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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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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

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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 […]

What Happens When You Play Suburban Malaise Too Close — AM Homes and Music for Torching

One wants to like Music for Torching by AM Homes, a book that I read at the insistence of some people after asking for recommendations of worthwhile English-language authors. Suburban decay is a lovely theme for a novel by an American about America, and Homes' first chapter is worth the big deal everyone's made about it. (Briefly: an ungrateful, completely unhappy suburban couple with two young boys attempts to burn down their house. It only partly succeeds. Novel goes from there.) Yet I never fully felt that this novel had captured my interest.

Homes . . . continue reading, and add your comments

Anthologies Are Kafka’s Spot in Publishing

JC Hallman is still blogging up a storm about his book over at the Tin House blog. (And, for about the 18th time, we've published an adapted version of his intro to the book that I think everyone should check out.)

Hallman has stopped poking the ribs of the academic community on the Tin House blog and is now discussing the nightmare that is trying to publish a profitable anthology.

The problem with The Story About the Story was multi-fold. When we write about reading, we want to cite things, to use examples—these become permissions issues, . . . continue reading, and add your comments

Re-Thinking The Trial

Lots of interesting thoughts on The Trial by Frank Kafka at this post of Andrew’s.

This one in particular struck me:

And while The Trial has never, I think, been read in these terms of indomitable human wills, etc., what I do think is the case is that Kafka’s writings have been homogenized (so that the tone of some of the stories is taken to be Kafka’s only tone) and that the product of that homogenization was employed as the necessary complement of the project to restore the human will: reading Kafka . . . continue reading, and add your comments

Kobo Abe Is Pretty Great, So Far

If you know Kobo Abe, it's probably as the guy who wrote the book that became the movie about a Japanese businessman trapped into a giant hole in the desert, where he is forced to shovel sand and eventually comes to see his prison as his home.

I watched The Woman in the Dunes not too long ago, and now I've gotten on an Abe kick. I'm currently working through The Broken Map, which shares a lot of themes with Dunes: a pervasive sense of futility; the almost imperceptibly gradual but profound . . . continue reading, and add your comments

Aharon Appelfeld and Kafka

Dan Green has an interesting post on the Israeli novelist Aharon Appelfeld. The post touches on a number of points related to his novel All Whom I Have Loved, but I wanted to quote Dan's take on Appelfeld vis a vis Kafka:

Appelfeld is often enough compared to Kafka, but this comparison in turn generally assumes that Kafka's fiction is allegorical in a more or less overt way. But of course Kafka created narratives that appear to incorporate an allegorical level of meaning only to complicate and ultimately to deny that meaning. Kafka's world purports to . . . continue reading, and add your comments

Kafkaesque Criticism

Writing on Franz Kafka: The Office Writings in The New Republic, Louis Begley makes Kafka criticism sound a little, well, Kafkaesque:

Thus was constituted the trove of Kafka's painfully personal papers that has since been ransacked by scholars looking for the sources of his inspiration, for the materials that he put to use in his fiction. They have battened by preference on scraps of paper: unconnected pages in his notebooks, for example, of which there are many. Stanley Corngold, one of the editors of The Office Writings, repeats in his contribution to the volume, as though they . . . continue reading, and add your comments

Feel the Strangulation!

This essay on several recent books by or about Kafka turns up this gem from the ossified Austro-Hungarian empire:

At the fin de siècle, the state bureaucracy already held considerable sway over people’s lives and selves, and Kafka wrote from the center of the age’s contradictions and anxieties. When he assumed his position at the Insurance Institute in 1908, after having spent a dismal year in the employ of Assicurazioni Generali, an Italian insurer, the Dual Monarchy was groaning under a superabundance of paperwork. Legislation enacted in the 1880s had ushered in the European welfare state, and its . . . continue reading, and add your comments

The Next Village

This Space points me to The Next Village, a blog that invites writers and artists to respond to a very short short story of Kafka’s. (It’s about 50 words long.)

An interesting way to spread your affection for a piece of literature.

Kirsch on Kafka

On the heels of the new translation of Kafka’s novel Amerika, the NTYBR publishes a short essay on it by Adam Kirsch.

Kirsch spends some time situating the work in Kafka’s oeuvre and discusses the provenance of the titular k:

The [previous] translator Michael Hofmann, whose English version of the book appeared in 1996, correctly called it “the least read, the least written about and the least ‘Kafka’ ” of his three novels. Now Schocken Books, which has been the main publisher of Kafka’s works since the 1930s, hopes to reintroduce his first novel to the world . . . continue reading, and add your comments

This Is Not How I Pictured Kafka’s Infernal Machine

The disco ball really screws it up.