I’ve been excited about this book ever since I was able to publish two of the “Pieces” in jmww.
Here is how I introduced Lock before his recent reading (a Vol. 1 Brooklyn and Big Other event) at the Brooklyn Winery:
If you’re like me, when you hear words like “mastery” and “virtuosity,” you become incredibly suspicious of its source, but when I think of Norman Lock I think of those words, because he is, un…doubtedly, a master of story, a master storyteller attentive to the acoustics of language, concerned as much with sense and story and meaning as he is sensitive to sound and music, to the sound of music, to the music of sound.
His surname is ironic, to me, because what Lock does, in fact, is un-lock: he unlocks mysteries, terrors, and delights, and whatever odd number of gods and monsters, but unlike that other famed picker of locks, Pandora, Lock’s unlocked nested boxes don’t unleash mayhem into the world, but, rather, things of extreme beauty.
Lock’s the author of many novels and story collections, including, most recently, Shadowplay, published by Ellipsis Press; Grim Tales, published by Mud Luscious; and Pieces for Small Orchestra, from Spuytun Duyvil.
John Madera's fiction may be found in Conjunctions, Opium Magazine, The &Now Awards 2: The Best Innovative Writing, and many other journals. His criticism may be found in American Book Review, Bookforum, The Review of Contemporary Fiction, Rain Taxi: Review of Books, The Believer, The Brooklyn Rail, and many other venues. Recipient of an M.F.A. in Literary Arts from Brown University, John Madera lives in New York City, where he runs Rhizomatic and manages and edits Big Other.