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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 […]

How Many Times Must an Author Write the Same Book?

(Today we have a guest column from Christina Thompson. She is the editor of Harvard Review. Her essays and articles have appeared in numerous journals, including American Scholar, the Journal of Pacific History, Australian Literary Studies, and in the 1999, 2000, and 2006 editions of Best Australian Essays. Her new book, Come on Shore and We Will Kill and Eat You All, is reviewed in the New York Times Book Review this weekend.)

This spring, as the publication date of my book approached, my publisher suggested I get myself a website. I had never had a website before and one thing I didn’t know was how long it would take before a newly launched site showed up on Google.

Shortly after the site was launched I tried a search for the title of my book. This was still pre-publication, but the online retailers were already listing it, as were a couple of libraries, the publisher of course, and a couple of social cataloging sites. My own website was still nowhere to be found, but there was one result that took me by complete surprise. It was a page on the University of Hawaii’s website describing an issue of the journal Mānoa that I had edited in 1993, and in which I had described myself as a “working on a book about the Pacific called Come on Shore and We Will Kill and Eat You All.”

Now if you were to ask me when I’d started writing this book, I would have to confess that it’s taken me an abominably long time, but I would never admit to having begun it as long ago as 1992. That was a full six years before I returned to the United States from Australia, broke, unemployed, pregnant with my third child, but in possession of a pair of small grants from the Literature Board of the Australia Council and Arts Victoria to write a book I was calling, with an obvious nod to Melville, “Call Me Abraham.” That book eventually morphed into this, but I was genuinely surprised to discover that I had had the title all those many years ago. And naturally, it made me wonder what kind of a book it might have been if I had actually written it then and not a decade later.

It’s sort of like the plot of a Borgesian novella: a woman writes a book with a certain title over and over again, using the same historical material and making the same theoretical points, but each time somehow managing to tell a completely different story. In fact, this is often what we do. I once heard a professor at Harvard—I wish I could remember who it was—say in the introduction to a lecture that first she had written her dissertation, then she had rewritten her dissertation and published it as her first book, then she had rewritten her dissertation a second time and that was her second book. By then I think she was up to her fourth or fifth iteration.

I’ve always liked that idea, and part of me is sorry I didn’t write this book the first time in 1992. On the other hand, if the extract of my guest editor’s essay in that same issue of Mānoa is anything to go by, it’s probably just as well that I didn’t. I was only a couple of years past my own dissertation at that point and the words of my young self, preserved in the amber of the worldwide web, show all the hallmarks of a recent graduate school education.

In this essay, which was called “A Brief History of Australia” (another nod), I compared the histories of Australia and the United States, observing that both had been established as colonies, that “this establishment entailed the displacement and subjugation of an indigenous people by a predominantly Anglo-Celtic population,” that both had grown “as a result of migration from the fraught places of the world,” and that both were now “struggling to adapt to the realities of their polyphonic, multicultural, postcolonial populations.”

I had always remembered this essay as a light-hearted romp—which just goes to show, again, what tricks the memory plays. Still, I was clearly thinking about how to communicate something about the colonial histories of the Pacific, and my titles, at least, suggests that I had the intention, even if I didn’t yet have the voice, to spin my subject in a light-hearted way.

“Come on Shore and We Will Kill and Eat You All” is something in the way of a researcher’s joke. It is what Charles Darwin said that Captain Cook said that the Maoris said when they first encountered Europeans. In fact, it’s not what the Maoris said (for more on this see Chapter 8: A Dangerous People), but from the moment that I first grasped the way that historical texts are like something whispered in a child’s game of telephone, I was hooked on the idea. And that, I have to admit, was a lot earlier than 1992.

I knew almost from the beginning that there was a way to write about history that was both funny and serious, irreverent and still deeply felt, and I knew that this was what I wanted to do. But I also knew that I needed a vehicle for this story of colonialism in the Pacific—I was not, after all a “proper” historian—and I even had an inkling that this vehicle would be my own life.

The problem, of course, was that back in 1992 (or 1989, or even 1987) when I first began to think along these lines, I didn’t have that much life to work with. This is another reason those early attempts feel so derivative: in fact, they are. But 10 or 12 or 15 years later, when I finally got around to writing the book I had been thinking about for so long, I had actually lived quite a lot. I had, you might say, a whole lot more material, though I don’t believe my subject had ever really changed.

What takes forever is not necessarily finding the concept, but developing the voice in which to express it. The book I would have written in 1992 might have been a perfectly good book, or at least one that would have gotten me tenure, but I think I prefer the one I’ve written now. It’s just as serious in all the important ways but it’s gayer and more generous and I think it actually sounds much more like me. There are few compensations to getting older but one of them is certainly that you become more and more yourself. This is not to say that you are not still a composite of influences or that the derivative elements are no longer there. But I think they are better blended, or perhaps it just becomes easier to pick out from among them the sound of your own voice.

More from Conversational Reading:

  1. Friday Column: National Book Awards The winner of the 2006 National Book Award for fiction will be announced next week, and it is very likely that the winner will, for...
  2. Author Asks Amazon to De-List Him George Walker, anti-Amazon crusader. A children’s author has drawn attention to the plight of independent bookshops by demanding that his book be removed from sale...
  3. Shadow of Towers in Times Michiko Kakutani checks in with a review of the long-awaited In the Shadow of No Towers. “No Towers” is ultimately a fragmentary, unfinished piece: brilliant...
  4. U.S.! in the LA Times The LA Times offers a lengthy review of U.S.!, the new book where Upton Sinclair is repeatedly resurrected, pens a left-wing novel, and it...
  5. Lonely Planet Is Imprecise At Times After making fairly extensive use of Lonely Planet guidebooks for almost the last 2 years, this doesn’t come as much of a surprise: The image...

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1 comment to How Many Times Must an Author Write the Same Book?

  • Christine Schmidt

    The best way for a writer to teach other writers is to be candid. This article is refreshingly genuine and I find the last couple of sentences profound and beautiful. They convey the simplicity of life that we discover when we are older, after a lifetime of complicating it.

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