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“... revelation to favoured critics and in interviews, Muldoon is not unlike that other cryptographer, Raymond Roussel, who, fearing that his grand schemes would go unappreciated by posterity, told all in Comment j’ai écrit certains de mes livres. If the puzzles in Muldoon’s work were exhaustible simply by noticing puns like Accutane/Aquitaine, reading ...”

“... The OuLiPo, or Ouvroir de littérature potentielle, was founded in 1960 by Raymond Queneau and François Le Lionnais. The group’s initiatory text was a sequence of ten sonnets written by Queneau entitled Cent mille milliards de poèmes: these sonnets all use the same rhymes, and are grammatically constructed so that any line in any sonnet can be replaced by the corresponding line in any of the other nine sonnets ...”

“... anyone dared revisit such a region.’ Not just Hölderlin, but Nerval, Nietzsche, Van Gogh, Raymond Roussel and Antonin Artaud ‘ventured there with tragic consequences . . . to the point at which the alienation of the experience of unreason pushed them into the abandonment of madness’. Here we come to the difficulty at the heart of this ...”

“... Besides Nietzsche, Kafka and Wittgenstein, Sass includes, among others, Baudelaire, Van Gogh, Raymond Roussel, Jean-Pierre Brissct, Gérard de Nerval, Alfred Jarry, Strindberg, de Chirico, Dali and Beckett. Some aspects of late 20th-century life in the developed world– the distancing effect of technology and bureaucracy on our apprehension of ...”

“... vanguard of white men, approved by a vote in the French parliament and funded by subscription: Raymond Roussel, the wealthy author of Impressions d’Afrique (1909), was one of the donors. The ‘Mission Dakar-Djibouti’ was arduous. It took longer than Cook’s first journey from England to Australia two centuries earlier. Leiris was 29 when he was ...”

“... the Metropolitan Museum of Art in New York) as well as a long-serving translator who has rendered Raymond Roussel, Patrick Modiano, Marguerite Duras and many others. ‘A good translation,’ he writes, ‘offers not a reproduction of the work but an interpretation, a re-representation, just as the performance of a play or a sonata is a representation of ...”

“... inevitable projection backwards onto the youth of what we know about the man. (Recall the story by Raymond Roussel of his discovery, in a dusty provincial museum, under glass, of the skull of Voltaire as a child.) For Kershaw, who knows the outcome, everything the young Hitler does is tainted in advance: not an act, not a feeling or an interest, a ...”