Whilst we’re on the subject of means (see here and here) I may as well throw out another advert for Jean-Pierre Sertin and Intercuttings. Natalie de Roquet, as we have seen, wrote her work under pressure; pressure which, significantly, was enforced by an outside source (her malicious husband). Sertin is one of many writers who chooses to put pressure on himself. We live in a society in which so many people like to make things easier for themselves: god bless artists, therefore, for being so difficult.
As you probably know by now, Sertin’s work covers many forms, all of which involve a range of restrictions. Take p.52 for instance, his novel, which consists of fifty-two examples of p.52 from fifty-two otherwise non-existent novels. Or the infamous Intercuttings, which cut two (very) short stories together so as to make them virtually unreadable. Sertin’s mind is that of the poet whose freedom exists within tight forms: only here, caught in a position of immense pressure, does his creativity flow. Circumstances allow him to work in whatever way he wishes too. Wise artist that he is, he chooses to flood the works with spanners. He sets himself challenges, without which he would have no direction. To make his project clear, he needs to complicate things.