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His first roman (Things, in translation) was a modish, mildly Godardian disquisition on class and sociology; its 1967 follow-up, a slight study in post-Kafka solipsism. But it wasn’t long until THIS AUTHOR (1936-1982) found artistic individuality by, paradoxically, joining Oulipo and applying its notorious formal constraints across a panoply of works — palindromic (1,247 words!), univocalic (inspiring Christian Bök’s similar productions), and so forth. (via HiLo Hero: Georges Perec | Hilobrow ) —click through for Franklin Bruno’s lipogrammatic acclamation

His first roman (Things, in translation) was a modish, mildly Godardian disquisition on class and sociology; its 1967 follow-up, a slight study in post-Kafka solipsism. But it wasn’t long until THIS AUTHOR (1936-1982) found artistic individuality by, paradoxically, joining Oulipo and applying its notorious formal constraints across a panoply of works — palindromic (1,247 words!), univocalic (inspiring Christian Bök’s similar productions), and so forth. (via HiLo Hero: Georges Perec | Hilobrow ) —click through for Franklin Bruno’s lipogrammatic acclamation

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