Category Archives: georges perec

Life: A User's Manual

In Life: A User’s Manual, Georges Perec describes a rarely visited tribe deep within Sumatra. An anthropologist is trying to understand the habits of the natives. He comes to the village bearing gifts

He’d gone forward, greeted them with the Malayan gesture of stroking their ginders before placing his right hand on his heart, and put a gift-offering in front of each–a little bag of tea or tobacco. But they didn’t answer, didn’t nod their heads, didn’t touch the gifts

A little later dogs began to bark and the village filled with men, women, and children. the men were armed with spears, but were not threatening. Nobody looked at him, nobody seemed to notice he was there.

Appenzzell spent several days in the village without succeeding in making contact with its laconic inhabitants. He exhausted his small supply to tea and tobacco to no effect; no Kubu–not even a child–ever took a single one of these little bags which the daily storm made useless by each evening. The best he could do was to watch how the Kubus lived and to begin to commit what he saw to writing.

I think Perec has provided us with an excellent metaphor for the act of reading. We all are like Appenzzell, trying to understand a group of people that proceed with their daily lives right before our eyes, but without acknowledging us in the least.

More soon about this truly bizarre, but indisputably beautiful book.

THE SURRENDER

The Surrender is Scott Esposito’s “collection of facts” concerning his lifelong desire to be a woman.


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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