In this respect Garréta’s novel is no different, though her constraint carries much heavier social implications than those employed by her peers. There may well be a poetics of liberation latent in the workshop’s formal ventures, though it may be just that: their methods generate idiosyncratic texts, freeing literature from a kind of referential tyranny. Whatever that “quintessentially Oulipian” quality may be, at its most irreducible, is subject to debate, though the core of the novel resonates with at least one concern shared with the rest of her cohort: language (and therefore our experience of the world) is made possible by its socially agreed upon constraints, yet the malleability of such constraints is infinite. Though she wouldn’t join the Oulipo for another fourteen years, Anne Garréta’s 1986 novel, Sphinx, is quintessentially Oulipian. Philip Glass's Words Without Music: A Memoirby Michael Coffey I Love Taylor Mead and Gay Power: Taylor Mead Columns 1969–1970, Both Edited and Published by John Edward Heysby Bob Holman.Shelley Marlow's Two Augusts in a Row in a Rowby Kevin Killian

Walerian Borowczyk's Obscure Pleasures and Other Polish Filmsby Peter Dudekīadlands Unlimited's New Lovers Seriesby Mónica de la TorreĪnne Garréta's Sphinx, Translated by Emma Ramadanby Tyler Curtisĭorothy Iannone's You Who Read Me With Passion Now Must Forever Be My Friends, Edited by Lisa Pearson, with Essay By Trinie Daltonby Christine Wertheim Samantha Gorman and Danny Cannizzaro's Pryby John Cayley From Flow Chart Illuminatedby John Ashbery & Archie RandĬhronicles of Nueva York (El Bar Stonewall)by Pedro LemebelĮxcerpt from White Timeby Bernadette Van-Huy

Sphinx anne f garréta