Buy The End of Oulipo? –> Get Free Stuff!!

If you’ve been contemplating a pre-order of The End of Oulipo?, now’s the time. Email me the proof of purchase from whatever online merchant you buy it from, and I will send you a free copy of Lady Chatterley’s Brother, the ebook co-authored by myself and Barrett Hathcock about sex and literature. (Barrett writes about Nicholson Baker, I cover Javier Marias. You can read an excerpt here.)

Email me at scott_esposito AT yahoo.com. Deadline for this offer is Jan 1.

This is the Amazon page. Here’s B&N.com and The Book Depository. You should be able to find it elsewhere per your online buying tastes.

The basic idea for the book is: what exactly is the status of an “avant-garde” literary movement after it’s been around for 50 years and its ideas have largely been absorbed into mainstream culture? How can it still be said to exist? What impact can it still make? Can it be a victim of its own success?

In digging in to these questions, I write about how Georges Perec’s legacy informs recent writing by David Shields, James Wood, Ben Marcus, Cesar Aira, Jacques Roubaud, Jacques Jouet, Christian Bok, Edouard Leve, and Tom McCarthy. I also write about Harry Mathews and at one point quote Jacques Rancière. There are many, many epigraphs.



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You could also purchase one of my acclaimed ebooks.





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THE SURRENDER

The Surrender is Veronica Scott Esposito’s “collection of facts” concerning how she embraced her true gender.


LADY CHATTERLEY'S BROTHER

Two long essays of 10,000 words each on sex in—and out of—literature . . .

The first essay dives in to Nicholson Baker’s “sex trilogy,” explaining just what Baker is up to here and why these books ultimately fail to be as sexy as Baker might wish.

From there the book moves on to the second essay, which explains just why Spaniard Javier Marías does right what Baker does wrong . . .


THE LATIN AMERICAN MIXTAPE

5 essays. 2 interviews.

All in all, over 25,000 words of Latin American literary goodness.

3 never-before-published essays, including “The Digression”—a 4,000-word piece on the most important digression in César Aira’s career.

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