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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

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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
    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 […]

Translation and Murakami

As a sort of act of research, due diligence, and, I admit, masochism, I decided to read all the 1Q84 reviews, now that I’ve made up my own mind about the book. I’d expected Sam Anderson’s NYT Magazine profile to be pretty bad, but I didn’t realize exactly how bad it could become until I read this:

You could even say that translation is the organizing principle of Murakami’s work: that his stories are not only translated but about translation. The signature pleasure of a Murakami plot is watching a very ordinary situation (riding an elevator, boiling spaghetti, ironing a shirt) turn suddenly extraordinary (a mysterious phone call, a trip down a magical well, a conversation with a Sheep Man) — watching a character, in other words, being dropped from a position of existential fluency into something completely foreign and then being forced to mediate, awkwardly, between those two realities. A Murakami character is always, in a sense, translating between radically different worlds: mundane and bizarre, natural and supernatural, country and city, male and female, overground and underground. His entire oeuvre, in other words, is the act of translation dramatized.

If you know anything at all about translation, that simply makes no sense. At its most basic, translation is about producing equivalents in different languages. But the relationship between, say, English and Russian is not one of opposites, like the relationship of ordinary/extraordinary. Quite to the contrary, translation goes entirely beyond dichotomies, which is one reason why I find it so fascinating. Moreover, translation is not about stripping something mundane from one context and forcing it to change so that it may learn to exist in a completely different context. If anything, it is the opposite: taking something mundane and presenting it precisely as such in different context, and asking that context to change so that it might see how this alien reality could be mundane.

But, really, my biggest problem with this commentary is that it’s just so bland. You could say the exact same thing about the work of countless novelists . . . these vague notions about what Murakami does in no way speak to whatever his unique achievement as a novelist might be (and, worse, the piece simply assumes that a unique achievement has been made).

Likewise, Charles Baxter’s review in the New York Review of Books is full of relatively bland and/or misleading statements dressed up as profundities. For instance:

What’s fascinating about 1Q84 is its ambivalence about “the logic of reality” and its wish to plunge the reader into the “far greater power” of Unreality’s unlogic, which has the advantage of revolutionary fervor and reformism. Unrealism rejects what we have, or what the newspapers say we have, as uncongenial and loathsome and unsustainable, and offers up its own alternative. Within the subcultures it creates, almost all questions are answered. Fantasies are enacted. Beauty is reinstalled as a category. Everyday objects take on magical properties and serve as fetishes. Fiction, as Murakami knows perfectly well, can and does serve as a mirror world itself. It can both evoke Unrealism and collaborate with it, or it may deny it entirely. Fiction, then, can serve as both the poison and its antidote, though it is not scrupulously clear in 1Q84 whether Fuka-Eri’s novel Air Chrysalis has functioned as a cultural antitoxin or a hallucinogenic. Are novels good or bad for us? Tengo himself is not sure. Perhaps it is the wrong question.

By this definition, “Unrealism” has existed for decades (and under far better names), and for Murakami to simply create an “Unrealist” world is nothing new. And as with Anderson, Baxter’s description of the novel is hardly a precise statement—it can be applied to all sorts of novels—and it gives no indication of any particular, or particularly interesting, achievement Murakami has made.

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  1. Murakami Movie Only because I love this guy. Reading a novel or short story by Japanese author Haruki Murakami is like picking at a thread that eventually...
  2. Murakami Wins Frank O'Connor Prize Murakami Blind Willow, Sleeping Woman has won the second annual Frank O’Connor prize. This prize received a lot of yoo-ha in the news last year...
  3. Signs of Life from Murakami? Count me among those disappointed by most of Haruki Murakami's efforts post-The Windup Bird Chronicle. Not that he's written anything terrible since his masterpiece,...
  4. Dalkey on Translation Who in America is doing more for the cause of translated literature than Dalkey? In the new issue of context, John O’Brien has a piece...
  5. Murakami Via the Literary Saloon, the Germans are getting Murakami before us, but reports that we will have to wait until 2010 may be overblown. A...

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1 comment to Translation and Murakami

  • l

    I also thought the interview was just bad. For me the low point was the meandering description of getting to the interview. Anyone who has read anything about traveling to Tokyo knows that very few people speak any other languages, the subway signs are solely in Japanese and that the streets are notoriously unmarked. Yet this guy is so clueless that he finally needs to call Murakami to send someone to lead him to the author’s house. The tone of I’m adorably clueless continued throughout the interview, and drove me nuts.

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