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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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

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Here are ten of my favorite moments from these hugely interesting letters.


Interviews from Conversational Reading

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See this page for interviews with leading authors, translators, publishers, and more.


  • Those Who Leave and Those Who Stay by Elena Ferrante September 16, 2014
    Few novelists have captured the rhythms and flow of life with the veracity of Elena Ferrante in her Neapolitan Novels. Following the friendship between Elena Greco and Lila Cerullo from childhood to old age, the tetralogy spans fifty years; over the course of that time, no emotion is too small, too dark, too banal to be recorded. No expense, so to speak, is […]
  • Trieste by Daša Drndić September 15, 2014
    As Drndić reiterates throughout the novel, “Behind every name there is a story.” And Haya Tedeschi’s story is draped in death. Born to a Jewish family that converted to Catholicism and tacitly supported the Fascists in Italy, Haya was a bystander to the Holocaust. She attended movies while Jews and partisans were transported to concentration camps; she pored […]
  • The Tree With No Name by Drago Jančar September 15, 2014
    At the opening of chapter 87—the first chapter found in The Tree with No Name—Janez Lipnik finds himself up a tree, shoeless, and lost in the Slovenian countryside. He makes his way to a house where he is taken in by a woman teacher who is waiting for her lover, a soldier. It becomes clear we are at the height of World War II. Soon after, we follow Lipnik […]
  • Kjell Askildsen, Selected Stories September 15, 2014
    Here, at the midpoint of his narrative, Bernhard, the affectless and purposeless protagonist of "The Unseen," experiences existential near-emancipation at dusk. This retreat toward obscurity in terse, direct language—thematic and stylistic markers of each work in the collection—comes immediately after Bernhard’s sister mentions her plans to enterta […]
  • Berlin Now by Peter Schneider September 15, 2014
    In his new book of essays, Berlin Now, Peter Schneider reveals himself as a gnarled Cold Warrior who has been stricken with many of the maladies common to his generation. With the specter of Communism exorcized, his new enemy is Islam. The book is a collection of short interlocking pieces introducing Anglophone readers to Berlin; it is not being published in […]
  • Paris by Marcos Giralt Torrente September 15, 2014
    In 1999, Marcos Giralt Torrente’s debut novel, Paris, was awarded the XVII Premio Herralde de Novela prize. Despite his success, it took fourteen years for Giralt’s work to appear in English, with the story collection The End of Love arriving in 2013. Now, this year sees the publication of two more books by Giralt: Paris, translated by Margaret Jull Costa, a […]
  • 10:04 by Ben Lerner September 15, 2014
    “It seemed that the [New Yorker] story—which was in part the result of my dealing with the reception of my novel—had been much more widely received than the novel itself,” says the narrator of Ben Lerner’s second novel, 10:04. Perhaps this narrator is Lerner himself—at one point he describes 10:04, within its own pages, as “neither fiction nor nonfiction but […]
  • Theories of Forgetting by Lance Olsen September 15, 2014
    Lance Olsen’s Theories of Forgetting is a masterful work structured around Robert Smithson’s earthwork “The Spiral Jetty.” Olsen’s novel is comprised of three narrations, written each by a separate member of a family. The husband’s and wife’s texts progress in opposite directions across the book, with each page divided among these two inverted texts; though […]
  • An Interview with Lance Olsen September 15, 2014
    The most substantial may be that innovative fiction knows what it is, that someone like me could define it in any productive way, that innovative fiction might somehow be one thing, or somehow consistent through time and space. None of these is the case. That’s exactly what I find most exciting about writing it, reading it, thinking about it. Innovative fict […]
  • The Ants by Sawako Nakayasu September 15, 2014
    In The Ants, we receive a study of existence through ants. That is, there are ants everywhere, ants substituted in every segment of the landscape, yet their behavior seems to reveal something altogether human. Too human. The ants are crushed and disappointed. They are warm and many. They are involved in gang wars and live inside carrot cake. The unique quali […]

Clearly the Soviet Writers Were Blockheads

It seems that in these blog-happy, newspaper-sad times I’ve been seeing a certain famous quote by Samuel Johnson crop up again and again: “No man but a blockhead ever wrote, except for money.” Leaving aside questions of whether said quote tells us more about the person who employs it these days than about the wisdom of writing for free, I had that quote in mind when I read the following in Memories of the Future, a collection of stories that Sigizmund Krzhizhanovsky surely knew were unpublishable when he wrote them in 1920s Moscow:

I don’t much believe words for which authors have been paid, and so once when I found a newspaper on a boulevard bench–this was in my hungry days–I read it carefully, never getting further than the Classifieds, for which, as you know, the authors are not paid, but rather pay themselves . . .

The nice thing about Memories of the Future is that it can toss out a quote like that in a story that’s very sympathetic to the travails of Soviet writers who preferred writing literature in obscurity to fame from Socialist Realism, while keeping the story as a whole more complex than a straight up “poor suffering writer” tale. In point of fact, the speaker of the above line is later revealed as insane, and though you end up sympathizing with his plight as a writer with standards, he doesn’t exactly come off in a good light.

I’ve read three of the seven stories in this book so far, and two of them have dealt with this theme in considerable depth. (The first was a somewhat surreal satire about a man who lives in a “matchbox” room, but then pays the price after applying a mystical substance to make it grow.) At this point I’m quite impressed at how Krzhizhanovsky can deal very authentically with the lot of the Soviet dissident writer (or even just Soviet citizen) while not making the story so tied to a certain time and place that it feels dated now. What comes most across is that these people just want to write; they’re in love with beauty and their own attempts to create it on the page, and it’s this that gives them poignancy, tragic appeal, and timelessness all in one. It’s of course a theme that has been worked to death (most recently by a certain Chilean), yet Krzhizhanovsky has a way of making it his own, of writing into these stories a great deal of relevant period detail, as well as plenty of the very idiosyncratic pleasures of his style. So far he’s a real discovery.

More from Conversational Reading:

  1. Tips for Writers In The Guardian, Zadie Smith on writing. I want you to think of a young man called Clive. Clive is on a familiar literary mission:...
  2. Sensitive, Relativistic Writers This piece in the Guardian has got me thinking. It’s a consideration of the charge of "relativism" in the humanities, occasioned by the death of...
  3. Friday Column: Prodigious Writers To get us started, a couple familiar Frenchmen. Honore de Balzac wrote well over 100 novels and plays. The great majority of them went...
  4. The Believer Book of Writers Talking to Writers Maybe about a year back, McSweeney’s launched its Believer Books imprint. Initially, Believer Books repurposed items originally printer in The Believer into slim volumes, like...
  5. Four Greek Writers That You Should (and Can) Read On Tuesday, May 12, the translator Karen Emmerich read from various Greek works that she has translated into English. She spoke before a packed...

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1 comment to Clearly the Soviet Writers Were Blockheads

  • It occurred to me, and it seemed funny the first time I thought of it, that ONLY blockheads write for money because writing is one of the most difficult ways to make the stuff.

    Also, in a rather retrograde Jungian fashion, I’ve always thought of the “Soviet Union” as nothing more than a projection of our collective “shadow” (Jungian technical term for the part of ourselves that we don’t want to face) onto the Soviet Union.

    Always excepting the few Americans who actually studied the Russian language, Russian history and traveled to the place, that is.

    For the rest of us, as Pogo said, “I’ve met the enemy and he’s us.”

    In the sense that you and Sam used the term, I respond,

    “Blockheads unite, we’ve got nothing to lose, even money.”

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