Ian Monk: "I must say that I found it an amusing work in its own right but, as a translation, frankly disappointing" In 1961 Perec began working at the Neurophysiological Research Laboratory in the unit's research library funded by the CNRS and attached to the Hôpital Saint-Antoine as an archivist, a low-paid position which he retained until 1978. A few reviewers have noted that the daily handling of records and varied data may have had an influence on his literary style. In any case, Perec's work on the reassessment of the academic journals under subscription was influenced by a talk about the handling of scientific information given by Eugene Garfield in Paris and he was introduced to Marshall McLuhan by Jean Duvignaud. Perec's other major influence was the Oulipo, which he joined in 1967, meeting Raymond Queneau, among others. Perec dedicated his masterpiece, La Vie mode d'emploi ( Life: A User's Manual) to Queneau, who died before it was published. Looking for solutions by scouring Anton’s books, a commonality is found: all talk of a blank, a void, a missing thing. Two days pass in this way, until, a crisis hits. Morbidity(2) visits Augustus and Olga. It’s panic all round. Aid is sought and at night, two additional pals, Aloysius Swann and Ottavio Ottaviani, turn up bringing information. Enjeux du jeu de mots: Perspectives linguistiques et littéraires. Esme Winter-Froemel, Angelika Zirker. Berlin/Boston. 2015. ISBN 978-3-11-040834-8. OCLC 1013955053. {{ cite book}}: CS1 maint: location missing publisher ( link) CS1 maint: others ( link) But p rhaps th crazyi st thing is that th book is pr tty asy to follow, hocus pocus or not. It’s said -- wh th r tru or not -- that P r c wrot th book aft r a companion call d his bluff on b ing abl to writ in such a r strictiv way. P r c said it b cam “a spur to [his] imagination” furth r saying it “took [his] imagination down so many intriguing linguistic highways and byways”

He uses neologisms and wordplay: e.g., Maldiction and not Mal édiction (justified by the play on diction and mal meaning bad diction and “malediction” meaning curse); conginatal and not cong énital; la choisification (completely made up word) instead of l e choix (“choice”). It has been remarked by Jacques Roubaud that these two novels draw words from two disjoint sets of the French language, and that a third novel would be possible, made from the words not used so far (those containing both "e" and a vowel other than "e"). Why not abstain from this difficulty? Why foist such a rigorous constraint on his (or our) own writing or construction? Toward what goal? For what gain? Is it satisfying or a pain? Perec s'est décrit lui-même dans ce personnage: «Il s'agissait d'un individu aux traits plutôt lourdauds, pourvu d'un poil châtain trop abondant, touffu, ondulant, plutôt cotonnant, portant favoris, barbu, mais point moustachu. Un fin sillon blafard balafrait son pli labial.» Claude Burgelin commenta: Ainsi Perec peut «être auteur pour être ôteur; être ôteur pour être auteur.» ( Georges Perec, Seuil, collection Les Contemporains, 1988, p. 107)The Machine, trans. by Ulrich Schönherr in "The Review of Contemporary Fiction: Georges Perec Issue: Spring 2009 Vol. XXIX, No. 1" (Chicago: Dalkey Archive, 2009) Georges Perec ( French: [ʒoʁʒ peʁɛk]; [1] 7 March 1936 – 3 March 1982) was a French novelist, filmmaker, documentalist, and essayist. He was a member of the Oulipo group. His father died as a soldier early in the Second World War and his mother was killed in the Holocaust. Many of his works deal with absence, loss, and identity, often through word play. [2] Early life [ edit ]

Le post-scriptum est le récit de la naissance et de l’évolution de l’écriture de La Disparition, ainsi qu'une tentative de situer l'œuvre dans le paysage du roman français de l’époque. 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. Six ans après La Disparition, Perec publie W ou le souvenir d'enfance, précédé d'une dédicace: «Pour E».In the popular reception, Perec's book is still considered as a linguistic marvel, or a translation marvel. But that's just praising virtuosity: if the book is as important as some of his others, the idea of omitting the letter "e" has to have other expressive effects. I finish d th book, and found that n arly vry cr ativ m thod of rvi wing it s ms to hav alr ady b n us d. So I found anoth r way to do it, although it will sur ly b much mor difficult to r ad. As far as I am awar , it hasn’t b n don y t. Au niveau de la langue, la réduction du vocabulaire entraîne la multiplication des liens entre les mots. L’expansion du vocabulaire entraîne la multiplication des registres linguistiques. Georges Perec (2004). Istchezanie. Translated by Valéry Kislov. Ivan Limbakh. ISBN 978-5-89059-060-2. What helps a great deal is that he can use the French passé simple, a particular form of past tense used in written fictional works. This mean he can avoid the use of the passé composé which demands the use of the “é” in the same way as English requires the use of the “ed” in its past tense. The conjugation of the passé simple does not use the “e” at all.