Scope and Contents The book includes thirteen typographical interpretations by Pierre Faucheux that are presented as end papers and fold-out pages. Queneau's texts are composed of clever rhymes and word-plays.The story is of a twentysomething bus rider with a long, skinny neck and a goofy hat accuses another passenger of trampling his feet; he then grabs an empty seat. Later, in a park, a friend encourages the same man to reorganize the buttons on his overcoat. In Raymond Queneau's Exercises in Style, this determinedly pointless scenario unfolds 99 times in twice as many pages. These terse variations on a theme are a wry lesson in creativity. The story is told as an official letter, as a blurb for a novel, as a sonnet, and in "Opera English." It's told onomatopoetically, philosophically, telegraphically, and mathematically. It is a profound exploration into the possibilities of language." Gary Jakaitis reviewed the English translation: In the 1930s, Raymond Queneau attended a performance of...

Scope and Contents The book includes thirteen typographical interpretations by Pierre Faucheux that are presented as end papers and fold-out pages. Queneau's texts are composed of clever rhymes and word-plays. The book includes thirteen typographical interpretations by Pierre Faucheux that are presented as end papers and fold-out pages. Queneau's texts are composed of clever rhymes and word-plays.The story is of a twentysomething bus rider with a long, skinny neck and a goofy hat accuses another passenger of trampling his feet; he then grabs an empty seat. Later, in a park, a friend encourages the same man to reorganize the buttons on his overcoat. In Raymond Queneau's Exercises in Style, this determinedly pointless scenario unfolds 99 times in twice as many pages. These terse variations on a theme are a wry lesson in creativity. The story is told as an official letter, as a blurb for a novel, as a sonnet, and in "Opera English." It's told onomatopoetically, philosophically, telegraphically, and...

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Another copy has been taken from the Archive for O!!Zone 1997. -- Source of annotation: Marvin or Ruth Sackner.

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The text of the book of Genesis is translated from the five languages into a rebus composed of pictograms designed by the author. -- Source of annotation: Marvin or Ruth Sackner.

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This book depicts Italian rebuses composed from 1800-1975. -- Source of annotation: Marvin or Ruth Sackner.

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Drawing is presented with three vertical folds; Luce indicates that it may be stored as such or framed with the folds as part of the work. -- Source of annotation: Marvin or Ruth Sackner.

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Since this book consists of drawings, each copy is actually unique as can be judged by comparing the two copies held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Since this book consists of drawings, each copy is actually unique as can be judged by comparing the two copies held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The card is a personal note to Pat Collins. -- Source of annotation: Marvin or Ruth Sackner.

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Also designated A.DU3. -- Source of annotation: Marvin or Ruth Sackner.

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This is an experimental poem in the form of a letter. -- Source of annotation: Marvin or Ruth Sackner.

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This Happy New Years card was addressed to Robin Crozier. -- Source of annotation: Marvin or Ruth Sackner.

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The first Mother Goose stories were published by John Newbury in England in the 1760's. This is an unabridged facsimile re-publication of the edition that was published in 1849. It is misnamed since the "hieriglyphicks" are actually drawings of realist objects that serve as rebuses to the text. -- Source of annotation: Marvin or Ruth Sackner.