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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.

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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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

Shop though these links = Support this site


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 […]

Sergio De La Pava, Interviewed

Good stuff.

CJ: So what about a book like Wittgenstein’s Mistress? Do you think that approaches reaching too far with a single tool, or do you think that it works for the subject matter?

SP: I found that book to be perfectly realized. The funny part is, the works that followed, they seemed to essentially try to exploit the same tool kit, and I didn’t find them as successful. I think that what makes Markson successful with WM and the others less so, to just me as a reader, not as a critic, is where the mistress departs from allegory. Where you start to feel that this could be true. That what this woman is experiencing could be the truth, in a way that those other novels never gave you. There’s that bizarre blending of, sure, it could be the ravings of a lunatic, but i don’t think the novel cheats in that way, to tell you that they are the ravings of a lunatic. I think you could read that book in a way that you can just accept that what Kate is telling you is an accurate portrait of what has occurred, and because the novel works that way, to me that is what makes it powerful. Whereas with Readers Block and This Is Not a Novel, it never felt that way, I felt an intrusion at the end. To me they just didn’t work. And it may just be, that when I read WM it felt really innovative and new, and it’s hard to capture that when you pick up the next book and sense that, ‘here come these little aphoristic-type declarations about artists’, and you’re already familiar with it in such a way that you can never fire those neurons again.

CJ: Right. So in one part of Personae, you choose the same scene:

SP: Wait a minute. No that’s not it, the octogenarian is the writer. It has italics under the chapter number I think, so I think we are lead to believe that Helen created that title for that particular document, or whoever did. But that is why is it called Personae, each part is not the ocean. The ocean is the actual work. And that moment is just probably a 55-year old professor or something, impulsively deciding to stop at the beach. I’m not sure if the beach stuff was a reference to Markson, I mean a beach and an ocean? I don’t think there’s any way that he could have patented that.

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More from Conversational Reading:

  1. Personae by Sergio De La Pava Today’s the release day for Personae by Sergio De La Pava, author of A Naked Singularity. I’ll have a review of this eventually in the...
  2. Excerpt from Personae by Sergio De La Pava I'm told that Sergio De La Pava's new novel, Personae, will soon be going up on Amazon. You can currently get it at Xlibris. (If...
  3. Sergio de la Pava Interview Over at their slick new redesigned website, Hermano Cerdo has interviewed Sergio de la Pava, well-known to readers of this site (for more see here...
  4. Sergio De La Pava Wins a PEN Wow. Sergio De La Pava wins PEN’s 2013 first novel award, good for $25,000. This amazing story keeps getting more and more amazing. ...
  5. You Need Another Reason to Love Sergio De La Pava? Here’s one. TN: Franzen wrote an essay describing the reader-writer relationship as either Status based or a Contract model, emphasizing the decision to either err...

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