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.


  • Nostalgia June 15, 2014
    Few habits are as prone to affliction, or as vulnerable to an ordeal, as the bent of a peddler’s consciousness. Placeless, the peddler completes an untold number of transactions; there are ideas to conduct (through language, which can transact a mind) and feelings to certify (through tasks, repeated interminably). […]
  • Why Literary Periods Mattered by Ted Underwood June 15, 2014
    There are some writers who are, and likely always will be, inextricably linked to the “period” with which their work is associated, and in many cases helped to define. Surely Wordsworth and Keats will always be “Romantic” poets, while Faulkner and Woolf will remain modernists, as the term “modern” has been fully appropriated to describe the historical era be […]
  • Trans-Atlantyk by Witold Gombrowicz June 15, 2014
    August 1939. You sail to Buenos Aires on the Chombry as a cultural ambassador of Poland. Why say no to a little holiday on the government’s tab? Soon after arriving you sense that something isn’t right. You emerge from a welcome reception and your ears are “filled with newspaper cries: ‘Polonia, Polonia,’ most irksome indeed.” Before you’ve even had a chance […]
  • Accepting the Disaster by Joshua Mehigan June 15, 2014
    The first collections of most young poets, even the better ones, carry with them a hint of bravado. Flush with recognition, vindicated by the encouraging attentions of at least one editor and three blurbists, the poet strikes a triumphant pose and high-fives the Muse: “We did it, baby.” When Joshua Mehigan published his impressive first collection, The Optim […]
  • The Histories of Herodotus, translated by Tom Holland June 15, 2014
    Two of the greatest of Tom Holland's predecessors in translating Herodotus are Victorian scholar George Rawlinson and Aubrey de Selincourt; the former translated Herodotus in 1860, making an enormous hit (despite the fact that its detractors often referred to it as “dull and prolix"), while the latter's 1954 Herodotus was another enormous hit, […]
  • Bullfight by Yasushi Inoue June 15, 2014
    The premise of Yasushi Inoue's debut novella Bullfight, celebrated in Japan as a classic of postwar literature, is unassuming enough: an evening newspaper sponsors a tournament of the regional sport of bull-sumo. As practical and financial issues arise, the paper's young editor-in-chief, Tsugami, soon realizes he has taken on more than he can handl […]
  • Sworn Virgin by Elvira Dones June 15, 2014
    Sworn Virgin was made to be translated. Elvira Dones wrote this book not in her native language of Albanian but in Italian—a necessarily fraught and complicated decision. In an Italian-language interview with Pierre Lepori, Dones speaks about her choice of language: “Sworn Virgin was born in Italian . . . I’ve lived using Italian for nineteen years, it has s […]
  • On the Letters of David Markson June 15, 2014
    Knowing these narrators and how their lives paralleled David’s own, it’s difficult to deny his being a recluse. I certainly held that image of him, and nursed it, secretly cherishing it because it meant I was one of the few people with whom he corresponded, and with whom he would occasionally meet. Arranging our first meetings in person was something of a ni […]
  • Storm Still by Peter Handke June 15, 2014
    Storm Still (Immer Noch Sturm) does not necessarily represent new terrain for Handke. Originally published by Suhrkamp Verlag in 2010 and now available for English-language readers thanks to Martin Chalmers’ fluent translation, the play chronicles the dissolution of the Svinec family, a family of Carinthian Slovenes—a quasi-fictionalized version of Handke’s […]
  • Red or Dead by David Peace June 15, 2014
    David Peace's novel Red or Dead is about British football, but it partakes in the traits of Homer's epic. This is a novel about the place of myth and heroes in modern society, about how the cyclical rhythms of athletic seasons reflect the cyclical patterns of life. It is a book about honor and fate, and one which bridges the profound, dreamlike ter […]

You & Me

Solid review of You & Me, Padgett Powell’s new book. Review is by William Giraldi at the LARB.

It starts with a great discussion of Beckett, which You & Me seems to resemble. Powell’s such a solid author. Is he read as much as he should be? I have the feeling he’s not, even among the literary classes . . .

Great bit here about a performance of Waiting for Godot at San Quentin State Prison:

If the pedantic cabal of philosophers and critics has insisted upon Godot’s interminable difficulty as an utterance of our existential dread — as the quiddity of our existential condition — then there was at least one group of theatergoers who received the play by mainline, who required no assistance from obfuscating academics. Esslin begins The Theater of the Absurd with the extraordinary story of Godot’s 1957 production at San Quentin State Prison just north of San Francisco. The director, Herbert Blau, was atremble with anxiety: “How were they to face one of the toughest audiences in the world with a highly obscure, intellectual play that had produced near riots among a good many highly sophisticated audiences in Western Europe?” (If the only crime committed by “highly sophisticated” Europeans was their propensity for near riot, civilization in the twentieth century would have been a less barbarous affair.) In an act of either condescension or assuagement of his own nerves, Blau introduced Godot to the inmates and compared it to jazz, “to which one must listen for whatever one may find in it.” But his introduction was for naught because “what had bewildered the sophisticated audiences in Paris, London, and New York was immediately grasped by an audience of convicts.”

Esslin goes on to speculate about why these caged men might intuitively comprehend a plotless play about abject wastrels conversing obscurely on a country road, waiting for someone who will not appear, someone about whom they know only rumors. Either the circumstances in Godot paralleled the men’s incarceration and they merely identified — “merely” because your identification with or distance from a work of literature says nothing at all about the work and everything about you — or their paucity of critical apparatus rendered them especially susceptible to Beckett’s meaning, a meaning that must be, in the end, emotional as well as intellectual if the work is to succeed. Esslin suggests that the San Quentin inmates might have been “unsophisticated enough to come to the theater without any preconceived notions and ready-made expectations, so that they avoided the mistake that trapped so many established critics who condemned the play for its lack of plot, development, characterization, suspense, or plain common sense.”

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  1. All literary works are anonymous The TLS: Unhoused Terry Eagleton Anonymity: A Secret History of English Literature by John Mullan All literary works are anonymous, but some are more anonymous...
  2. Satantango Vertigo reviews Satantango, the most recent translated novel from Laszlo Krasznahorkai. Krasznahorkai is a specialist in studying the forms of self-delusion we adopt to repel...
  3. Theater Dan picked up this post from Ed. The question of whether Osborne is a seminal figure or not has me wondering whether theatre is still...
  4. Cynthia Ozick in TNR The always-enlighening Cynthia Ozick tackles the play My Name Is Rachel Corrie over at TNR: On Justice Brandeis’s celebrated principle that "the remedy [for free...
  5. Beckett Centennial The New York Sun has some info on Grove's forthcoming boxed set of virtually all of Beckett's works. Grove Press, Beckett's original American publisher, has...

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1 comment to You & Me

  • MZell

    Great part of an interesting book (“Theatre of the Absurd”). As Gerald Murnane and Andrei Tarkovsky found, among many others, it is limiting and unnecessary to define one’s work as “not for everyone” because one never knows where one’s audience might span.

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