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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 […]

Speech in Bernhard

The Chagall Position has an interesting post on the use of speech-attribution tags in Bernhard:

With a scanner and the right software program, of course, it should be possible to arrive at the exact number of overall tags in the entire Bernhard corpus, and thus also to calculate the precise numerical average of tags per page (tpp) for the entire Bernhard corpus.  One might arrive at a figure such as 4.85tpp, for instance, rounded up from, say, 4.8489tpp. . . .

In more conventional fiction such tags exist only to be elided.  Their traditional function is to anchor the enunciation firmly in the narrator or character, to ensure the seamless procession of the “vivid, continuous dream,” the flow of vicarious experience and psychological identification.  They are lowly markers which do not enjoy the status of the other elements on the page.  When reading to oneself, they’re to be almost skipped over, registered by the eyes but not necessarily by the mental tongue.  Read aloud, the voice drops and gives their syllables a matter-of-fact little shove out into the cold, as if they were asides.  Less than asides: stage directions.  They are like the inert substrate in pills, the delivery system but not the stuff that is supposed to kill your pain or make you sleep.

But what happens when they metastasize?  When they proliferate and threaten to disrupt what they were meant to enable?

In Bernhard, the tags become pronounced, in both senses of the word. . . .

This brings to mind the recently translated novel Tranquility, by Attila Bartis. Although the vast majority of the book uses speech tags in the conventional way, certain sections (usually about one page in length) make pointed use of he said, she said, and I thought, in a somewhat similar way to what’s described above.

I’m particularly thinking of a certain legnthy paragraph in which Bartis concludes every sentence with ", he said" or ", she said." This scene comes right after a passionate sex scene, and the prominent use of speech tags, along with the removal of quotation marks, gives the dialogue an extraordinarily intimate feel. Rather than make the text choppy, it provides for a certain flow and rhythm (which must have been difficult to translate correctly). In the end, the feel is more akin to two consciousnesses seamlessly and directly exchanging thoughts than two people lying in bed talking.

More from Conversational Reading:

  1. New Thomas Bernhard Via This Space, I learn: German publishing house Suhrkamp has promised a "sensational release" during next year’s Thomas Bernhard year. The publishing house will release...
  2. Bernhard in New Yorker Thomas Bernhard’s work is discussed in The New Yroker. Like Kafka, one of the writers he most admired, Bernhard composed nearly all his fiction from...
  3. Marcus on Bernhard Anyone who subscribes to Harper’s might want to keep an eye out for this: Misery Loves Nothing The inimitable Thomas Bernhard Ben Marcus Maybe one...
  4. Rebecca Solnit's Graduation Speech To the UC Berkeley English Department. For those born in 1984 . . . ...
  5. Long Sentences AC at Slightly Bluestocking asks a good question. Long sentences. Correction opens with a sentence that’s about two pages long. Most of the sentences (not...

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2 comments to Speech in Bernhard

  • Your take on that scene sounds sensible; oddly enough, however, when I think of dialogue that creates a sense of intimacy, I think of some of Iris Murdoch’s scenes, wherein she uses almost no identifying tags. The effect frequently is to make the reader feel as if he’s eavesdropping, which feeling is perfectly suited to the secrecies and machinations of Murdoch’s characters and plots.

  • EC

    I’ll have to read that Bartis, I thought.
    Thanks, Scott!

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