Buy The End of Oulipo? Get Lady Chatterley’s Brother

So, since The End of Oulipo? is publishing in just 3 weeks, January 16, here’s a little incentive if you’ve been contemplating a pre-order. 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.)

Just email me the proof at scott_esposito AT

This deal ends on January 1, so if you’re interested take a little of that Christmas/Hanukkah/Kwanza/Mayan/pagan loot and buy the book soon. This is the Amazon page. Here’s B& and The Book Depository. You should be able to find it elsewhere per your online buying tastes.

If you’re on the fence, you can read a chunk of the book serialized in The White Review right here. Other details: my portion of the book centers around 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.

In Lauren Elkin’s portion of the book, she gives the Oulipo a little bit of that good old feminist critique, centering around the work of Herve Le Tellier, who’s probably the best-translated current Oulipian, and whose stuff has been reviewed pretty glowingly in the pages of record in the U.S.

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


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 . . .


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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