▁not ▁until ▁the ▁ 1 9 6 0 s ▁that ▁the ▁combin atory ▁literature ▁movement ▁rose ▁to ▁popular ity ▁through ▁the ▁French ▁literary ▁group ▁the ▁O ul ipo . ▁The ▁O ul ipo ▁took ▁the ▁ideas ▁presented ▁by ▁prede cess ors ▁Le ib n iz ▁and ▁H ars d ör f fer ▁to ▁recognize ▁that ▁writing ▁is ▁always ▁naturally ▁const rained , ▁be ▁it ▁by ▁language ▁as ▁H ars d ör f fer ▁suggested ▁or ▁some ▁other ▁constraint . ▁Instead ▁of ▁being ▁restricted ▁by ▁these ▁constraints , ▁the ▁O ul ip ian ' s ▁developed ▁an ▁approach ▁that ▁not ▁only ▁identified ▁but ▁emb rac ed ▁the ▁constraints , ▁purpose fully ▁placing ▁themselves ▁under ▁both ▁small ▁and ▁immense ▁constraints ▁in ▁their ▁approach ▁to ▁writing . ▁These ▁constraints ▁are ▁intention ally ▁taken ▁from ▁other ▁discipl ines . ▁They ▁believe ▁that ▁the ▁new ▁constraints ▁they ▁apply ▁to ▁literature ▁focus ▁not ▁on ▁what ▁literature ▁is , ▁but ▁" att empt ▁to ▁un cover ▁what ▁it ▁could ▁be , ▁either ▁in ▁theory ▁or ▁practice ". ▁ ▁Theory ▁ ▁Com bin atory ▁literature ▁is ▁similar ▁in ▁theory ▁to ▁combin atory ▁play , ▁however ▁it ▁has ▁one ▁key ▁distinction . ▁As ▁Maria ▁Pop ova ▁explains , ▁combin atory ▁play ▁re lies ▁on ▁a ▁component ▁of ▁dist raction . ▁Writing ▁for ▁Bra in ▁Pick ings , ▁Pop ova ▁expl ores ▁how ▁dist raction ▁was ▁used ▁by ▁Ein stein ▁to ▁distance ▁himself ▁from ▁his ▁work . ▁The ▁result ▁was ▁that ▁he ▁gained ▁valuable ▁insight ▁from ▁the ▁change ▁in ▁perspective . ▁Pop ova