The End of Oulipo?
Lady Chatterley’s Brother
Lady Chatterley's Brother. The first ebook in the new TQC Long Essays series, called “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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The Quarterly Convers-
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.
I’m mainly linking to this because when will you ever again get to hear a Fox News blowhard rail against Haruki Murakami? Plus, some people are awfully stupid. . . . continue reading, and add your comments
As you can see above, Knopf has unveiled the cover of Haruki Murakami’s forthcoming, massive novel, 1Q84. It’s quite a pretty cover. To mark the occasion, Knopf’s blog has an informative conversation with uber-designer Chip Kidd on how he built the cover . . . continue reading, and add your comments
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Film criticism as prophesy: a unified field theory of cinema, an attempt to explain how film and America fused to create a new form of consciousness geared to the realities of the 20th century. Thomson's massive, inspired, unwieldy, poetic, and compelling account of how moving pictures became the dominant form of mass communication in our world, and how it created all of us, a creature we might now call homo cinematis.
Part economics book, part revisionist history of capitalism. A new story of the 20th century. An essential book for understanding our world and where it is headed, and a powerful broadside against income inequality. I compare it to Don DeLillo's Underworld right here, and I do think this is a book that cultural critics and literature-lovers can benefit greatly from.
Mavis Gallant was one of the great prose stylists of the 20th century. Full stop. Her understanding of narrative structure was also highly original. This book is edited by Russel Banks and collects much of her very best work. Read it, be amazed, see the world anew.
I have never enjoyed Laszlo Krasznahorkai's prose more than in Seiobo There Below. Here he is at his clearest, his most taut, his most imaginative, and his deepest. One of the world's great contemporary writers at the apogee of his art, and a truly important novel of ideas about spirituality, art, and just what is our purpose here on Earth.
The first volume of an epic trilogy by one of Eastern Europe's most renowned writers. Pychonesque, baroque, mad, the prose here must be read to be believed. Some of Cartarescu's images will never leave my mind. Read the interview with the author in The Quarterly Conversation.
The arrival of a major talent into English. As I write in the San Francisco Chroncile, thee four long stories "chart the lifelong effects of courtship, the months and years in which it turns from desire to heartbreak to nostalgia. Brilliantly translated by the gifted Katherine Silver, Torrente's remarkably precise sentences are as tightly wound as violin strings, his brutal stories coiled like pythons."
The most bizarre Abe novel I've yet read, which is indeed saying something. About a subclass of Japanese men who go around wearing boxes from the waist up (and then use them as domiciles in the evening), the book is also an experiment in perspective shifts, a highly unstable, metafictional first-person narrative, and an exploration of voyeurism, consumerism, and aberrant sexuality.
Charting the path to three gunshots--the one that killed filmmaker Theo Van Gogh, the one that disabled his Islamic extremist assassin, Mohammed Bouyeri, and the one that led to Vincent Van Gogh’s one hundred years earlier--Olsen tells three separate stories that resonate with one another on numerous levels: the logic of extremism, the role of the dissident in Dutch society, the limits of tolerance, the purpose of the artist, the feeling of the most important five minutes of your life. Read my interview with the author.
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