A. Ross Eckler


Many kinds of literary constraint are available to the logologist. On the one hand, E-less text is so easy to create that the reader may be unaware that it is happening. (Some reviewers of Perec's La Disparation never caught on.) On the other hand, palindromic text--probably that most popular form of literary constraint--is so difficult to create that, essentially impossible. Can one characterize in an objective way the relative difficulty of different sorts of constraint? Which ones should be cultivated more widely?