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

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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.


  • 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 […]

Lost in the Funhouse

Lostinthefunhouse It was while reading DFW’s long story (novella, really) "Westward Goes the Course of Empire" (from Girl with Curious Hair) that I first heard of John Barth’s classic story, Lost in the Funhouse." DFW’s story itself was an attempt to destroy the world created by "Lost in the Funhouse;" in "Westward Goes," DFW referrs to "Lost in the Funhouse" as "the greatest metafictional story ever." Then I saw on Girl With Curious Hair’s copyright page that DFW tells us that portions of his collection were first scribbled in the margins of "Lost in the Funhouse."

I quickly realized there was a serious gap in my reading.

When my copy of Barth’s collection Lost in the Funhouse arrived, I first turned to the book’s seventh story, "Lost in the Funhouse." (Unlike some collections, Lost in the Funhouse is meant to be a cohesive whole, and you may even see some benefits to reading it all in order.) Some of Barth’s technique seemed somewhat dated (largely because so many writers were inspired to imitate the very story I was reading), but it was clear that I was in the presence of a master. Regardless of my familiarity with the metafictional aspects, the story was brilliantly conceived, a layered work that both captured the tried-and-true essentials of voice and plot while making implicit, profound points about writing and authorship.

Perhaps the most efficient way to describe "Lost in the Funhoues" is as follows: In the story Barth includes a diagram, with four points labeled A, B, C, and D. A corresponds to a story’s beginning, B it’s instigating incident, C it’s climax, and D its conclusion. Included at the beginning of Lost in the Funhouse is a strip of paper (the longest and shortest story ever). On one side are the words "ONCE UPON A TIME THERE" on the other side ""WAS A STORY THAT BEGAN". We are encouraged to cut the slip of paper out and connect points A, B, C, and D (labeled on the corners of the paper) to make a mobius strip. If you were to do that, the points A, B, C, and D on the strip would bear the same relationship to one another as do the points A, B, C, and D in "Lost in the Funhouse."

I’m finding the rest of this collection to fit this template in one way or another. Some of the stories here have the trappings of the conventional short story–plot, 3-D characters, symbols–but sure enough, Barth finds ways to subvert them (both subtlety and not-so-subtlety). Others of these stories are clearly written to challenge preconceived notions of what a short story is. One of them can have any one of 4 narrators (the 3 characters and Barth himself). Another one consists of the story telling itself.

All the pieces in this collection are united by the common goal of pushing the form forward, of a conscious attempt to not repeat what has come before. It’s an admirable goal, and history has clearly spoken as to whether Barth achieved it or not.

Hopefully, I’ll have time to write more about this collection in upcoming weeks. There’s lots here to talk about.

Previous readings.

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