There’s a lovely review of Overthrow in the September issue of Bookforum, which places the novel in the literary tradition and sees in it allegories of queer reading.
Over the weekend, I spoke with Amy Guth of Chicago’s WGN Radio about my recent article in the New Yorker on the history of unions and also, a little, about Overthrow (the segment with me starts at about 6:14).
If you’re in New York, please come to the reading at the Strand on Thursday, September 5, at 7:30pm! Admission is with purchase of the novel or of a $15 gift card.
I’m happy about two new reviews of Overthrow. On the New Yorker website, Garth Greenwell focuses on the novel’s style, which he sees as the book’s most crucial protagonist.
And at NPR, Annalisa Quinn focuses on the novel’s metaphoric treatments of technological surveillance.
Meanwhile, the website of Powell’s bookstore in Portland has published a self Q&A that I wrote for them, including the disclosure that I collect whaling stereoviews and a drawing that I made of my writing desk.
I’m very happy to report that there’s another thoughtful, positive assessment of Overthrow,” this time by Mark Athitakis in the Washington Post.
There’s a spirited, insightful, and generous review of Overthrow in the Boston Globe by Anthony Domestico this weekend, and I feel very honored and grateful. It’s uncanny to see something one wrote reflected back through a sympathetic critic’s understanding, and it’s sort of only now that I’m realizing how “fantastical,” as Domestico puts it, the novel is.
Julian Lucas has written a very thoughtful and generous review of my new novel Overthrow, published this morning in the online version of the New York Times Book Review:
What follows is, essentially, a 19th-century social novel for the 21st-century surveillance state. Frequently alluding to Henry James’s “The Princess Casamassima,” another story of young radicals, Crain subjects his characters to quandaries that test their precariously entwined identities. The novel almost dares readers to object to its inwardness — “It’s like there’s a new sumptuary law against introspection,” one of the four complains — but its tender, psychologically precise prose feels like a bulwark against the exposure it takes for a subject.