Queneau and the Oulipo

Raymond Queneau was one of the leaders of a group of ten--primarily writers and mathematicians, primarily French--who founded a group, "Ouvroir de Littérature Potentielle" ("Workshop of Potential Literature"), that eventually became known as the Oulipo. Queneau described potential literature as "the search for new forms and structures that may be used by writers in any way they see fit."

A Hundred Thousand Billion Poems

 Celebrate Raymond Queneau (1903-1976).

     In a recent posting, mathy blogger Ben Orlin noted (here in Math with Bad Drawings)  that 2021 is the 60th anniversary of an amazing poetry collection, One Hundred Thousand Billion Poems, by Raymond Queneau.  The collection consist of 14 sonnets, with each line of each sonnet on a separate strip of paper -- allowing formation of a poem using any of the 14 first lines, any of the 14 second lines, and so on.  Here is an link to a earlier blog posting that introduces Queneau's collection and includes and interactive way to create a sonnet from the collection.

Here is a link to other postings from this blog that include Queneau.

Which permutation of lines yields the best poem?

     A fascinating article about poet Jericho Brown (by Allison Glock in Garden and Gun magazine) reminded me of the vital role of line-arrangement in creating a poem.  (Emory University professor Brown has won the Pulitzer Prize in poetry for his collection The Tradition  (Copper Canyon Press, 2019)).
      Glock's article, "Jericho Rising," tells of various factors that have influenced Brown's poetry and describes his process of arranging lines, typed on separate strips of paper, into poems.  Three of the lines shown in the article are:

       What is the history of the wound? 

  We'll never see their faces or know their names.      

       And a grief so thick you could touch it.

Celebrate Constraints -- Happy Birthday, OULIPO

Patrick Bahls and Richard Chess of the University of North Carolina at Ashville have organized a "Conference on Constrained Poetry" to be held on November 19-20 in celebration of the 50th Anniversary of OULIPO (short for French: OUvroir de LIttérature POtentielle), founded in 1960 by Raymond Queneau and François Le Lionnais. The group defines the term littérature potentielle as (rough translation): "the seeking of new structures and patterns that may be used by writers in any way they enjoy." Constraints are used to trigger new ideas and the Oulipo group is an ongoing source of novel techniques, often based on mathematical ideas -- such as counting letters and syllables, substitution algorithms,  permutations, palindromes, and even chess problems.

From 2010 -- titles and dates of posts

List of postings  March 23 - December 31, 2010
A scroll through the 12 months of titles below may lead you to topics and poets/poems of interest. Also helpful may be the SEARCH box at the top of the right-hand column; there you may enter names or terms that you would like to find herein.
    Dec 31  The year ends -- and we go on . . .
    Dec 30  Mathematicians are NOT entitled to arrogance
    Dec 28  Teaching Numbers
    Dec 26  Where are the Women?
    Dec 21  A Square for the Season
    Dec 20  "M" is for Mathematics and . . .  

A Vector Space Poem

     As a Columbia undergraduate, media artist Millie Niss (1973-2009) majored in mathematics and was enrolled in a math PhD program at Brown University when she decided to make writing her full-time career.  Before her untimely death in 2009 Niss was well-established in Electronic Literature.   Here is a link to "Morningside Vector Space," one of the poems at Niss's website Sporkworld (at Sporkworld, click on the the E-poetry link).
     Niss's electronic poem retells a story (inspired by the Oulipian Raymond Queneau's Exercises de Style) in many different styles and following many different constraints. The computer is central to the retelling as the text varies almost smoothly along two dimensions, controlled by the position of the mouse pointer in a colored square (to the right in the screen-shot below).  Behind this poetry is the mathematical concept of a two-dimensional vector space, in which each point (or text) has a coordinate with respect to  each basis vector (version of the text, or dimension along which the text can change).