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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Interviews from Conversational Reading

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


  • A Legacy by Sybille Bedford March 15, 2015
    Sybille Bedford had the benefit—or bad fortune, however you see it—of being born into the German aristocracy in 1911. Her father was a retired lieutenant colonel and art collector from the agrarian south, from a Roman Catholic family in fiscal decline. Her mother came from a wealthy German-Jewish family from Hamburg. A widower from his first marriage, Bedfor […]
  • Reviving Antal Szerb March 15, 2015
    Antal Szerb’s lithe, lively, and wholly endearing fiction is peopled by male dreamers on spiritual journeys of self-discovery. Each one sets out on his respective mini-mission with good intentions but knows from the outset that there are only so many harsh truths he can withstand. In this respect, all Szerb’s protagonists seem to have heeded the advice of Gr […]
  • 39 Africans Walk into a Bar March 15, 2015
    New anthologies of African fiction seem to materialize virtually every year, if not more often in recent years. When presented with the physical fact of yet another new anthology of African fiction, the immediate question, one which I was asked when I pressed the warm, bound pages of the Africa39 anthology into the even warmer hands of a new acquaintance, wa […]
  • The Country Road by Regina Ullmann March 15, 2015
    This collection of short stories, her first to appear in English, counters material poverty with a fulfilling and deeply spiritual relationship with the natural world. Ullmann herself was no stranger to hardship. A depressive, she was plagued by personal and professional crises. Financial constraints forced her to send her illegitimate children to the countr […]
  • The Fall of Language in the Age of English by Minae Mizumura March 14, 2015
    The Fall of Language in the Age of English stirred up debate upon its publication in Japan in 2008, and it’s possible it will do so in the U.S. with its arrival in Mari Yoshihara and Juliet Winters Carpenter's translation. In their introduction, Yoshihara and Winters Carpenter, point out that Japanese reviewers accused Mizumura of being a jingoist, an e […]
  • Another View: Tracing the Foreign in Literary Translation by Eduard Stoklosinski March 14, 2015
    Another View demonstrates exciting potential in translation study and praxis. It is especially significant in deconstructing assumptions about fluency and linguistic identity. The author makes some persuasive arguments for considering and even preferring non-native translation of texts, the most controversial of which is the possibility that linguistic compe […]
  • The Latest Five from Dalkey Archive’s “Library of Korea” Series March 14, 2015
    Despite South Korea having the kind of vibrant literary scene you'd expect from a country with one of the highest literacy rates in the world, we're still not exactly inundated with English translations of South Korean fiction. Given this dearth, Dalkey Archive Press's Library of Korean Literature series, twenty five titles published in collab […]
  • B & Me: A True Story of Literary Arousal by J.C. Hallman March 14, 2015
    here’s a conspicuous history of books that simply should not work: Books like U & I by Nicholson Baker, a book-length exercise in “memory criticism,” where Baker traces Updike’s influence on his own writing life while studiously not actually re-reading any of Updike’s books. Or books like Out of Sheer Rage, Geoff Dyer’s book that procrastinates away from […]
  • The Valerie Miles Interview March 14, 2015
    The idea was to uncover the secret life of these texts, why do their creators consider them their best work? What’s the clandestine, the underground, the surreptitious meaning or attachment? Where’s the kernel, the seed from which a body of work grew, what the driving obsession? Is it something sentimental, something technical, maybe even something spiritual […]
  • On Being Blue by William H. Gass March 14, 2015
    Look up at the sky, or down into the ocean, and what color do you see? We see blue, but not Homer—he never once employs the term throughout The Iliad and The Odyssey, famously calling the sea "wine-dark" and the heavens "bronze." Neither did the Greek philosopher Xenophanes say blue—he described the rainbow as having only three colors. Th […]

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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