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A literary tour de force about the making of a film and representation from a master of the memoir form.
For Nick Flynn, that game we all play—the who-would-play-you-in-the-movie-of-your-life game—has been resolved. The Reenactments chronicles the surreal experience of being on set during the making of the film Being Flynn, from his best-selling memoir Another Bullshit Night in Suck City, and watching the central events of his life reenacted: his father's long run of homelessness and his mother's suicide. Flynn tells the story of Robert De Niro's first meeting with his real father in Boston and of watching Julianne Moore attempt to throw herself into the sea. The result is a mesmerizingly sharp-edged and kaleidoscopic literary tour de force as well as a compelling argument about consciousness, representation, and grief.
- January 2013
- 5.5 × 8.2 in
/ 320 pages
- Sales Territory: Worldwide including Canada, but excluding the British Commonwealth.
Endorsements & Reviews
“Flynn's determination to better understand his life through the act of writing and remembering has yielded a truly insightful, original work.” — Kirkus Reviews
“Eloquent, precise, intense and profoundly moving, The Reenactments is a powerful and beautiful story about grief, survival, and making art.” — Dani Shapiro, author of Devotion
“Some words we associate with good memoirs. ("Moving;" "brave.") And there are some—even with the best memoirs—we just don't. ("Intellectually challenging;" "formally adventurous.") Nick Flynn's The Reenactments is all these things, it is sui generis, it will make you cry. I read this book in a very short time. I won't stop thinking about it for a very long time.” — Darin Strauss, author of Half a Life
“Maybe only poets should be allowed to write memoirs, because they know that our perception is partial, our recollection is worse, and the world is made of shards and fragments that make patterns, but leave gaps and sharp edges. Nick Flynn's excellent new memoir embraces the unknown and unknowable as the very core of our experience.” — Rebecca Solnit, author of A Field Guide to Getting Lost
“Not only are films themselves composed of interiors and exteriors, but their creations are, as well. I've never read a book that has captured this fact so precisely, so movingly. The familiar hierarchies are reordered. Flynn has by now fashioned his own world of language, within which he can perform feat after revelatory feat.” — Joshua Cody, author of [Sic]
Also by Nick Flynn
Movie Tie-in Edition / Paperback