After a bit of a hiatus, Tom Roberge and Chad W. Post are back to discuss what we mean when we say that a book is “difficult.” They use a range of examples, from Finnegans Wake to Mrs. Dalloway to define a few different categories of reading “difficulty,” such as, not being compelled, and having to read a book like a puzzle.
For a Three Percent podcast, this one is pretty serious, and even more interesting than usual. And for those who are interested, here’s a list of all the books/artists discussed this week:
Passion According to G.H. by Clarice Lispector
Maidenhair by Mikhail Shishkin
Finnegans Wake by James Joyce
The Kite Runner by Khaled Hosseini
Clockwork Orange by Anthony Burgess
Mrs. Dalloway by Virginia Wolff
P.T. Anderson’s movies
The Sound and the Fury by William Faulkner
Hawthorne & Child by Keith Ridgway
Only Revolutions by Mark Z. Danielewski
Lolita by Vladimir Nabokov
Pale Fire by Vladimir Nabokov
Catcher in the Rye by J.D. Salinger
A Wilderness of Error by Errol Morris
This week’s music is Breezeblocks by alt-J (∆), which is a cool song, with a really disturbed video—but one that fits this week’s podcast pretty well, since the narrative technique employed forces the viewer to puzzle things out, with the end changing the viewers understanding of what happened quite dramatically.
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .
Let’s not deceive ourselves, man is nothing very special. In fact, there are so many of us that our governments don’t know what to do with us at all. Six billion humans on the planet and only six or seven. . .
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .