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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  • 20 Books at 3820 Books at 38

    I'm surprised to learn Andres Newman is so young. Also, great overview of his books in English. Andrés Neuman is... »
  • The Future ModianoThe Future Modiano

    The Complete Review has the details of the future Englishing of our most recent Nobel laureate. And also, sales figures. For... »
  • Quarterly Conversationi Issue 38Quarterly Conversationi Issue 38

    Issue 38 right here. or TOC after the jump. Features Readings, Fragments,... »
  • On KafkaOn Kafka

    Rivka Galchen on the new Kafka bio by Reiner Stach. I have come to the conclusion that anyone who thinks about Kafka for... »
  • Me on ModianoMe on Modiano

    My review of Suspended Sentences by Patrick Modiano. The most focused of the book’s three diffuse novellas is... »
  • Elena Ferrante InterviewedElena Ferrante Interviewed

    At the NY TImes. I'm currently reading Book 1. Q. You insist on anonymity and yet are developing a cult following,... »
  • Infinite FictionsInfinite Fictions

    Buy David Winters's book.... »
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    At BOMB: A couple of months after that, in February 2011, Béla Tarr presented the world premiere of The Turin Horse at... »
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    This is a pretty fair assessment of Bolaño: A Biography. Denied access to papers in the Bolaño estate, the Argentine... »
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You Say

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

Shop though these links = Support this site


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.


  • [[there.]] by Lance Olsen December 15, 2014
    Lance Olsen is the author of two recent works, [[there.]] and Theories of Forgetting (FC2). The second presents three narratives in a clearly fictional mode while the first offers day-to-day thoughts on living in another country. We rightly suspect that any artist’s memoir or diary ought to be viewed as written with a prospective public in mind, no matter ho […]
  • Noir and Nihilism in True Detective December 15, 2014
    "It’s just one story. The oldest. . . . Light versus dark." Spanning 8 episodes between January and March of 2014, HBO’s runaway hit True Detective challenged the status quo of contemporary crime drama. The show has been widely celebrated for its philosophy, complexity, and visual aesthetic. Co-starring actors Matthew McConaughey as Rustin "Ru […]
  • The Colonel’s World December 15, 2014
    Mahmoud Dowlatabadi (born 1940) is considered by many the living Iranian novelist, a perennial Nobel Prize candidate. Dowlatabadi wrote The Colonel some thirty years ago, because in his own words he had been “afflicted.” The subject forced him to sit at the desk and write nonstop for two years. “Writing The Colonel I felt a strong sense of indignation and pa […]
  • Mr Gwyn and Three Times at Dawn by Alessandro Baricco December 15, 2014
    Alessandro Baricco’s well-crafted, elegant prose seems as though it should create the impression of distance, or of abstraction; instead, the reader of Mr. Gwyn and Three Times at Dawn becomes wholly implicated and immersed, drawn into a dreamy and idiosyncratic world that blurs the division between reader, character and writer. As readers, we expect that th […]
  • The Walls of Delhi by Uday Prakash December 15, 2014
    "The paan shop leads to the opening of a tunnel, full of the creatures of the city, and the tears and spit of a fakir." In a single opening line, Uday Prakash sets the scene for the politically incisive, yet intimately human stories of The Walls of Delhi (translated brilliantly from the Hindi by Jason Grunebaum). Lest the fakir suggest otherwise, t […]
  • The Man Between: Michael Henry Heim and a Life in Translation December 15, 2014
    In a speech reprinted in the book, Heim makes a self-deprecating joke about whether the life of a translator is worth reading: “What does a translator do? He sits and translates!” The Man Between serves as a book-length retort by laying bare all the things Heim did: these include persuading the academy that translation is a scholarly (in addition to a creati […]
  • The Prabda Yoon Interview December 15, 2014
    Yes, I think people are not comfortable anymore to write in this straightforward, traditional way, especially the younger, more progressive writers. So it’s interesting—you have social commentary, and you also get a little bit of structural experiment. You have themes that are very, very Thai. I’m actually very interested to see what new writers will come up […]
  • The End of Days by Jenny Erpenbeck December 15, 2014
    For Jenny Erpenbeck, no life is lived in an indisputable straight line. Which is why, in her new novel (new in English, though published in 2012 as Aller Tage Abend) she approaches the narrative as a series of potential emotional earthquakes, some which take place, some which might have taken place, all of which reveal something of how political turbulence p […]
  • In the Heart of the Heart of the Country by William H. Gass December 15, 2014
    Once, at a writers symposium, William Howard Gass remarked that to substitute the page for the world is a form of revenge for the recognition that "you are, in terms of the so-called world, an impotent nobody." There is inarguably no contemporary writer of American stock in whose work one might locate a more ambitious war of attrition between innov […]
  • Faces in the Crowd by Valeria Luiselli December 15, 2014
    Luiselli’s first novel, Faces in the Crowd, translated into fluid English by Christina MacSweeney, is the perfect illustration of this attitude toward fiction writing. Narrated in short sections spanning multiple storylines and the better part of one hundred years, it uses "[d]eep excavations" to expose the empty spaces in two lives, those of a you […]

Weekend Content

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Joan Miro: “I want to assassinate painting. I intend to destroy, destroy everything that exists in painting. I have utter contempt for painting.

NYRB: Two Paths for the Novel, wherein Zadie Smith argues persuasively against the exact kind of novel she’s been trending toward.

From two recent novels, a story emerges about the future for the Anglophone novel. Both are the result of long journeys. Netherland, by Joseph O’Neill, took seven years to write; Remainder,
by Tom McCarthy, took seven years to find a mainstream publisher. The
two novels are antipodal—indeed one is the strong refusal of the other.
The violence of the rejection Remainder represents to a novel like Netherland
is, in part, a function of our ailing literary culture. All novels
attempt to cut neural routes through the brain, to convince us that
down this road the true future of the novel lies. In healthy times, we
cut multiple roads, allowing for the possibility of a Jean Genet as
surely as a Graham Greene.

These aren’t particularly healthy times. A breed of lyrical Realism has had the freedom of the highway for some time now, with most other exits blocked. For Netherland, our receptive pathways are so solidly established that to read this novel is to feel a powerful, somewhat dispiriting sense of recognition. It seems perfectly done—in a sense that’s the problem. It’s so precisely the image of what we have been taught to value in fiction that it throws that image into a kind of existential crisis, as the photograph gifts a nervous breakdown to the painted portrait.

Boston Review, The End of Sexual Identity:

In regard to sexual identity, fiction writers today not only display
some sort of civic obligation to “imagine” the other, but also reveal a
profound curiosity, a hunger, to try on the other’s tropes, to exchange
them, to press ourselves against them and be transformed. We want to
know how other people do it—make narrative, that is. We want to do it
the way they do and see what happens. Chain bookstores might prefer to
herd shoppers into categories under fluorescent lights, but writers and
readers have a way of wandering around in the dusk, curious,
appetitive, mutable. From that wandering, new forms and new ways of
seeing emerge. We look through the eyes of the other not via identity—this is what it’s like to be you—but via a way of making narrative—this is what it’s like to tell a story, to frame the world, the way you do—and suddenly we are able to apprehend the world anew.
     What follows is a very rough map of this new terrain.

Ramirez

Martin Ramirez, in the Economist:"MARTIN RAMIREZ spent most of his adult life in mental hospitals. He
taught himself to paint, using whatever he could lay his hands on:
food, pencils, crayons, shoe polish, even his own saliva coloured by
chewing up newspaper illustrations. To make the huge pieces of paper he
liked to work on, he used newspaper, grocery bags and thin
medical-examination sheets, glued together with a paste of spit and
mashed potatoes. For decades he has been considered an oddball artist,
America’s answer to Richard Dadd."

Words Without Borders, Three Myths of Immigrant Writing by Sasa Stanišić:

Myth 1: Immigrant literature is a philological category of its own, and thus comprises a fruitful anomaly in relation to national literatures.

To speak of a single “immigrant literature” is simply wrong, because it is wrongly simple. The nature of migration and the level of foreign writers’ integration vary too much to be collected in one category, not to mention the authors’ unique biographical backgrounds and differing cultural, religious, or social habits. Even these outward literary characteristics point to the great diversity of experiences, possible subjects, and intellectual influences which in many cases become a part of the text or even make up the text as a whole. The goal of objective judgment should be to overcome the fixation on an author’s biography and move to a thematically-oriented view of the work.

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2 comments to Weekend Content

  • Hmm, but still you spell English with a capital ‘e’. I think one of the effects of the proliferation of writing on the internet will be a quickening in the absorption of influences, and the merging of languages. Hasten the possibility of a universal one which evolves naturally instead of through rules of grammar. That excites me.

  • Here, here for Zadie Smith’s commentary: “A breed of lyrical Realism has had the freedom of the highway for some time now, with most other exits blocked.”
    It’s really sadly true. After spending my early reading years indulging in such a wide cast of authors, I feel like I’ve read nothing but lyrical realism for the last 10 years. Nothing against it, but it’s not the only way to write, and it becomes a quite limiting way to represent the world.
    Novels need to be a bit messier, to show the signs of their exploration…

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