Let’s just go ahead and call a Quesadilla a Quesadilla.
In The New York Times Dwight Garner says Juan Pablo Villalobos’s new novel is not just “short, dark, comic, ribald and surreal” but also “manic-impressive . . . . all delicious”; Vol. 1 Brooklyn’s Tobias Carroll calls it “realism pushed so far that it becomes bizarre and bleakly hilarious . . . hauntingly powerful”; and Julie Morse writes for the Rumpus, “[Quesadillas] is a wacky performance, a Mexican-ified Kabuki script . . . a messy concoction of absurdist theater and magical realism . . . a fast-paced, mind-bending journey.”
There’s little more satisfying to us than a reviewer who completely gets a book, whether they’re writing for The New York Times or their own personal blog or somewhere in between. Heavy Feather Review, a literary and arts quarterly, is publishing some fantastic fiction, poetry, nonfiction, and, lucky for us, book reviews. Erin McKnight recently reviewed Laura van den Berg’s The Isle of Youth and boy oh boy does she get it.
“Winding from Patagonia to the Antarctic Peninsula, the route of this follow-up to the wildly successful debut, What the World Will Look Like When All the Water Leaves Us, is just as exotic, its settings—a plane, mid-emergency landing; a day-long stakeout on a scorching rooftop; a backwater bar after a dismal magic show—just as inventive.”
The praise for Lindsay Hunter’s DON’T KISS ME keeps rolling in. Here’s what The Coffin Factory has to say about her work: “Hunter gets in and gets out of these stories quickly, walking a tightrope between lyricism and raw language, often achieving moments of transcendence by doing so.” Transcendence!
Hope Reese over at the Chicago Tribune had quite a bit to say about Lindsay Hunter’s “exquisite” work. The stories “unsettle, shock, provoke . . . [and] they kind of make you feel like your heart could kick the windows out.”
In the Washington Post, Dave Astor admits:
Yes, the mayhem quotient is off the charts in Bill’s debut novel, but there is much more to “Donnybrook” than characters maimed and murdered in nightmarish ways. The cast is memorable, the dialogue crackles, the tension is unrelenting—and it all happens for a reason.
At The Coffin Factory, Randy Rosenthal has more than just a fantastic progression of adjective to share about Juan Pablo Villalobos’ debut novel