Lettristen Isidores Isous såkaldt hypergrafiske og polyautomatiske roman "Le Grand Desordre" (1963)

“The envelope contains more than the cover for the book – it also contains its content. There are elements which spill forth as so much trash and debris: matches, cigarette butts, theater tickets, cancelled stamps, torn postcard invitations to exhibition openings, announcements, a bit of writing paper, wallpaper, paperclips, a twisted coat hanger, and so forth. This is all detritus of a life lived and cast off. The evidence, factual, real and irrefutable in its literalness is all that is offered to the “reader” for whom the text of the “novel” is to be constructed from this mass of disorganized material. There is not set sequence. There is no structure, order, or framework. And yet the empty cover of the codex form serves as the major object according to which the rest of the elements gain their identity. They are meant to be “in” this book and part of it. The cover does more than name the project as a book, it physically permits the contents to be in or out of the work. The codex is the destroyed but still functioning reference of the piece – this gives the fragmented, narrative elements some coherence. Otherwise the disorder would be meaningless, unbounded, insignificant. All the missing features of the codex, are invoked by the mess of miscellany whose imaginary text is the actual life of the inscrutable author” (fra Johanna Drucker: The century of artists' books, 1995)