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While reading through Kurt Vonnegut’s papers in the Lilly Library, at Indiana University, as they worked on the first comprehensive edition of his short fiction, Vonnegut’s friend Dan Wakefield and Jerome Klinkowitz, a scholar of Vonnegut’s work, came across five previously unpublished stories. 

In anticipation of publishing Kurt Vonnegut’s Complete Stories (available for order today!), we’ve been rolling out some of those tales that never found their way into print. The Atlantic got “The Drone King,” which they published along with an incredible animated version of the story. Another, “Requiem for Zeitgeist” will be published tomorrow on the website of The Nation.

And here’s "And on Your Left," a never before published Vonnegut story exclusively for the Seven Stories blog. It tells the tale of hard scientists forced into a life of show biz, and how they conspire to get back to their work. We hope you enjoy!

"They are making bourgeois garbage and I have been making revolutionary garbage." Thus quoth Jean-Luc Godard, about his former friends, the "bourgeois" filmmakers Truffaut and Coutard, in this 1970 interview with the Evergreen Review's Kent Carroll. It's a fascinating text, in which Godard, along with Jean-Pierre Gorin, his partner in the class-conscious Dziga-Vertov Group, discuss American students, revolutionary struggle, and "what the Chinese call a bullet wrapped in sugar." We hope you enjoy!

Excerpted from Paul Auster's A Life in Words: Conversations with I. B. Siegumfeldt, available for purchase from our site at 25% off list price.

In the conversation below, acclaimed novelist Paul Auster and scholar I. B. Siegumfeldt discuss Auster's "Portrait of an Invisible Man," which comprises one half of The Invention of Solitude and served as the pivotal piece of writing for Auster's movement into a style wholly his own. Auster discusses the hazards of literary education ("I’d come to such a point of self-consciousness that I somehow believed that every novel had to be completely worked out in advance"); the death of his father ("My father came from the generation of men who wore neckties, and apparently he kept every tie he ever owned. When he died, there must have been a hundred of them in his closet. You are confronted by these ties, which are, in a sense, a miniature history of his life."); and the vitality of the unconscious ("I understood that everything comes from within and moves out. It’s never the reverse. Form doesn’t precede content. The material itself will find its own form as you’re working through it."). We hope you enjoy!

Entrapment had made the day’s events, and my own life, seem like legitimate literary subjects. The characters in its pages were called Frank Mears, and Blackie Cavanaugh, and Little Lester, but when I read about them I felt I was reading about old friends. They were the kids I had played with in the abandoned lot behind my apartment in Williamsburg, Brooklyn, as a child; men I knocked around with on street corners, gyms, and bars; my old friend Bones, an alcoholic who looked after me when I became a bicycle messenger at seventeen, and then hung himself from a pipe running along the ceiling of his basement apartment.