A TIMES LITERARY SUPPLEMENT BOOK OF THE YEAR 2020 'Lovers of word games and literary puzzles will relish this indispensable anthology' The Guardian 'At times, you simply have to stand back in amazement' Daily Telegraph 'An exhilarating feat, it takes its place as the definitive anthology in English for decades to come' Marina Warner Brought together for the first time, here are 100 pieces of 'Oulipo' writing, celebrating the literary group who revelled in maths problems, puzzles, trickery, wordplay and conundrums. Featuring writers including Georges Perec, Raymond Queneau and Italo Calvino, it includes poems, short stories, word games and even recipes. Alongside these famous Oulipians, are 'anticipatory' wordsmiths who crafted language with unusual constraints and literary tricks, from Jonathan Swift to Lewis Carroll. Philip Terry's playful selection will appeal to lovers of word games, puzzles and literary delights.

In Quennets Philip Terry develops a sonnet-like form invented by the Oulipian poet Raymond Queneau. Across three sequences, the 'quennet' is reworked and refigured in response to three perimiter landscapes. The first sequence, 'Elementary Estuaries', is inspired by a series of walks along the Essex estuary, the poems' appearance on the page suggesting the landscape's expansive esturine vistas, its pink sail lofts and windswept gorse, beach huts and distant steeples. In the second sequence, written after a series of walks around the Berlin Wall Trail, or Mauerweg, the form changes to reflect the physical, almost bodily tension of the wall as an architectural and social obstruction. The final sequence, 'Waterlog', retraces the steps of W. G. Sebald through Suffolk, and here the quennet's newely elongated shape and ragged margin evoke the region's eroding coastline, its deserted piers and power stations, electric fences and waterlogged fields. Terry's project is bold in scope, his poems subtle in effect, a mix of sign and song, concerete and lyric, Oulipo and psychogeography.It is a work about boundaries, political, social, and natural, and about the walk as a critical apparatus through which these fields are shown to connect.

Dictator recreates Gilgamesh using the 1,500-word vocabulary of Globish, put together by Jean-Paul Nerrière. Globish is a business language, appropriate to translate cuneiform which emerged from the need to record business transactions. Nerrière considered it the world dialect of the third millenium; likewise Akkadian, the language of Gilgamesh, was the lingua franca of communications in the Near East. This link between script, language and business is there in the substance of the poem. An underpinning theme involving trade, here trade in hard wood and access to forests for building materials, links the poem to recent wars in and around Iraq, where the contemporary commodity is oil. This in turn links the poem to related issues such as migration and the refugee crisis. Working with refugees in Palermo in 2017, Terry was involved with putting on a puppet version of Gilgamesh where the children related viscerally to the story, particularly the boat scenes.

This newest Carcanet Classic collects the oldest poetry yet discovered, as written down or runed in the Ice Age in Lascaux and other caves in the Dordogne, and now translated - tentatively - into English for the first time. The translation is at two removes, from French versions by the mysterious linguistic genius Jean-Luc Champerret, and then from the striking originals that retain such a sense of early human presence. Philip Terry mediates between the French and those hitherto inscrutable originals. Jean-Luc Champerret's unique contribution to world literature is in his interpretation of the cave signs. And Philip Terry's contribution is to have discovered and rendered this seminal, hitherto unsuspected work into English. The translated poems are experiments, as the drawings may have been to the original cave poets composing them as image and sound. While archaeologists maintain that these signs are uninterpretable, Champerret assigns them meanings by analogy, then - in an inspired act of creative reading - inserts them into the frequent 3 x 3 grids to be found at Lascaux. The results - revelation of Ice-Age poetry - are startling.

Taking as its starting point marginal images in teh Bayeux Tapestry, which have been left largely unexplained by historians, Terry retells the story of the Norman Conquest from the point of view of the tapestry's English embroiderers. Combinbing magic realism and Oulipian techniques, this is a tour de force of narrative and language.

Between 1970 and 1982, George Perec sent his friends small pamphlets with his best wishes for the New Year. These were collections of short texts based on homophonic variations. The three pieces are neither translations of this material, nor entirely original pieces of work, rather a sort of homage to Perec.

We are all looking for truth in these chaotic times. In our Brave New Post-Truth world, judges are 'Enemies of the People', experts know nothing, our very democracy is under threat. Hopefully, as well as truth, this poetry anthology restores some humanity, some significance and some love. The poems in this collection, some elegiac, explore the edges of things - society, shorelines, identity, Brexit, climate change and our present political instability. In this poetry the texture of light and dark that informs this anthology is distilled. And what will future historians make of our troubled times? Hopefully the anthology will help to put the record straight. Some of the selected poems were previously published in: Refugees and Peacekeepers; My Europe and Tempest. Contributors to Chaos include George Szirtes, Christine De Luca, Catherine Coldstream and MW Bewick. Key Words: poetry, politics, refugees, Europe, EU, Brexit, US relations, climate change

'Perec is serious fun' The Guardian Both an affectionate portrait of mid-century Paris and a daring memoir, Georges Perec's I Remember is now available in English to UK readers for the first time, with an introduction by David Bellos. In 480 numbered statements, all beginning identically with 'I remember', Perec records a stream of individual memories of a childhood in post-war France, while posing wider questions about memory and nostalgia. As playful and puzzling as the best of his novels, I Remember is an ode to life: the ordinary, the extraordinary, and the sometimes trivial, as seen through the eyes of the irreplaceable Georges Perec.