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.
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .