— Ariel Gore, author of The End of Eve, in “Bringing Up the Dead”
"I love a murder as catalyst for a story that’s really about the ultimate unknowability of truth, how we can never fully understand the inner world of another person, or even know what we ourselves are capable of."
~ Rachel Fershleiser on The Luminaries
(complete commentary at The Morning News)
“There are professional thrills and there are professional thrills, but I am extra especially thrilled to report that FSG is going to be publishing John Darnielle’s novel, Wolf in White Van, this fall. John is famous for his work with the Mountain Goats, and I suspect that none of the many fans who know his lyrics and have heard his stories will be surprised by the revelation that his is a genuinely literary mind. And it’s true—Wolf in White Van emphatically proves that his imagination and voice are at least as at home on the page as they are in song.
There are many things worth singling out for praise in Wolf in White Van:the unforgettable main character, Sean Phillips, who has been isolated by a disfiguring injury since age seventeen; Trace Italian, the intricate game within the novel that Sean created and runs; the interplay of real and imagined worlds, which is both complex and heartbreaking; the structure of the storytelling—audacious, brilliant, and never anything but convincing and unreasonably suspenseful; the prose itself, which is precise and beautiful and (forgive me) lyrical.”
Read more from editor Sean McDonald about Wolf in White Van here.
so here is a thing that is happening in my life that I am really incredibly excited about
And other people are really incredibly excited about it too. Like us. And probably you.
Jill: I was delighted to hear about the structure of The Blazing World before I read it — it sounded like it would allow for a multiplicity of views and voices, which it did. Why did you decide to approach Harriet this way, and what do you think you gained from this structure?
Hustvedt: Harry is such a hot character, hot as opposed to cool, that I think the reader would die, actually, if it were only her voice. The book really is a kind of refraction; it’s like light in a prism. It keeps refracting around the room.
I wanted her to be seen from multiple perspectives. She’s dead, of course, but you get to feel her living, writing in the notebooks, with the distance that’s provided by this frame with the editor. We know there has been interest in her work. She is a respected artist after her death, which is something she desperately wanted and hoped for.
Then I think about polyphony, that you can’t come down in any one place. The voices are voices of contradiction, of cacophony, and there are warring ideas, warring feelings. The form really mirrors the thematics of the book.
And Roger found, once he really got rolling, that books really could take him anywhere he wanted to go.
(photo credit Stickboydaily)