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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Naked Singularity

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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.

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Life A User's Manual by Georges Perec

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Tale of Genji

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Interviews from Conversational Reading

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See this page for interviews with leading authors, translators, publishers, and more.


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  • Why Literary Periods Mattered by Ted Underwood June 15, 2014
    There are some writers who are, and likely always will be, inextricably linked to the “period” with which their work is associated, and in many cases helped to define. Surely Wordsworth and Keats will always be “Romantic” poets, while Faulkner and Woolf will remain modernists, as the term “modern” has been fully appropriated to describe the historical era be […]
  • Trans-Atlantyk by Witold Gombrowicz June 15, 2014
    August 1939. You sail to Buenos Aires on the Chombry as a cultural ambassador of Poland. Why say no to a little holiday on the government’s tab? Soon after arriving you sense that something isn’t right. You emerge from a welcome reception and your ears are “filled with newspaper cries: ‘Polonia, Polonia,’ most irksome indeed.” Before you’ve even had a chance […]
  • Accepting the Disaster by Joshua Mehigan June 15, 2014
    The first collections of most young poets, even the better ones, carry with them a hint of bravado. Flush with recognition, vindicated by the encouraging attentions of at least one editor and three blurbists, the poet strikes a triumphant pose and high-fives the Muse: “We did it, baby.” When Joshua Mehigan published his impressive first collection, The Optim […]
  • The Histories of Herodotus, translated by Tom Holland June 15, 2014
    Two of the greatest of Tom Holland's predecessors in translating Herodotus are Victorian scholar George Rawlinson and Aubrey de Selincourt; the former translated Herodotus in 1860, making an enormous hit (despite the fact that its detractors often referred to it as “dull and prolix"), while the latter's 1954 Herodotus was another enormous hit, […]
  • Bullfight by Yasushi Inoue June 15, 2014
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  • Sworn Virgin by Elvira Dones June 15, 2014
    Sworn Virgin was made to be translated. Elvira Dones wrote this book not in her native language of Albanian but in Italian—a necessarily fraught and complicated decision. In an Italian-language interview with Pierre Lepori, Dones speaks about her choice of language: “Sworn Virgin was born in Italian . . . I’ve lived using Italian for nineteen years, it has s […]
  • On the Letters of David Markson June 15, 2014
    Knowing these narrators and how their lives paralleled David’s own, it’s difficult to deny his being a recluse. I certainly held that image of him, and nursed it, secretly cherishing it because it meant I was one of the few people with whom he corresponded, and with whom he would occasionally meet. Arranging our first meetings in person was something of a ni […]
  • Storm Still by Peter Handke June 15, 2014
    Storm Still (Immer Noch Sturm) does not necessarily represent new terrain for Handke. Originally published by Suhrkamp Verlag in 2010 and now available for English-language readers thanks to Martin Chalmers’ fluent translation, the play chronicles the dissolution of the Svinec family, a family of Carinthian Slovenes—a quasi-fictionalized version of Handke’s […]
  • Red or Dead by David Peace June 15, 2014
    David Peace's novel Red or Dead is about British football, but it partakes in the traits of Homer's epic. This is a novel about the place of myth and heroes in modern society, about how the cyclical rhythms of athletic seasons reflect the cyclical patterns of life. It is a book about honor and fate, and one which bridges the profound, dreamlike ter […]

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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