and distills it to a sustained, engrossing nightmare.” Winters, who described it as a “Fractal baroque: an unfurling art that enfolds us in incomprehension, in fear, but also in irreducible beauty.” In my review, I wrote that John the Posthumous is “strong, strange literature, a terrifying prose-poem that seizes history and folklore, science and myth. Thomas Khan, who called it “a dizzyingly delightful and hypnotically haunting book that resists easy classification,” and David C. With blurbs from Gordon Lish, Ben Marcus, and Sam Lipsyte, John the Posthumous had “cult novel” written all over it from the outset. It was a 2013 highlight for many critics, including K.
Jason Schwartz’s novel John the Posthumous was published last year to wide acclaim, despite-or maybe because of-its challenging, disruptive qualities.