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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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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.

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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

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Two great online lit magazines team up to read a mammoth court drama, the world's first novel.

Your Face Tomorrow

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A 3-month read of Javier Marias' mammoth book Your Face Tomorrow

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Ten Memorable Quotes from William Gaddis’ Letters

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Here are ten of my favorite moments from these hugely interesting letters.


Interviews from Conversational Reading

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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
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  • 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 […]

This Doesn’t Make Any Sense

The only way you could even begin to make this comparison would be if you believed there was some monolithic entity called “MFA,” which somehow regulated the activities and cultures of nearly 900 programs occurring across thousands of miles of American terrain. Likewise, making a list of a bunch of facile binaries (or would-be binaries—what the fuck does “the Association of Writers and Writing Programs conference vs. the Frankfurt Book Fair” even mean?) doesn’t really cut it.

Everyone knows this. But what’s remarked rarely if at all is the way that this balance has created, in effect, two literary cultures (or, more precisely, two literary fiction cultures) in the United States: one condensed in New York, the other spread across the diffuse network of provincial college towns that spans from Irvine, Calif., to Austin, Texas, to Ann Arbor, Mich., to Tallahassee, Fla. (with a kind of wormhole at the center, in Iowa City, into which one can step and reappear at the New Yorker offices on 42nd Street). The superficial differences between these two cultures can be summed up charticle-style: short stories vs. novels; Amy Hempel vs. Jonathan Franzen; library copies vs. galley copies; Poets & Writers vs. the New York Observer; Wonder Boys vs. The Devil Wears Prada; the Association of Writers and Writing Programs conference vs. the Frankfurt Book Fair; departmental parties vs. publishing parties; literary readings vs. publishing parties; staying home vs. publishing parties. But the differences also run deep. Each culture has its own canonical works and heroic figures; each has its own logic of social and professional advancement. Each affords its members certain aesthetic and personal freedoms while restricting others; each exerts its own subtle but powerful pressures on the work being produced.

Yes, I get that certain attributes are typically tied to the MFA culture, just as certain qualities are typically tied to the NYC scene. But it just doesn’t work to make such broad generalizaton about MFA programs, and it probably doesn’t even work to generalize in this way about the NYC literary world. The proof is in these bizarre binaries int he above quote . . . And anyway, Chad Harbach is the consummate product of both the MFA and the NYC. So are they really that vastly different?

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  1. The Value of MFA Programs It really says something that the comments to this interview on Salon between Curtis Sittenfeld and Iowa Writers Workshop Director Lan Samantha Chang are far...
  2. American Fiction Sucks I read a lot of translated literature. Every now and then I make an effort to find out more about what’s being produced by my...
  3. Defining a Successful MFA Program I think this is a pretty good measurement: My own definition of placement is hard to state as a number and of little use except...
  4. Makes Sense to Me After writing a long article about various “realist” and “social novel” depictions of issues of money and class in advanced societies, Christian Lorentzen concludes: If...
  5. Why Terra Nostra Makes Only Some Sense and Why I Like It Better For That About 1/5 of the way through Terra Nostra the book is proving oddly resistant to me grasping what's going on. This isn't a lack of...

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3 comments to This Doesn’t Make Any Sense

  • P.T. Smith

    How did you even make it that far into the article? I lost steam in the first paragraph when he called Nabokov a “writer-professor.” I don’t care if Nabokov was a professor for some time, that is about the last thing that comes to mind when thinking of him. I gave up after he admitted MFA programs don’t do much, but readied a defense of them.

    Whatever, it’s just a reminder that I need to read Dimock on my vacation. I don’t care what degrees he has or where he lives, his recent book sounds way more interesting, and way more “American” than anything in a MFA v NYC writer conception.

  • S

    The problem I’ve seen with both (I’m from NY and currently pursuing an MFA elsewhere) is that people don’t read interesting books so they don’t produce interesting work. I mentioned Robert Walser to one of my MFA professors and she said she had never heard of him. The same for Cesar Aira, or Harry Mathews, or Enrique Vila-Matas, or a million other writers. In my experience NYC-centered lit people are more interesting readers than MFA people, but the distinction is definitely nonsense, as you point out.

  • Phil

    The Art of Fielding was a ludicrously stupid book so this isn’t surprising

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