en italien sous le titre La scomparsa et en néerlandais sous le titre Het Verdwijnen. Jenny Davidson, Reading Style: A Life in Sentences, Columbia University Press, 2014, p. 107: "I have an almost Breton name which everyone spells as Pérec or Perrec—my name isn't written exactly as it is pronounced."

Georges Perec (2009). 't Manco. Translated by Guido van de Wiel. De Arbeiderspers. ISBN 978-90-295-6766-4. A clever workaround that Perec uses when he is forced to use the article le is to interpose an adjective beginning with a vowel between the article and the noun. That allows him to change the le to l’. es) El secuestro (Marisol Arbués, Mercé Burrel, Marc Parayre, Hermes Salceda, Regina Vega, 1998) qui ne contient pas de «a»