Quantcast

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.

Available now from Amazon, Barnes & Noble, and direct from this site:


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.

For low prices on Las Vegas shows visit LasVegas.ShowTickets.com

You Say

Group Reads

The Tunnel

Fall Read: The Tunnel by William H. Gass

A group read of the book that either "engenders awe and despair" or "[goads] the reader with obscenity and bigotry," or both. Info here. Buy the book here and support this site.

Naked Singularity

Summer Read: A Naked Singularity by Sergio De La Pava

Fans of Gaddis, Pynchon, DeLillo: A group read of the book that went from Xlibris to the University of Chicago Press. Info here. Buy the book here and support this site.

Life Perec

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.

Last Samurai

Fall Read: The Last Samurai by Helen DeWitt

A group read of one of the '00s most-lauded postmodern novels. Info here. Buy the book here and support this site.

Tale of Genji

The Summer of Genji

Two great online lit magazines team up to read a mammoth court drama, the world's first novel.

Your Face Tomorrow

Your Face This Spring

A 3-month read of Javier Marias' mammoth book Your Face Tomorrow

Shop though these links = Support this site


Ten Memorable Quotes from William Gaddis’ Letters

New Books
Here are ten of my favorite moments from these hugely interesting letters.


Interviews from Conversational Reading

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


  • A Treatise on Shelling Beans by Wiesław Myśliwski March 9, 2014
    A man enters a house and asks to buy some beans, but we aren’t given his question, only the response: humble surprise from the narrator and an invitation inside. This modesty, though it remains at the core of the narrator throughout, is quickly overwhelmed when his questions, his welcoming explanations, flow into an effort to tell his whole life story, from […]
  • The Gorgeous Nothings by Emily Dickinson, edited by Marta Werner and Jen Bervin March 9, 2014
    The Gorgeous Nothings, the dedicated work of visual artist Jen Bervin and author Marta Werner, presents in large format the first full-color publication of all fifty-two of Emily Dickinson’s envelope writings. As such, it opens up an aspect of her craft that suggests she was, in the so-called late ecstatic period of her career, experimenting with creating te […]
  • The Mehlis Report by Rabee Jaber March 9, 2014
    The Mehlis Report follows the architect Saman Yarid on his daily perambulations around Lebanon's capital, where his memories of the city's past and his observations of the high-rises that have emerged from the ruins of the nation's civil war dominate the faint plot. But the book transcends Beirut: Jaber writes about what is left behind when pe […]
  • The Fiddler of Driskill Hill by David Middleton March 9, 2014
    Middleton’s sensibility as poet and man is thoroughly Christian, Southern (or rather, Louisianan), and traditional, but he’s no unreconstructed romantic Rebel reliving the Civil War. His manner is meditative and elegiac, not rancorous or redneck. In a rare useful blurb on the back of the book, the North Carolina poet and novelist Fred Chappell describes Midd […]
  • The Fata Morgana Books by Jonathan Littell March 9, 2014
    After The Kindly Ones, the nine hundred-page long Goncourt Prize-winning “autobiography” of a Nazi, fans of the Franco-American writer Jonathan Littell may heave an inward sigh of relief at the sight of The Fata Morgana Books. A slim collection of “studies” (as some of these stories were called in their original French incarnations), The Fata Morgana Books n […]
  • Novelty: A History of the New by Michael North March 9, 2014
    There is no better way to ensure the early demise of a form or a style than to proclaim its newness; fewer epithets are as old as “new.” A well-known work by Italian artist Maurizio Nannucci reads, “All art has been contemporary”—we may wish to amend it, for present purposes, and have it read, “All art has been new.” Yet surely this is something of a truism. […]
  • A Life Among Invented Characters: A Tribute to Mavis Gallant March 9, 2014
    Two things immediately come to mind when remembering Mavis Gallant: her unique sense of humor—stories always told with a wry half-smile—and her near-comical stonewalling when confronted with leading questions about her craft in interviews and with audiences. The first time I was in her simple three-room apartment on rue Jean Ferrandi, a mere three blocks fro […]
  • The Guy Davenport Reader March 9, 2014
    Poet-critic. Think of that word, made of two—what a beaux construction. The first is wild, hair mussed, looking at a bird in a tree—yet the follower is practical, urbane, and seemingly obeisant to word counts. Together they bleach out the fusspot academic and appeal to logos—Davenport once said that he was “not writing for scholars or critics, but for people […]
  • [SIC] by Davis Schneiderman March 9, 2014
    In 2011 Andrew Gallix, in the Guardian, wrote a piece on unread difficult books, and mentioned “an anthology of blank books [edited by Michael Gibbs] entitled All Or Nothing,” and we can consider Blank as continuing that line. Kenneth Goldsmith’s prefatory essay “Why Conceptual Writing? Why Now?” in Against Expression: An Anthology of Conceptual Writing (201 […]
  • The Ben Marcus Interview March 9, 2014
    I do tend to generate a lot of pages when I’m drafting something, and I cut as I go. I make strange noises out of my face, on the page, and they are for the most part not worth keeping. Some of the stories don’t take shape until I overwrite and pursue every cursed dead-end I can think of, which clarifies everything I don’t want the story to become. But I don […]

Alain Robbe Grillet Ruined Your Fiction

I don’t quite agree with this post-mortem on Alain Robbe-Grillet.

The "new novel" or "nouveau roman," as Robbe-Grillet defined and explained it in his famous 1963 essay, was high art at its unpalatably highest. It applied rules and regulations, opposed subjectivity and tried to dissolve plot and character into description. The approach was perceived, he admitted, as "difficult to read, addressed only to specialists." The "art novel" became the preserve of high priests. Many novelists you’ve probably never heard of were deeply influenced by Robbe-Grillet. Even more damaging, though, was the effect his radicalization and elitism had on readers in the English-speaking world: They took a look at the future of the novel according to Robbe-Grillet and walked in the opposite direction.

First of all, creation under constraint has given rise to some wonderful art of all types (in fact, much of poetry follows "rules and regulations" as to form), so I’m not sure that method made novels worse.

Also, I don’t think novelists are as herd-like as Stephen Marche seems to think. Sure, lots of writers were influenced by Robbe-Grillet, but artists tend to be a pretty individualistic lot, so I think it’s rather simplistic to claim that the Frenchman gave the marching orders and it was either his way or the highway so far as avant-garde fiction goes. (Similarly, it’s kinda strange to opine that now that he’s dead a new generation of writers will feel free to experiment again.)

Marche goes on to claim the whole "resurgence" of realist fiction as due to Robbe-Grillet scaring the bejesus out of anyone who would write experimental fiction. The resurgence of realist fiction is a bit overstated. First off, you can argue that realist has never really been dethroned: Even in the wild and wooly ’60s and ’70s you didn’t have to look hard to find people critical of the "new" fiction.

But moreover, it wasn’t too long ago that we were touting the great commercial successes of such non-realist writers as DeLillo, Foster Wallace, and the whole flock of crazy folks McSweeney’s brought out of the woodwork. If non-realist fiction was really that whipped, would these guys be such literary forces? Sure, they’re not as experimental as you can get, but you’re fooling yourself if you think there was ever some experimental golden age when truly avant-garde lambs nestled with the lions of mainstream culture and everyone could attain market success, regardless of how they wrote.

I think Marche is on somewhat firmer ground when he claims that the prejudices of a critic like James Wood have to do with Robbe-Grillet’s exclusionary rhetoric, although I don’t think Wood is the literature’s greatest populist either. Yes, he’s championing a form that tends to have a broad appeal, but he’s also championing in-depth, challenging looks at fiction, which tends to exclude people.

I don’t think, as Marche seems to imply, that The New Yorker took on Wood as some sort of collusion with the Great Reaslist Forces conspiring against the avant-garde. I think it probably had more to do with The New Yorker needing to fill a hole and taking on a prominent, established critic, and with Wood wanting a change of venue from TNR. But besides, is it that surprising that The New Yorker, a magazine that purposely uses archaic British grammar, would take on a critic like Wood? Look to comparatively progressive publications, like Harper’s (and even the NYRB), and you’ll see critics giving non-realist fiction its due.

More from Conversational Reading:

  1. The Avant-Garde In this analysis of the contemporary avant-garde, Josh from Cahiers de Corey is talking about poetry, but I think his sentiments are transferrable to novels....
  2. New Yorker International Fiction Issue The New Yorker International Fiction Issue is here. I haven’t received my copy in the mail yet, but the offerings online are a let-down: a...
  3. Huh I’m not really sure what this means. I guess I should just be glad that Freeman is at least discussing experimental fiction with someone. It...
  4. Burke Slaps Wood Nice. James Wood has another one of those silly articles (in Prospect magazine, London) attacking William Gaddis, Don DeLillo, Gilbert Sorrentino, et al. These articles...
  5. Eco on Beauty In the Guardian, Umberto Eco has an essay on what is considered aesthetic. He seems to be arguing that the “anything goes” mentality of the...

Related posts brought to you by Yet Another Related Posts Plugin.

Leave a Reply

  

  

  

You can use these HTML tags

<a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>