Queneau uses a variety of literary styles and forms in ninety-nine exercises which retell the same story about a minor brawl aboard a bus.

Using a simple computational task (term frequency) to illustrate different programming styles, Exercises in Programming Style helps readers understand the various ways of writing programs and designing systems. It is designed to be used in conjunction with code provided on an online repository. The book complements and explains the raw code in a way that is accessible to anyone who regularly practices the art of programming. The book can also be used in advanced programming courses in computer science and software engineering programs. The book contains 33 different styles for writing the term frequency task. The styles are grouped into nine categories: historical, basic, function composition, objects and object interactions, reflection and metaprogramming, adversity, data-centric, concurrency, and interactivity. The author verbalizes the constraints in each style and explains the example programs. Each chapter first presents the constraints of the style, next shows an example program, and then gives a detailed explanation of the code. Most chapters also have sections focusing on the use of the style in systems design as well as sections describing the historical context in which the programming style emerged.

99 Ways to Tell a Story is a series of engrossing one-page comics that tell the same story ninety-nine different ways. Inspired by Raymond Queneau’s 1947 Exercises in Style, a mainstay of creative writing courses, Madden’s project demonstrates the expansive range of possibilities available to all storytellers. Readers are taken on an enlightening tour—sometimes amusing, always surprising—through the world of the story. Writers and artists in every media will find Madden’s collection especially useful, even revelatory. Here is a chance to see the full scope of opportunities available to the storyteller, each applied to a single scenario: varying points of view, visual and verbal parodies, formal reimaginings, and radical shuffling of the basic components of the story. Madden’s amazing series of approaches will inspire storytellers to think through and around obstacles that might otherwise prevent them from getting good ideas onto the page. 99 Ways to Tell a Story provides a model that will spark productive conversations among all types of creative people: novelists, screenwriters, graphic designers, and cartoonists.

Now that information technologies are fully embedded into the design studio, Instabilities and Potentialities explores our post-digital culture to better understand its impact on theoretical discourse and design processes in architecture. The role of digital technologies and its ever-increasing infusion of information into the design process entails three main shifts in the way we approach architecture: its movement from an abstracted mode of codification to the formation of its image, the emergence of the informed object as a statistical model rather than a fixed entity and the increasing porosity of the architectural discipline to other fields of knowledge. Instabilities and Potentialities aims to bridge theoretical and practical approaches in digital architecture.

The Sunday of Life, the late Raymond Queneau's tenth novel, was first published in French by Gallimard in 1951 and is now appearing for the first time in this country. In the ingenuous ex-Private Valentin Bru, the central figure in The Sunday of Life, Queneau has created that oddity in modern fiction, the Hegelian naif. Highly self-conscious yet reasonably satisfied with his lot, imbued with the good humor inherent in the naturally wise, Valentin meets the painful nonsense of life's adventures with a slightly bewildered detachment.

We Always Treat Women Too Well was first published as a purported work of pulp fiction by one Sally Mara, but this novel by Raymond Queneau is a further manifestation of his sly, provocative, wonderfully wayward genius. Set in Dublin during the 1916 Easter rebellion, it tells of a nubile beauty who finds herself trapped in the central post office when it is seized by a group of rebels. But Gertie Girdle is no common pushover, and she quickly devises a coolly lascivious strategy by which, in very short order, she saves the day for king and country. Queneau's wickedly funny send-up of cheap smut—his response to a popular bodice-ripper of the 1940s—exposes the link between sexual fantasy and actual domination while celebrating the imagination's power to transmute crude sensationalism into pleasure pure and simple.