The Blue Flowers by Raymond Queneau, Barbara Wright (Translator)
Queneau is a master, as is his translator Barbara Wright. I don't think you will find a translation that communicates more of the book's essence than this one. Every sentence is a play on words and meaning...Wright manages to take Queneau's French "jokes" and make them equally artistic English ones. This book is a delight in its entirety, perfectly deliberate and crafted, yet whimsical, personal, rambling, historical, and more all at once. It is as forward-thinking as Joyce's Ulysses, and in my opinion as important a primer for the ultimate literature.

The Last Days : A Novel by Raymond Queneau, Barbara Wright (Translator), Vivian Kogan (Introduction) Sad and funny and beautiful, Queneau watches the world and portrays the smallest of things in the most unique way. Celebrating the simpleton, Queneau looks back at his student years. His head is stuck in books. He meets few friends. Outside, the world swindles and connives and lies and quips. Outsiders take note, this book settles long after the last page is turned. A special, special book. A great introduction to the world of Queneau.

Zazie in the Metro (Penguin Classics) by Raymond Queneau, Barbara Wright (Translator), Gilbert Adair (Introduction) Queneau offers a caleidoscope of satirical views about Paris and the people there, and he populates his novel with truly bizarre guys. Zazie is a perhaps twelve-year old girl that comes to Paris with her mother for some days; the mother visits her lover, and Zazie visits her uncle Gabriel. Gabriel works as a dancer (with a balley costume) in a gays' night-club without being homosexual himself. Some of his friends (a shoemaker, a pub owner, a parakeet, a taxi driver, Gabriel's wife, an almost-rapist) make the scene complete.

Oulipo Laboratory : Texts from the Bibliotheque Oulipienne (Anti-Classics of Dada.) by Raymond Queneau (Editor), Italo Calvino, Paul Fournel, Jacques Jouet, Harry Matthews (Translator), Harry Mathews, Claude Berge Founded in late 1960 in France, at a colloquium on the work of Raymond Queneau, in order to research new writing by combining mathematics and literature (and also to just horse around) the Oulipo (The Ouvrior de LittÈrature Potentielle or Oulipo (The Workshop of Potential Literature)) expanded to include all writing using self-imposed restrictive systems. 
Potential Literature, to me, seems an extension of Surrealism, which used the methods of literary production to critique modernism's obsession with the literary artifact; instead of the myth of the artist alone in some garret painstakingly crafting a Work of Art, literature is automatically generated by timed writing, or mechanically generated by multiple authors with games like the Exquisite Corpse or pieced together in a collage of found text. The Oulipo extends this the critique of modernism by exploring ways that literature can be produced as a result of mathematical formulas, or by building complex rules that limit writer's potential choices, or by the construction of new literary forms.