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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You Say

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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.


  • 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 […]

How Critical Movements Are Born

One of the parts of Issue 17 of TQC that I’m most excited about is our serialization of JC Hallman’s adapted intro to his anthology of lit crit, The Story About the Story. The moment I read it, I knew this was just the kind of statement on good criticism I’d been looking for, and, collectively, me and the other editors were so hyped about what Chris wrote that we dedicated our editorial to a response.

Chris is currently blogging about his book at Tin House’s website, where he’s expanding on why he wanted to do this anthology:

I have a bad habit of arguing with critic types. Theory-based critics, folks who go to scholarly conferences to make friends with peers who will peer-review them through the 120-pages of published material—or whatever the standard is—that they need for the tenure that will ensure that they spend the rest of their lives attending more scholarly conferences. It’s hopeless, I know—but I can’t resist picking a fight. I want to fight about authorial intent. I want to believe—as Henry James did—that it is the producer with whom we are attempting to communicate when we consider the art of literature. (I’m paraphrasing “The Art of Fiction.”) That is, when you read, you communicate with the writer. But what seems obvious to me and to all people still in possession of their souls is a blind spot to most critics.

So we squabble. I’ve ruined garden parties, been rude to people in their homes. I don’t care. I want to pen people in, get them to acknowledge that even though critics employ a standard, scientific hypothesis-proof model in their writing, no one actually winds up “proving” anything in lit crit. In fact, their “arguments” tend to be unpersuasive because they are theories born of passion that are then translated into analysis as dry as a corpse and as boring as binary code. In other words, it’s dishonest. Why do this? I ask. The answer is always the same: that’s the way it’s done.

Chris offers the term “creative criticism,” which I think encapsulates a trend toward interesting, well-written criticism for the educated layperson that has been ongoing for some years now and has been waiting for someone to slap the title of “school” on it. If you’re intrigued and want to hear more, then definitely do read his post, and the serialization, and our response.

More from Conversational Reading:

  1. Big Money or Critical Taste Who wins? At Art Basel in Miami Beach last December, just as we were about to go out and perform on the imminent death of...
  2. 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...
  3. Cancerous? Doug Harvey of LA Weekly informs us of why Jonathan Lethem gets comics. Until puberty, Lethem too thought he would be an artist like his...
  4. Unbridled Serial Novel Hot on the heels of Slate, Unbridled offers Marc Estrin’s new novel serialized online. Unbridled Books is excited to announce its forthcoming online serialization of...
  5. New Criticism’s Greatest Hits Today the mail carrier blessed me with an awesome-looking anthology of New Criticism: Praising It New: The Best of New Criticism. The back copy bills...

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