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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 […]

Post-Colonial Criticism: Cherry-Picking Evidence?

At The Valve they're discussing whether post-colonial criticism "assumes its conclusions even before it begins."

The responses so far seem to amount to "yeah, so what?" But lots of interesting variants of that. Several, for instance, are making the valid point that this is what all criticism (and in fact all scholarship) does. There's also the point that:

If *all* postcolonial criticism means is to locate effects of
imperialism in culture, then we clearly have no conclusions to begin
with.  We simply have objects of study.  I don’t think it’s a
controversial idea to be open to possible connections between a major
historical process and the art that emerged during that process.

As a worthwhile offshoot of this conversation, Andrew Seal discusses Said's reading of Austen, from a postcolonial perspective:

It's curious to read Persuasion in the light of the (in)famous Said reading of Mansfield Park in his Culture and Imperialism.
Said pointed out the Bertram family's Antigua plantation was a sort of
enabling fiction, sustaining the family's fortunes and thus making the
action of the novel possible in a very real way. Said focused in
particular on a casual exchange between Fanny Price and Sir Thomas
about the plantation, drawing some fairly broad conclusions. A number
of critics (and likely a number of readers) have taken issue with
Said's rough handling of Austen and with the implication that Austen
was just one more lackey of the slave trade and British imperial
oppression more generally.

More from Conversational Reading:

  1. Picking on Vollmann Thanks to the glory of Google cache, you too can read Lee Siegel’s takedown of Vollmann and The Royal Family, first published in The New...
  2. Photography Criticism This is a nice essay on photography criticism. The great exception to all this is photography criticism. There, you will hear precious little talk of...
  3. Buddenbrooks: A Post-War and Peace Novel While we're reading Buddenbrooks, I think it will be useful to consider the book as a sort of work written in the tradition of War...
  4. More Evidence Whatever his virtues, Christopher Hitchens just isn’t a very good lit critic. ...
  5. Chad Post on the Morality of Publishing Chad writes: There’s something that’s been nagging at me ever since I read this article . . . I’m not sure I can properly articulate...

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2 comments to Post-Colonial Criticism: Cherry-Picking Evidence?

  • I think in the quote from Seal you see the most common reaction to postcolonial criticism, which is a defensive one. It’s fair to be defensive, if you believe that in finding colonial meta-texts in Austen, for example, Said was also arguing for her irrelevancy.
    I’d argue exactly the opposite though: I believe Said chose Austen as an example of a canonical author whose merit is beyond question in order to solidify his case for the process being not peripheral to the culture but central, a key element of historical premise that makes certain fictional narratives possible.
    I’m not sure that it’s fair to say that postcolonial authors begin with a conclusion. Said begins with the reality of a colonized nation — in his case, Palestine — and works to discover the processes that make colonialism possible.

  • Note that Andrew Seal’s post also appeared here: http://www.blographia-literaria.com/2009/04/of-postcolonial-persuasion.html
    I made the same point Daniel did in a comment there. Andrew made it clearer in a reply that he does not hold the defensive view, but describing it.

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