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

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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.


  • 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 […]

Stop the Editor Hating!

Okay, okay, I know . . . I’ve done it, you’ve done it. At one point in the past five years or so, each and every one of us has blamed big commercial New York editors for promoting a blockbuster model of publishing that’s killing literary fiction.

Which, true, has a fair amount of truth to it, but enough already. That’s more or less how I felt when I was reading Jay Baron Nicorvo’s essay in Guernica, pitched as a response to Ted “Write More Relevant Books You Navel Gazing Hacks” Genoways.

For what it’s worth, I side more with Nicorvo here than Genoways, it’s just that I’m tired of hearing this:

These days, editors at commercial publishing houses are required to do the same. They attempt to herd the mob because they no longer know how to reach the reader. Old media had a direct line to the audience that bought books, newspapers, and magazines. Publicity and marketing departments knew where to effectively (if not cheaply) spread the word about forthcoming titles and upcoming issues, expecting to get out what they put in. They’d print a few hundred or a few thousand galleys, mail them first-class to reviewers, watch the reviews roll in, and count the sales. But reviews no longer sell books. New media is the internet, and publicity and marketing departments have little central control over the flow of information. Amateur reviews of a book on Amazon are as important if not more so than the professional assessments in Publishers Weekly. And so what do editors do? They cling to what’s working, if not working well—blockbusters. The dominant, dysfunctional business model for movies has been adapted for books. And this is why more authors like John Edgar Wideman have had enough; he’d rather self-publish and have a larger say than be hamstrung by a system favoring quantity over quality.

Right, I get it, I agree (well, not exactly about that Amazon vs PW thing . . . do buyers at bookstores read Amazon reviews to make buying decisions? Do editors use them to decide what to assign for review?). But frankly, this line of argumentation hasn’t brought about a wave of revulsion and transformation in the publishing industry. So let’s move on. We know what doesn’t work, so let’s start talking about what does work.

For more on that, I ask you to watch this speech given by the ever-visionary Richard Nash.

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4 comments to Stop the Editor Hating!

  • I was at a recent talk about this issue, in which the speaker exhorted publishers to work from the bottom (the internet) up, finding prospective book ideas / authors from places like high-quality or creative blogs, and info-websites.

    A middle-aged member of the audience raised his hand and asked, “But how to we older guys get involved in the web?” It was one of those moments where the problem is only clear to those who already knew what it was. I nearly stood up and yelled, “Hire me.”

  • Travis

    Nicorvo’s article doesn’t really make any sense. He says that Genoways is wrong because MFA grads aren’t that prolific as book publishers… but Genoways’ article isn’t about books. It’s about lit mags, which are generally dominated by MFA grads. I think he’s just reacting to the (inappropriate) title of Genoways’ article. Having read slush piles and MFA submissions before, I can’t really fault Genoways for his distress. I was once rejected from a lit mag with what at the time seemed insulting, but now seems perfectly appropriate: a tiny, impersonal form rejection note, and a subscription request. The other problem with Nicorvo’s argument is that he blames editors while glossing over his comment that, “[editors are] lucky if they can even distinguish their tastes from what their bosses and the bottom line demand.” What about those bosses? If editors have to dumb down their selections to keep their jobs, isn’t that a result of the bosses, the distributors, and the publishing business models? Lastly, I notice that Nicorvo’s wife is Thisbe Nissen, who is a teacher at Iowa (with a high-powered agent) and the writer of several books published through a Random House imprint, books that really can’t be considered blockbusters. I think this is usually called “looking a gift horse in the mouth.”

  • PJ

    Travis asked, “What about those bosses?” I would suggest that Nicorvo is, in fact, focused primarily on them. Editors, he says, “if they want to keep their jobs, acquire for the mass market.” That conditional clause is crucial, and the same point is repeated throughout the essay.

    Also, I don’t think the argument is that “Genoways is wrong because MFA grads aren’t that prolific as book publishers.” The argument is that fiction is struggling because the dominant publishing model is broken; whereas Genoways argues that the dominant writing model (i.e., writers trained at MFA programs) is broken. I think Nicorvo is right: it’s the publishing model, not the writing model, that needs fixing.

  • Travis

    PJ, the fact remains that Genoways is talking specifically about fiction in literary magazines, and Nicorvo counters it by blaming editors for a blockbuster mentality, when editors of literary magazines have, if anything, the opposite mentality. As for Nicorvo being primarily focused on the bosses of editors, I must have missed that somewhere in his thesis statement that “It’s the editors, not the writers, who need encouraging. Editors need to change what, and how, they acquire.” He calls for restructuring New York City publishing, but puts the entire onus on editors who are now just barely able to squeak out a living, and have a relatively small amount of control.

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