Fatima Daas’s The Last One is an autobiographical novel that presents an original and complex exploration of identity. A portrait of the protagonist, also called Fatima Daas, emerges through a series of vignettes that jump across time but take us ultimately from her childhood to her twenty-ninth birthday.
Valérie Rouzeau’s Pas revoir (1999) is a collection of poetry written shortly after the death of her father.
Over the last forty years, contemporary French poetry has been living in a state of crisis. Pronounced dead – or worse, irrelevant – it has sought to reassert its value, define its current specificity, and delineate its difference from the poetic practices of the past.
If any twentieth-century French poet invites a methodical, quasi-mathematical approach to their work, it is Raymond Queneau, co-founder of the Oulipo and author of the proto-algorithmic Cent mille milliards de poèmes (1961).
Taking Deleuze and Guattari’s notion of ‘déterritorialisation’ as a point of departure, this article explores how certain forms of literature dismantle or disrupt dominant linguistic codes
This article argues that the term ‘minor poetry’ gains an additional relevance for experimental twentieth-century poetry which grapples with its own generic identity, deterritorializing established conceptions of poetry, and making ‘minor’ the major poetic discourses on which it is contingent.
This article considers the poetry of Jacques Roubaud, a member of the Oulipo whose constraint-based writing techniques often involve the revision and deformation of source texts.
This article explores the constrained writing practices of Austrian-American writer Walter Abish in relation to those of the French literary group the Oulipo
Rather than offering an inventory of poetic imagery, as it did for Baudelaire, for many contemporary poets, trash provides productive conceptual models for poetic form.