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[mfa MAIN]  [Literature INDEX]  [^^Main reading room of the Borges Library (HOME page)]

See also:  -[Absurd Film]-
            NOTE: Discussions of the absurd (which may indeed be LIT in
                  nature) but derived from a FILM are in the absurd-film 
                  file; eg, Marx Brothers, Three Stooges, etc.

See also:     -[Jorge Luis BORGES]-
              -[Elena Garro]-
              -[SurRealism, the Marvelous, etc]-

Absurd Lit

On this page: {} {} {} {} {} {} {Rules is rules} {} {} "The Boss of it All" (Danish absurdist film) Olaf Gambini - the nothingist quote and EXTRACT: Arni: This whole thing is ABSURD!! Like, like, like something by Gambini. boss: Gambini? arni: Antonio Stavro Gambini boss: "The Hanged Cat". One act play, 1969 arni: Some say late 1968... wife: Shit! ....

Rules is rules

RCOG - Rules of Civilised Engagement

(or not-so-civil) 1. Never waste a resource. 2. It is better to make an ally than a slave; enslavement can come later. 3. There are no inferior races - only ones that can be subjugated thru duplicity; and made to believe they are inferior. 4. Even the most perfect systems will eventually fall apart; despite the best efforts. Of course, education and enquiry acound. 5. Never take something when asking may accomplish more. A friend is someone you can take advantage of until they find out what you're really doing. 6. Fredome is an unquestioned illusion of all conquerors; to own is to be more owned. Only someone/something to protect can be robbed. 7. Knowledge is the one possession that can not be taken away. Knowledge may become useless temporarily, but its value *never* disappears entirely. Whenever you think you know most likely it isn't so. 8. One person's rubbish is another's treasure. All trade is based on knowing which is which. 9. Procrastination is the thief of time; entropy is the detective - Leacock's rule #3. 10. If anything can go wrong, it will; can is always.

The Secret Laws of Clowns

1, People will almost always do anything to save face. 2. A friend in need is a friend indeed; suffering is universal. 3. A person witout a sense of humor is to be pittied; and feared. 4. Only the poor go to hell; the rich and powerful create it. Igacio's 2nd law. 5. Always check for covert activity - esp when there are boundary contacts/changes. 9. The pen is mightier than the sword (but only long term), and most people are illiterate in both worlds. 10. Laughter is the best medicine and the most powerful weapon - against the asault of laughter NOTHITNG can stand. Twain's rule #12.

Lux Fiat

Dramatix Personae

} {Arson Marson} {Doc Forester; Cow MD} {Post Something-ism} {} {} {The Usual Suspects} {The Oberiu Manifesto} {Refs} {}

Arson Marson

V1: Hi, I'm Arson Marson. Arson - as in burning down the house. (laughs dryly) Ha, Ha. V3: Actually he's Anson Marston. V1: NO! It's Arson! As in burning down the orphanage. V4: (cop around corner, trailing Arson)

Doc Forester - Cow MD

The recurrent dream - the elevator stops -- cowns and economic nightmares

Garbage Dump

(random dialog, etc) They say your family is worsening....

Post Something-ism

Concerning the whole "Yes, but isn't absurdist just ANTI-this or that???" thing; Absurdist or Post-modernist is ANTI-LITERATURE, or ANTI-REALIST. These sort of "yes, but god doesn't exist" arguments are more post-hoc ad-hominem (or ad-deum?). As Maltby points out: I prefer the use of the term [PostModernism] because of the historical infalection it has recently acquired. Its prefix "post-" is gnerall read as signallygin a "break" in aesthetic practice that radically separates modernist from p9ostmodernist art (a claim vigorously contested by some)[; eg, neo-modernism, or even the attempt to force some sort of neo-political, post-marxist, etc-ist interpretation, etc]. Clearly the legitimacy of postmodernism as, inter alia, a concept signifying a new order of aesthetci prqceis must rest on the identification of a new conjucture w2hich can assign that practic aan historically specific meaning. And it has been Fredrick Jameson's achievement to provid jus this ink of conjunctuoral analysis.` [Maltby, P. 23]

The Usual Suspects

(name - essential work) Alfred Jarry - "Ubu Roi" -[
wiki]- Nicholas Gogol - "THe OverCoat" -[wiki]- Arthur Adamov - "Amadee -or- How to get rid of it" -[wiki]- Edward Albee - -[wiki]- Fernando Arrabal - -[wiki]- Samuel Beckett - "Waiting for Godot" -[wiki]- Friedrich Dürrenmatt - -[wiki]- Jean Genet - -[wiki]- Bohumil Hrabal - "Too Loud A Solitude" -[wiki]- Eugène Ionesco - -[wiki]- Kaniil Kharms - -[wiki]- Harold Pinter - -[wiki]- Luigi Pirandello - "Six Characters in Search of an Author" -[wiki]- Tom Stoppard - "Rosenkrantz and Guildernstern are Dead" -[wiki]- Alexander Voedensky - -[wiki]- Kaniil Kharms (Russian absurdist) [ref: Gibian, 1987] -[wiki]- Alexander Voedensky (Russian absurdist) [ref: Gibian, 1987] -[wiki]-

The Oberiu Manifesto

Per notes from [Gibian, 1987, P. 245] "Oberiu" was a word made up out of the initial sounds of the words fro "Assoication for Real Art" (Ob'edinenie Real'nogo Iskusstva). The souond 'u' was added at the end just for fun.

Oberiu - from the Intro

Oberiu works with the House of the Press and unites those working in all forms of art who accept its program and apply it in their work. Oberiu is divided into four sections: literature, fine arts, theatre, cinema The fine-arts section carries on its work in experimanal ways; the other sections are presented at eventing programs, in stage productions and inprint. At this time Oberiu is organising a musical section.


Gibian, George (1987). The Man with the Black Coat: Russia's Literature of the Absurd. Selected works of Kaniil Kharms, and Alexander Voedensky. DD: 891.742-R969M Maltby, Paul (1991). Dissident PostModernists: Barthelme, Coover, Pynchon. DD: 813.5409-M261D