I did not read Lauren Oyler’s debut, FAKE ACCOUNTS, for fun, and I won’t say that’s what it turned into, because that would be something adjacent to a lie. I read it for the discourse.
MY AUTOBIOGRAPHY cracks the normative bounds of literary scholarship and shows us what kind of knowledge production is possible when the researcher drops the veneer of “scholarly objectivity” and makes herself fully present in the research process.
Polek allows her characters — and therefore herself — to face the fear of futility that lurks everywhere in her exhibits. But there is a real grace in this devastation, too. Alongside the grace, stories like these provide that fizzy tincture of strangeness and humanity that every reader I know lives for.