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.

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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

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.


  • Nostalgia June 15, 2014
    Few habits are as prone to affliction, or as vulnerable to an ordeal, as the bent of a peddler’s consciousness. Placeless, the peddler completes an untold number of transactions; there are ideas to conduct (through language, which can transact a mind) and feelings to certify (through tasks, repeated interminably). […]
  • Why Literary Periods Mattered by Ted Underwood June 15, 2014
    There are some writers who are, and likely always will be, inextricably linked to the “period” with which their work is associated, and in many cases helped to define. Surely Wordsworth and Keats will always be “Romantic” poets, while Faulkner and Woolf will remain modernists, as the term “modern” has been fully appropriated to describe the historical era be […]
  • Trans-Atlantyk by Witold Gombrowicz June 15, 2014
    August 1939. You sail to Buenos Aires on the Chombry as a cultural ambassador of Poland. Why say no to a little holiday on the government’s tab? Soon after arriving you sense that something isn’t right. You emerge from a welcome reception and your ears are “filled with newspaper cries: ‘Polonia, Polonia,’ most irksome indeed.” Before you’ve even had a chance […]
  • Accepting the Disaster by Joshua Mehigan June 15, 2014
    The first collections of most young poets, even the better ones, carry with them a hint of bravado. Flush with recognition, vindicated by the encouraging attentions of at least one editor and three blurbists, the poet strikes a triumphant pose and high-fives the Muse: “We did it, baby.” When Joshua Mehigan published his impressive first collection, The Optim […]
  • The Histories of Herodotus, translated by Tom Holland June 15, 2014
    Two of the greatest of Tom Holland's predecessors in translating Herodotus are Victorian scholar George Rawlinson and Aubrey de Selincourt; the former translated Herodotus in 1860, making an enormous hit (despite the fact that its detractors often referred to it as “dull and prolix"), while the latter's 1954 Herodotus was another enormous hit, […]
  • Bullfight by Yasushi Inoue June 15, 2014
    The premise of Yasushi Inoue's debut novella Bullfight, celebrated in Japan as a classic of postwar literature, is unassuming enough: an evening newspaper sponsors a tournament of the regional sport of bull-sumo. As practical and financial issues arise, the paper's young editor-in-chief, Tsugami, soon realizes he has taken on more than he can handl […]
  • Sworn Virgin by Elvira Dones June 15, 2014
    Sworn Virgin was made to be translated. Elvira Dones wrote this book not in her native language of Albanian but in Italian—a necessarily fraught and complicated decision. In an Italian-language interview with Pierre Lepori, Dones speaks about her choice of language: “Sworn Virgin was born in Italian . . . I’ve lived using Italian for nineteen years, it has s […]
  • On the Letters of David Markson June 15, 2014
    Knowing these narrators and how their lives paralleled David’s own, it’s difficult to deny his being a recluse. I certainly held that image of him, and nursed it, secretly cherishing it because it meant I was one of the few people with whom he corresponded, and with whom he would occasionally meet. Arranging our first meetings in person was something of a ni […]
  • Storm Still by Peter Handke June 15, 2014
    Storm Still (Immer Noch Sturm) does not necessarily represent new terrain for Handke. Originally published by Suhrkamp Verlag in 2010 and now available for English-language readers thanks to Martin Chalmers’ fluent translation, the play chronicles the dissolution of the Svinec family, a family of Carinthian Slovenes—a quasi-fictionalized version of Handke’s […]
  • Red or Dead by David Peace June 15, 2014
    David Peace's novel Red or Dead is about British football, but it partakes in the traits of Homer's epic. This is a novel about the place of myth and heroes in modern society, about how the cyclical rhythms of athletic seasons reflect the cyclical patterns of life. It is a book about honor and fate, and one which bridges the profound, dreamlike ter […]

CR Readers’ Picks

Based on Amazon purchases made through links on this website, the following are the "picks" of Conversational Reading’s readers for 2008:

#1

By a large margin, The Invention of Morel was the most popular purchase among readers of this blog. Obviously, my sincere praise of this book helped move it along, but I’m convinced that not nearly as many copies would have been purchased if this wasn’t a great book, and if Borges wasn’t Bioy’s literary collaborator. A great read, and if you haven’t had a chance to yet, definitely pick it up.

#2

Not really a surprise, . . . continue reading, and add your comments

How to Spot Mediocre Fiction

Matthew Cheney writes on what makes mediocre fiction mediocre:

And it is Gardner’s final point about the story as performance that is most important for distinguishing lifeless fiction from excellent fiction—mediocre stories are capable of creating a continuous (perhaps even occasionally vivid) dream in the reader’s mind; they can possess a philosophical impulse; they can deal with the expectations they set up. But they lack gusto and verve, chutzpah and charisma, fascination and savor. They are dead on the page and forgotten soon after they are read. While I find it easy to believe readers will experience . . . continue reading, and add your comments

Last Year at Marienbad

The case of Last Year at Marienbad is interesting for any reader of Bioy’s The Invention of Morel; it is also worthwhile for anyone interested in the relationship between movies and books.

Alain Robbe-Grillet declared that his movie was inspired by Bioy’s novel, but it isn’t simply an adaption of Bioy’s work into a film. Upon viewing the film, there is clearly a lot of thematic, and even plot-based, overlap between the two, but each is also clearly independent from the other.

In this way, I think Robbe-Grillet made a movie "based on a novel" . . . continue reading, and add your comments

Friday Column: How Should the First-Person Be Written?

Ford Madox Ford’s The Good Soldier seems to me to possess precisely those virtues to which the novel narrated in the first-person is best suited. Often in first-person novels, the narrator is magically able to relate her story with the polish and skill of a novelist, and no effort is ever made to address why an otherwise ordinary person possesses such sharp storytelling abilities. The Good Soldier strikes me as such an accomplishment because Ford does not only provide us with a narrator whose storytelling skills are realistically diminished; he also integrates the narrator’s diminished capacity into . . . continue reading, and add your comments

Friday Column: When Is It Okay to Read About an Author’s Private Life?

I recently learned that, as a middle-aged man, the blind Borges would have young boys read books to him in his apartment in Buenos Aires. This is, apparently, how the man imbibed most of his literature after the blindness set in.

I learned this odd fact which reading the short memoir With Borges. Written by the somewhat well-known chronicler of reading, Alberto Manguel, who was actually one of the young boys who read to Borges, the book is a hodgepodge of anecdotes about the man and some of his friends.

I . . . continue reading, and add your comments

Friday Column: The Root of All Sources

Just a short while ago I finished Gunter Grass’s novel The Tin Drum, a book whose Christ imagery is at points so unequivocal that it is apparent to even a Bible dolt such as myself. Though many of the Biblical references were far too obvious even for me to miss, I had my suspicions that many more were flying right by.

The Tin Drum brought to mind a thought that I find myself entertaining from time to time: I really should read the Bible. No, I haven’t suddenly gotten religious on you. Nor do I . . . continue reading, and add your comments

First-Person

From Dan Green’s review of Skunk: A Love Story:

One of the reasons I liked this book is precisely its skillful use of first-person narration. I have more or less come to the conclusion that the only way an otherwise conventional narrative (and Skunk is, depite its unconventional subject and eccentric characters, essentially a narrative-driven novel, without much in the way of purely formal experimentation) can succeed, post-modernism and post-postmodernism, is through first-person narrative. The third-person central-consciousnes mode of narration (sometimes called the "free indirect style"), which has become the default mode of storytelling, providing us with both . . . continue reading, and add your comments

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 . . . continue reading, and add your comments

Friday Column: A Critical Experience

Over at Critical Mass, Molly McQuade has a nice idea. After a particularly tumultuous year for book reviewing, why not look back and see what we can say about the state of the art? Choosing Michael Ondaatje’s Divisadero as her test case (because it’s a book that forced critics to react differently than usual), McQuade writes 4,000 words in a three-part essay (1, 2, 3) on what she sees.

It’s not good. McQuade almost immediately finds most critics too "incurious" to approach Divisidero correctly; that is, their preconceptions of what a novel is and . . . continue reading, and add your comments