The End of Oulipo?

The End of Oulipo? My book (co-authored with Lauren Elkin), published by Zero Books. Available everywhere. Order it from Amazon, or find it in bookstores nationwide. The End of Oulipo

Lady Chatterley’s Brother

Lady Chatterley's Brother. The first ebook in the new TQC Long Essays series, Lady Chatterley's Brothercalled “an exciting new project” by Chad Post of Open Letter and Three Percent. Why can't Nicholson Baker write about sex? And why can Javier Marias? We investigate why porn is a dead end, and why seduction paves the way for the sex writing of the future. Read an excerpt.

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Translate This Book!

Ever wonder what English is missing? Called "a fascinating Life Perecread" by The New Yorker, Translate This Book! brings together over 40 of the top translators, publishers, and authors to tell us what books need to be published in English. Get it on Kindle.

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Naked Singularity

Summer Read: A Naked Singularity by Sergio De La Pava

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Life A User's Manual by Georges Perec

Starting March 2011, read the greatest novel from an experimental master. Info here. Buy the book here and support this site.

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Tale of Genji

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Interviews from Conversational Reading

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See this page for interviews with leading authors, translators, publishers, and more.


  • Nostalgia June 15, 2014
    Few habits are as prone to affliction, or as vulnerable to an ordeal, as the bent of a peddler’s consciousness. Placeless, the peddler completes an untold number of transactions; there are ideas to conduct (through language, which can transact a mind) and feelings to certify (through tasks, repeated interminably). […]
  • Why Literary Periods Mattered by Ted Underwood June 15, 2014
    There are some writers who are, and likely always will be, inextricably linked to the “period” with which their work is associated, and in many cases helped to define. Surely Wordsworth and Keats will always be “Romantic” poets, while Faulkner and Woolf will remain modernists, as the term “modern” has been fully appropriated to describe the historical era be […]
  • Trans-Atlantyk by Witold Gombrowicz June 15, 2014
    August 1939. You sail to Buenos Aires on the Chombry as a cultural ambassador of Poland. Why say no to a little holiday on the government’s tab? Soon after arriving you sense that something isn’t right. You emerge from a welcome reception and your ears are “filled with newspaper cries: ‘Polonia, Polonia,’ most irksome indeed.” Before you’ve even had a chance […]
  • Accepting the Disaster by Joshua Mehigan June 15, 2014
    The first collections of most young poets, even the better ones, carry with them a hint of bravado. Flush with recognition, vindicated by the encouraging attentions of at least one editor and three blurbists, the poet strikes a triumphant pose and high-fives the Muse: “We did it, baby.” When Joshua Mehigan published his impressive first collection, The Optim […]
  • The Histories of Herodotus, translated by Tom Holland June 15, 2014
    Two of the greatest of Tom Holland's predecessors in translating Herodotus are Victorian scholar George Rawlinson and Aubrey de Selincourt; the former translated Herodotus in 1860, making an enormous hit (despite the fact that its detractors often referred to it as “dull and prolix"), while the latter's 1954 Herodotus was another enormous hit, […]
  • Bullfight by Yasushi Inoue June 15, 2014
    The premise of Yasushi Inoue's debut novella Bullfight, celebrated in Japan as a classic of postwar literature, is unassuming enough: an evening newspaper sponsors a tournament of the regional sport of bull-sumo. As practical and financial issues arise, the paper's young editor-in-chief, Tsugami, soon realizes he has taken on more than he can handl […]
  • Sworn Virgin by Elvira Dones June 15, 2014
    Sworn Virgin was made to be translated. Elvira Dones wrote this book not in her native language of Albanian but in Italian—a necessarily fraught and complicated decision. In an Italian-language interview with Pierre Lepori, Dones speaks about her choice of language: “Sworn Virgin was born in Italian . . . I’ve lived using Italian for nineteen years, it has s […]
  • On the Letters of David Markson June 15, 2014
    Knowing these narrators and how their lives paralleled David’s own, it’s difficult to deny his being a recluse. I certainly held that image of him, and nursed it, secretly cherishing it because it meant I was one of the few people with whom he corresponded, and with whom he would occasionally meet. Arranging our first meetings in person was something of a ni […]
  • Storm Still by Peter Handke June 15, 2014
    Storm Still (Immer Noch Sturm) does not necessarily represent new terrain for Handke. Originally published by Suhrkamp Verlag in 2010 and now available for English-language readers thanks to Martin Chalmers’ fluent translation, the play chronicles the dissolution of the Svinec family, a family of Carinthian Slovenes—a quasi-fictionalized version of Handke’s […]
  • Red or Dead by David Peace June 15, 2014
    David Peace's novel Red or Dead is about British football, but it partakes in the traits of Homer's epic. This is a novel about the place of myth and heroes in modern society, about how the cyclical rhythms of athletic seasons reflect the cyclical patterns of life. It is a book about honor and fate, and one which bridges the profound, dreamlike ter […]

Against the Short Novel, Even When Don DeLillo Is the Author

Lately I’ve been pushing Cesar Aira on people, which means I’m having a lot of conversations these days about how Americans don’t respect short novels. They’re insubstantial. They offend our sense of value, always measured by the gross poundage we get per dollar. Let’s just go ahead and say it: they feel European, like one of those pathetic little smart cars.

Cesar Aira seems almost designed to refute these culturally wired reactions against the short novel. Yes, his novels can be read quickly, but they’re so intricately crafted and clever in their ambiguity that any good reader will be pulled back to look back through them again and again. Their value is in the fact that they resist interpretation: they will challenge you far more, keep you thinking longer, and ultimately entertain you better than many a long work. I think of them as the literary equivalent of a beautifully built box that sits on your desk. Yes, it’s a box, that’s all it is. It doesn’t really “do” anything. But it’s so finely crafted and cared over that you’ll find yourself staring at that box for ages, noticing detail after detail, and you’ll love putting stuff in it and watching how smartly the lid slips out just so as you open it, revealing a beautiful inlay. And then one day you will discover the world in it.

Which all brings me to Don DeLillo, who seems to have once again offended many critics by writing another wee, dense novel. Forget that Falling Man is the best post-9/11 novel that I’ve read, dwarfing in stature many swollen collections of pages devoid of the lasting thought and value that you will find therein. Falling Man can’t be that serious because it’s “only” 256 pages, and anyone knows you need at least 400 to do justice to 9/11. (And when did 256 pages become so short? Good thing we weren’t judging DeLillo by pagecount back in the Great Jones Street days.) So with the precedent of Falling Man behind us (to say nothing of Cosmopolis, 224 pages (!)) you can imaging how ripped-off critics felt with the 120-page Point Omega.Only 120 pages? How could DeLillo have possibly said anything of importance with just 120 pages?

John G. Rodwan, Jr has a good reply:

Writing in the Los Angeles Times, Mathew Sharpe notices that critics of The Body Artist, Cosmopolis and Falling Man “seem to want DeLillo to be the Babe Ruth of novelist, to keep writing Underworld and Libra, those long, magisterial books about big events.” He correctly anticipated that such readers would not see Point Omega as “a literary home run.” Even though Sharpe is one of those people who reads novels as being only and ever “about” things, he discerns that Point Omega, even without Libra’s political assassination, White Noise’s airborne toxic event or Underworld’s cold war-era atomic anxiety, could still be “a splendid, fierce novel by a deep practitioner of the form.”

Readers who look to DeLillo as “a kind of secular prophet” (as Esquire’s Alsup describes him) seem to expect answers from him, but he prefers to ask questions. What causes people to surrender their individuality, to lose themselves in crowds or causes – or works of art? What convinces terrorists and dictators to disregard and destroy individuals in pursuit of their aims? How do artists retain and develop their individual identities, explore other people’s identities and persuade people that doing such things matters? Practitioners of both creative activity and political violence aim to make people looks at things in a certain way; what are the implications of this?

Indeed, DeLillo poses the kinds of questions that are worth asking, the ones that take a novel-worth of writing (even a short novel’s worth) to pose properly and that can’t be summed up with a nice little moral at the end. For some great responses to these questions, read Rodwan’s piece. For a lot of not-so-great responses to these questions, read most (though not all, it must be said) of the reviews he quotes.

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  1. Best American Short Stories 2006 The incomparable Dan Wickett provides some info on an author and a journal that you should be reading. First the author: Benjamin Percy: Benjamin has...
  2. Ghosts by Cesar Aira in NYTBR, Eventually The Literary Saloon reports that the NYTBR is finally catching on about Cesar Aira. That's good for them. And while you wait for them to...
  3. Author Biographies Dan Green writes: My own latest attempt to read a biography of a writer whose work I admire, Robert Poltito’s Savage Art: A Biography of...
  4. DeLillo Character Reviews David Foster Wallace A character from multiple DeLillo novels, has written a critique of Wallace’s work. The author is Jay Murray Siskind, probably best-known as the professor...
  5. William Boyd on Short Stories At Prospect: If all this is true then why has it taken so long for the short story, as a literary form, to evolve? After...

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5 comments to Against the Short Novel, Even When Don DeLillo Is the Author

  • Neil

    What’s a nice entry point for Cesar Aira? Good points on DeLillo. I found that Omega Point had more to say than the important long books that his critics demand of him. I put it down in one sitting and found it to be an amazing experience to go through all these meditations on time, which, I feel, would have lost its power in a longer book.

  • I just finished reading Aira’s “How I Became a Nun,” which is fantastic. Aira only has three books translated into English, despite publishing at least two a year in Argentina. Since they’re all about a hundred or so pages long I suspect with some more time there will be a nice anthology of his novels translated.

  • Actually four, counting The Literary Conference, which publishes in May.

    I’d say a good place to start is either An Episode in the Life of a Landscape Painter (probably the best of the four, but also the most atypical) or How I Became a Nun.

  • Chris

    Actually, The Literary Conference will be the fifth Aira (The Hare, which is now OOP, An Episode in the Life of a Landscape Painter, How I Became a Nun, and Ghosts).

    I’d recommend ‘An Episode…’ first. (I absolutely hated ‘Nun’ – I don’t know if I’ll give Aira another chance after that.)

  • George Fragopoulos

    There is also this novel as well:

    http://www.amazon.com/Hare-César-Aira/dp/1852422912/ref=sr_1_9?ie=UTF8&s=books&qid=1267726686&sr=1-9

    Any Aira fans ever read it? Seems to be out of print, hence the absurd price on Amazon for it.

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