This morning at Conversation Reading, Scott Esposito announced an exciting new project of his to publish long essays:
So here’s the deal: I’ve long made my love of long essays known around here. From books like Nicholson Baker’s U&I to Barthes’ S/Z to the work of Geoff Dyer, William H. Gass, Michael Martone, DH Lawrence, and plenty more, the long essay has a pretty awesome reputation as the place critics go when they’re ready to write in a more creative way.
And that goes a long way toward explaining why I’ve decided to start publishing long essays in the series “TQC Long Essays.” These are going to come in at around 20,000 words each–roughly 70 pages. In my opinion, that’s way too much for your average webpage, not quite enough for a printed book, but an ideal length for an ereader. For the series I’ll be bringing on people who I think have something to say, and we’ll be talking about the interesting authors and questions of contemporary literature.
These aren’t free. 20,000 words takes a lot of work to write, and I like to think it takes some skill and dedication to the critical craft to be able to write at that length and have it be worth the time. So, we’re starting this first ebook off at the modest price of $2.99, and we’ll see where it goes from there.
The long-form essay has become more and more popular in the ereader age, and this project fits that niche nicely. We’ll have more to say about these Long Essays as they come out, but for now, here’s Scott’s intro to the first one in the series:
I’d like to introduce the first in a new series of ebooks published under the auspices of The Quarterly Conversation. The book is called, Lady Chatterley’s Brother, with the rather chatty subtitle, Why Nicholson Baker Can’t Write About Sex, and Why Javier Marias Can. It is co-written by me and longtime Quarterly Conversation contributing editor Barrett Hathcock. It will be available to the public on Monday, October 17, exactly 2 weeks from today. [. . .]
The project got started when Barrett realized that House of Holes was going to be yet another sex book from Baker. He groaned, told me that Baker just doesn’t get good sex writing, and I asked him why. As we started talking, it struck me that Marias understood sex writing for precisely the reasons Baker didn’t. And we were off.
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .