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.
A Greater Music is the first in a line of steady and much-anticipated releases by Bae Suah from key indie presses (this one published by Open Letter). Building off of the interest of 2016 Best Translated Book Award longlist nominee. . .
The dislocation of individuals from the countries of their birth has long been a common theme in contemporary literature. These two short novels recently translated into English appear firmly rooted in this tradition of ex-pat literature, but their authors eschew. . .
In Melancholy, Hungarian author, critic, and art theorist László Földényi presents a panorama of more than two thousand years of Western historical and cultural perspectives on the human condition known as melancholia. In nine chapters, Földényi contrasts the hero worship. . .
Pascal Quignard’s __The Hatred of Music_ is the densest, most arcane, most complex book I’ve read in ages. It’s also a book that covers a topic so basic, so universal—almost primordial—that just about any reader will be perversely thrilled by. . .
In Gustave Flaubert’s Madame Bovary, Flaubert attempted to highlight the ordinary, tired, and often crass nature of common expressions by italicising them within the text. When Charles, Emma Bovary’s mediocre husband, expresses himself in a manner akin to that of. . .
Eliot Weinberger takes big strides across literary history in his genuinely breathtaking short work, 19 Ways of Looking at Wang Wei, tracking translations of a short ancient Chinese poem from the publication of Ezra Pound’s Cathay in 1915 to Gary. . .
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .