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.

For low prices on Las Vegas shows visit LasVegas.ShowTickets.com
  • 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.... »
  • Tarr After the HorseTarr After the Horse

    At BOMB: A couple of months after that, in February 2011, Béla Tarr presented the world premiere of The Turin Horse at... »
  • Bolaño: A BiographyBolaño: A Biography

    This is a pretty fair assessment of Bolaño: A Biography. Denied access to papers in the Bolaño estate, the Argentine... »
  • Literary AdvocatesLiterary Advocates

    Very honored to be among the esteemed list of "Literary Advocates" named by Entropy magazine for 2014. The list of... »

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 […]

Your Face This Spring: Here We Go!

And we’re off! I’m very happy to say that after my call for all the participants to send me a little email last week, I heard from about 20 of you, which is a great number for a discussion of these books. (And you Marias-discussion lurkers out there, don’t be shy.)

This week this is what we’re reading: * Week 1, March 21-27: pp. 3 – 95 (Section ends at: “But before getting back to the Tupras . . .”)

As always, you can find the full schedule right here.

Since most of us are just starting (although a few of us have previously read part or all of Vol 1), I thought I’d do an initial post about some of the literary contexts to read these books in. One name that comes up in conjunction with Marias quite a bit is Proust. Although I’m not seeing it on a line-by-line level so far (Marias, to me, is much more caught up in the worlds of genre and politics than Proust ever was), I do think there’s something to the ways both authors approach memory, as explored in this essay.

Another name that I’ve seen in conjunction with Marias is W.G. Sebald. Here are some correspondences that Sarah Emily Miano listed in an interview with the author in The Guardian:

After his second book, Marías didn’t write a novel for six years, but translated instead. His early influences were replaced by writers whom he was translating from English: Conrad, Faulkner, James, Kipling, Sterne, Shakespeare, Nabokov, Lawrence Durrell and Sir Thomas Browne. ‘I was still looking for my own way, and I probably didn’t find it until much later, if I have.’

With these influences in common, no wonder WG Sebald recommended his work and spoke of him as a ‘twin writer’: their narrators are commonly in states of malaise or fever; their narratives are interested in those same patterns of association that exhaust all possibilities; their prose exerts an almost opium effect over the reader as time slows down, expands or is still.

I’m not quite persuaded, though I think there’s a lot here to build on, and I’ll be keeping this in mind as we read. My biggest problem with the Sebald comparison, at least as goes Your Face Tomorrow, is the length of Marias’s book: Sebald never wrote anything remotely approaching this length. As to that, Steve Mitchelmore found All Souls, one of Marias’s shorter works, a much more Sebaldian novel than Your Face Tomorrow.

The Sebald comparison was also taken up by Mark Ford in The New York Review of Books (who also noted Marias’s stylistic debt to authors he had translated, “such as Faulkner and Browne and James, as well as the impact of reading that master of the monologue, the Austrian novelist Thomas Bernhard). He writes:

Like W.G. Sebald, Marìas enjoys intermingling the fictional and the documentary; the love story of All Souls between the lecturer and Clare Bayes, a married woman, is wound around the life of John Gawsworth, a real writer who was born Terence Ian Fytton Armstrong in 1912: Gawsworth, who also occasionally wrote under the pen name “Orpheus Scrannel” (an allusion to Milton’s “Lycidas”), forged a small reputation with a series of defiantly antimodernist volumes of verse published in the 1930s, but is perhaps best known now for his biography of another of Marìas’s enthusiasms, the Welsh writer of supernatural fiction Arthur Machen. For reasons he can’t quite fathom, the narrator of All Souls finds himself obsessed with Gawsworth’s not very distinguished writings, and the sad tale of his gradual decline into vagrancy in his later years. The book includes a photo of him in his RAF uniform, probably taken in Cairo, with an unlit cigarette in his mouth, and also one of his death mask, made by a certain Hugh Oloff de Wet, another of Marìas’s galère of eccentrics whose life story is given in full in Dark Back of Time.

In both these books Marìas seems to be attempting to create perspectives on people and events that make the factual and the imaginary hard to prise apart; as a result we are insistently forced to acknowledge that there is no solid ground of unimpeachable truth on which to rest.

Lastly, The New Yorker offers a useful overview of Marias’s career, noting his 28 books (though I think by now the number is over 30), the many poets he has translated (“John Ashbery, W. H. Auden, Joseph Brodsky, Seamus Heaney, Frank O’Hara, and Wallace Stevens”), and that he is a weekly newspaper columnist. (His massive output should put to rest anyone’s fears that writing for both books and newspapers, blogs, or similar media are incompatible.)

Then there is this

“Your Face Tomorrow: Volume I, Fever and Spear,” is Marías’s most extravagant showcase for “literary thinking” so far. It also serves as a compelling introduction to his writing, and is the start of what promises to be a multivolume work. A second volume, “Baile y Sueño—Dance and Dream”—is already available in Spain, and Marías is now writing Volume III. While he has claimed that this will mark the work’s end, it is worth keeping in mind that he made the same claim for Volume II when Volume I appeared. Proust announced, in 1912, that he had finished his multivolume novel, but he continued adding to it for another decade, and died before the final revisions had been completed. Even if Marías’s current project does not reach these extremes, the portion of it that has already appeared intensifies a growing suspicion that his novels are all, in a sense, puzzle pieces of a larger whole.

One thing I haven’t yet been able to find is a good essay covering Marias as regards genre, especially film noir and detective fiction, which it is already quite clear will play significant roles in the trilogy. If anyone is aware of something, call it out for all of us, and, of course, add your own thoughts on this or any of the foregoing in the comments.

You Might Also Like:

More from Conversational Reading:

  1. Your Face This Spring Okay, let’s do this. Starting this spring, I’m going to read Javier Marias’ Your Face Tomorrow trilogy. Whoever wants to join me on this...
  2. Your Face This Spring in One Week A reminder for everyone that we’ll be starting our epic, multi-month reading of Javier Marias’ Your Face Tomorrow trilogy in a little over a week,...
  3. Javier Marías Article on Javier Marías over at The New Yorker. An op-ed by Michael Chabon may pop up now and again, but it is hard to...
  4. Novels Give You Time Back I really can’t be reading anything but Best Translated Fiction books at the moment, but this is the sort of thing to make me want...
  5. Your Face This Spring Participants If you’re planning on attempting Javier Marias’s trilogy with me–starting next week–please drop me a short email between now and then (you’ll find the address...

Related posts brought to you by Yet Another Related Posts Plugin.

8 comments to Your Face This Spring: Here We Go!

  • Matt

    Here we go! Ive already read Vol 1, and its going to take a bit of restraint to stop myself from diving into Vol 2 immediately. I read Vol 1 in October and Ive got a Marias craving. Ill probably use the Vol 1 reading period to go back and re-read some passages to brush up a bit, and also so I can better contribute to the conversation.

  • Neil

    Do we need to know anything about “All Souls” before starting the trilogy?

  • Neil: That’s a good question. Most sources I’ve consulted on YFT say that though the narrator is a carryover from All Souls, no knowledge of that book is necessary (though it will probably add detail to your reading).

    Can anyone in our group who has read All Souls give us a quick fill-in?

  • Cesar Bruto

    In an interview with the Bookworm, Javier Marias said the third volume could be called “My Face Tomorrow” because many of the narrator’s preoccupations in volumes I and II are finally directed at himself. Just something to look forward to. Especially because in Volume I a report says of Deza: “He doesn’t pay much attention to himself because he’s given up understanding himself.” And: “Things happen and he makes a mental note, not for any particular reason.”

  • Drew

    With regards to All Souls and Dark Back Of Time, you can sense where these novels come into play in the persent text (e.g. the affair with the colleague is mentioned a couple of times, as is Gawsworth), but Marias (at this early stage), gives them a breath or two and then drops them.

    The problem, I think, with needing to read these first is that there are already a lot of pages to cover in Your Face, adding All Souls and Dark onto it, you are looking at, what, an excess of 1600 pages? If you are interested in those lines of plot I mentioned above, then go read them, otherwise, keep paddling, keep paddling.

    Do you need to start with Faulkner’s earliest works to get a sense of what the writer was about?

  • Sumner

    I’m on board! Read through page 96 at a very leisurely pace on airplanes over the weekend – the pace at which the book eases into telling a story is really involving; by the time I got to the party, I felt like I’d been gradually immersed. I also revisited the opening chapter a number of times & rooted around in it in relation to the later, slightly lighter scenes.

  • Matt

    I agree with Drew. Although I havent read All Souls or The Dark Back Of Time, I honestly dont think they are prerequisites to the Your Face Tomorrow trilogy, and Im quite sure they werent intended as such. Other than perhaps giving a little more information about the narrator they are separate entities, and should be thought of in that manner.

  • Ginny

    I was going to comment on the Proust/Marias thread: I will confess that I went straight from the last 50 pages of Proust’s “The Captive” directly into the first pages of “Spear and Fever,” and my very first reaction to the first chapter of “Your Face Tomorrow” was to do a double take and make sure I’d actually swapped books.

    The section I had just finished in Proust was one where Marcel (the narrator) ruminates for many pages about the impossibility of ever completely knowing someone (Albertine), and it contained a lengthy dissection about what it means to tell a lie versus the truth, why people lie or tell the truth, and the idea that telling a portion of the truth will probably not lead to a truth but instead uncover more lies. And then to go right into Maria’s first chapter on why you would offer up a piece of information and dissection of what confidences mean…

    But aside from that coincidence, I am finding Proust and Marias to be very similar on many levels. In the style of writing in general — there’s the stream of consciousness narrative that is primarily an interior monologue that snaps only briefly to vivid portraits of individuals and what is going on plot-wise. There are similarities in the bigger themes — of memory, an ability to correctly read and judge an individual but also the impossibility of knowing someone completely, jealousy and one’s place in the world. There were also similarities in plot and situation – Proust spends countless time in “In Search of Lost Time” imagining the unfaithful acts Albertine is engaging in when they are not together, which Jaime engages in almost immediately in this novel when he thinks of his wife back home. The majority of the “action” in Proust also happens at social gatherings where the “plot” becomes evident through the customs of normal interaction at salons — how participants either observe or ignore these customs, where everyone fits in according to their status in society and their connections to others. Marias starts this novel with a modern day “salon” of privileged and educated people, and we learn about Jamie by seeing him in the center of a party where he is forced him to uncover Tupra’s personality by watching how Tupra interacts with Wheeler, Beryl, de la Garza and other guests.

    I am experiencing the connections between the two writers pretty clearly so far. Google searching from Scott’s link, I uncovered another article online that explored some of the connections between the two: http://this-space.blogspot.com/2006/07/more-perplexity-responses-to-javier.html

Leave a Reply

  

  

  

You can use these HTML tags

<a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>