Category: wordplay

PUNCH LINES

We’re pleased as punch to bring you the 14th volume in our Alphonse Allais Collection—Let’s Not Hit Each Other, the last of the master absurdist’s anthumous works. It features 58 tales, rife with wordplay and wicked humor. This collection has been skillfully translated by Doug Skinner and includes his introduction and illuminating notes on the text.

What are we to make of Let’s Not Hit Each Other?
It includes a flying whale, an inflatable colonel, telepathic snails, a summer crime, the insularization of France, missionary parrots, an amphibious herring, twin cousins, and proposals for billboard dogs, deodorized urine, calming the sea with varnish, and crossing the English Channel with swings. You will also meet Mr. Fish, who travels with capsules of American air, presaging Duchamp’s “Paris Air” by decades.


This is the FIRST ENGLISH TRANSLATION of a remarkable volume. This edition includes an original portrait of the author by Corinne Taunay.

“One does not trifle with the humor of Allais.”
—Jean-Pierre Delaune

Our Top Ten Scatsellers

We don’t like to play favorites and with a list of some 200 titles we can’t. But we thought you might like to know which titles have been the most popular. So here is a list of our Top Ten. All are in print, so if you missed one just click on its cover.

10 Oulipo Pornobongo (2016)

9 Le Scat Noir Encyclopedie et Dictionaire (2020)

8 Captain Cap, Alphonse Allais (2013)

7 Le Scat Noir Encyclopedia (2017)

6 Critics & My Talking Dog, Stefan Themerson (2019)

5 The Pope’s Mustard-Maker, Alfred Jarry (2019)

4 The Straw That Broke, Tom Whalen (2014)

3 The Zombie of Great Peru, P-C Blessebois (2015)

2 The Squadron’s Umbrella, Alphonse Allais (2015)

1 Here Lies Memory, Doug Rice (2016)

TYPO HAS ARRIVED!

 A truly unusual journal… 

PRINT magazine’s Steven Heller says: “Just what I’ve been waiting for.” 

De Villo Sloan in Asemic Front says: “TYPO is not another contribution to the wax museum of official culture. The editors interweave selections from what poet Ron Silliman calls the post-avant with the historic avant garde and esoteric visual-verbal examples from earlier centuries. Included are new iterations and genres in the continuum such as asemics, digital collage, neo-concrete and visual poetry as well as typographical innovations rooted in Lettrism. Accessible and highly enjoyable prose complements the flow of images.” 

TYPO #1: Journal of Lettrism, Surrealist Semantics, & Constrained Design.
Trade paperback; 148 pp., $14.95

TYPO #1

In this issue: Marc-Alain Barbot; Tom Barrett; Michael Betancourt; Isabelle B.L; Restif de la Bretonne; Mamie Caton; Norman Conquest; Caroline Crépiat; Art Dandy; farewell debut; Ange Degheest; Jean-Pierre Duffour; Luc Fierens; Jack Granath; Isidore Isou; Amy Kurman; Claude Nicolas Ledoux; Giambattista Palatino; Raymond Queneau; Reese Saxment; Karen Shaw; Doug Skinner; Corinne Taunay; John J. Trause; Tristan Tzara; Cal Wenby; and Femke van der Wijk.

Get in on the ground floor with this collector’s edition.

TYPO : Journal of Lettrism, Surrealist Semantics, & Constrained Design
Number 1.

6 x 9 inches; 148 pp.; paperback; $14.95
ISBN: 979-8-9869224-5-4

LATEST NEWS:

Typo: Journal of Lettrism, Surrealist Semantics, & Constrained Design is the first in a promised (irregular) series of anthologies devoted to oddities of typographic design history, extending from now to the 1400s, including mnemonic devices, “Forty-Five First Letters” (they’re real!), “Surrealist Sign Language,” asemic writing, and lots more from Doug Skinner, Norman Conquest, Raymond Queneau, Isadore Isou and other contributors. Visually fun to look at and filled with interesting historical factoids about printing.
— i arrogantly recommend… by Tom Bowden,
BOOK BEAT

TYPO in PRINT

TYPO hits the top of the charts on Amazon

RAVE REVIEW

“The first issue of TYPO … has arrived at an ideal moment in the evolution of avant garde and experimental art and writing. The monuments of the 20th century avant garde such as DaDa, Surrealism, Lettrism and Oulipo are enjoying healthy interest in the digital age, inspiring the creation of new genres.TYPO provides fresh insights and perspectives on these movements.

TYPO is not another contribution to the wax museum of official culture. The editors interweave selections from what poet Ron Silliman calls the post-avant with the historic avant garde and esoteric visual-verbal examples from earlier centuries. Included are new iterations and genres in the continuum such as asemics, digital collage, neo-concrete and visual poetry as well as typographical innovations rooted in Lettrism. Accessible and highly enjoyable prose complements the flow of images.”

—De Villo Sloan, ASEMIC FRONT 2

Read the full review HERE

WORD PLAYHOUSE

Nominata has gone missing, and her old friend Antonima is looking for her. Can the seven regulars in the Taproom help? Why are there strange lights and noises in the abandoned observatory? And what does the number 5040 have to do with all this?

Doug Skinner describes his novel as “an interactive verbal toy,” and Black Scat urges caution when handling it. On the surface, the text is playful, comic, and wayward. Further immersion, however, reveals elaborate constraints, cross references, and parallels, all creating an artificial world in which everything is a reflection of everything else, including itself. All that and slapstick too!

FRENCH HUMOR + WORDPLAY

Alphonse Allais (1854-1905) was France’s greatest humorist. His elegance, scientific curiosity, preoccupation with language and logic, wordplay and flashes of cruelty inspired Alfred Jarry, as well as succeeding generations of Surrealists, Pataphysicians, and Oulipians. THE SQUADRON’S UMBRELLA collects 39 of Allais’s funniest stories — many originally published in the legendary paper LE CHAT NOIR, written for the Bohemians of Montmartre. Included are such classic pranks on the reader as “The Templars” (in which the plot becomes secondary to remembering the hero’s name) and “Like the Others” (in which a lover’s attempts to emulate his rivals lead to fatal but inevitable results.) These tales have amused and inspired generations, and now English readers can enjoy the master absurdist at his best. As the author promises, this book contains no umbrella and the subject of squadrons is “not even broached.”

This sublime translation by Doug Skinner is one of our most popular titles.

About the Author
ALPHONSE ALLAIS (1854 – 1905) began his career in Paris during the Belle Epoque. He was particularly active at the legendary cabaret Le Chat Noir, where he wrote for and edited the weekly paper. He quickly became known for his deadpan wit and inexhaustible imagination. Among other things, he also exhibited some of the first monochromatic pictures (such as his all-white “First Communion of Chlorotic Girls in the Snow” in 1883) and composed the first silent piece of music: “Funeral March for the Obsequies of a Deaf Man” (1884). Throughout most of his life, he contributed columns several times a week to LE JOURNAL and LE SOURIRE. These pieces were collected into twelve volumes, which he called his “Anthumous Works,” between 1892 and 1902. He also published a collection of his monochromes, ALBUM PRIMO-AVRILESQUE, in 1897, and a novel, L’AFFAIRE BLAIREAU, in 1899, as well as a few plays. His later years were troubled by debt, a bad marriage, and heavy drinking; he died at 59. He was a crucial influence on Alfred Jarry, as well as on the Surrealists: Breton included him in his ANTHOLOGY OF BLACK HUMOR, and Duchamp was reading him on the day he died. Allais’s fascination with wordplay, puns, and holorhymes led Oulipo to call him an “anticipatory plagiarist”; the Pataphysical College dubbed him their “Patacessor.” His books have remained in print in France, and the Académie Alphonse Allais has awarded a literary prize in his honor since 1954.

AN ‘ANTHUMOUS’ WORK BY ALPHONSE ALLAIS

The master absurdist is back in LOVES, DELIGHTS, & ORGANS (Amours, délices et orgues). This madcap collection of stories, fables, hoaxes and jokes is pataphysical fun for the literate layabout. This first English translation features 47 sublime textual specimens — PLUS six additional stories, a rousing introduction, and enlightening notes on the translation by Allaisian scholar Doug Skinner. If you’ve yet to discover the bizarre world of Alphonse Allais, you’re in for a treat.

“Allais comes across as a very modern writer, and his work as an experimental enterprise which is exemplary in many ways… it is also quite possible to invoke such writers as Raymond Queneau, Italo Calvino, and Jorge Luis Borges.”  —Jean-Marie Defays

ABOUT THE AUTHOR

   Alphonse Allais was born in the Northern port town of Honfleur, in Calvados, on October 20, 1854. He was, therefore, born in the same town as Erik Satie, and on the same day as Arthur Rimbaud. His father was a pharmacist, and sent young Alphonse to Paris to learn the family trade. Young Alphonse mostly cut his classes, and steeped himself in the absinthe-soaked delights of bohemian Montmartre.

   He joined the hard-drinking literary coterie the Hydropathes, accompanied the celebrated prankster Sapeck (Eugène Bataille) on his misadventures, submitted monochromatic pictures to the proto-Dada exhibitions of the Incohérents, and wrote squibs for various ephemeral papers. He became adept, in both word and deed, at the unique Parisian discipline of fumisme: a heady mix of hoaxing, provocation, and iconoclasm, all delivered with deadpan aplomb. Although he’d abandoned chemistry, his scientific credentials gave him a perspective (and persona) that set him apart from the more febrile poets around him. He was often likened to an English schoolmaster, with a placid demeanor that made his wild ideas all the more startling. [from the introduction by Doug Skinner]

P L A Y T I M E

Cover boy: Raymond Queneau

BLACK SCAT REVIEW 23: Wordplay
Bask in the lilt & spew of vowels & consonants, the litter of letters lost & found, visual lipograms, puzzles, puns, and blazing wordplay from the KO Corral.

FEATURING: Mark Axelrod, Tom Barrett, Kevin Brown, Norman Conquest, Brian Coughlan, John Crouse, S. C. Delaney, Paul Forrestal, Ryan Forsythe, Eckhard Gerdes, Penelope Gerdes, Joseph Harms, Amy Kurman, Opal Louis Nations, Angelo Pastormerlo, Steve Patterson, Derek Pell, Agnès Potier, Raymond Queneau, Paul Rosheim, Gerard Sarnat, Doug Skinner, Michel Vachey, Carla M. Wilson, and D. Harlan Wilson.