Made to Break

EXCITEMENT, PRAISE, REVIEWS, AND INTERVIEWS

“With some of the most luminous and purple prose flexed in recent memory, D. Foy is an incendiary new voice and Made to Break a grand, episodic debut, redolent of the stark conscience of Denis Johnson and the spellbinding vision of Roberto Bolaño.”
From the jacket copy of Made to Break

DFoy_MadeToBreak_Cover

• • •

EXCITEMENT

Made to Break hit quite a few 2014 year-end best-of-lists! Here’s the run down:

Flavorwire‘s 50 Best Indie’s of 2014

Electric Literature’s Year of the Debut

Book Riot’s Great Big Guide To 2014’s Must-Read Books

Dennis Cooper’s Favorite Fiction of 2014

35 Over 35 Notable Debut Authors

LA Times article on 35 Over 35: “Celebrating late bloomers with 35 Over 35″

Masters Review’s 7 Notable Debut Authors

Vol. 1 Brooklyn’s Year of Favorites

Verbicide’s Top 11 Books of 2014

LitReactor’s Best Books of 2014

Entropy’s Best Lines of 2014

Brazos Bookstore’s Year in Books

Sean H. Doyle’s Year of Favorites (at Vol. 1 Brooklyn)

• • •

Made to Break makes the top of the list of “Entropy’s 10 Best Novels of the First Half of 2014.

“I can’t think of the last time I was as mesmerized and taken aback by the prose of a book. D. Foy takes a jackhammer to language, weaving, smashing, and lyricizing the cultural junction point of multiple relationships gone awry.”

Made to Break hits another Flavorwire list: “The Best Indie Literature of 2014 So Far.

“One of the best debuts of 2014, Foy’s menacing and cerebral look at friendship and dealing with the past reads like . . . a Stanley Kubrick rewrite of a script by Denis Johnson might.”

Dennis Cooper loved Made to Break earlier this year and just put it on his list again, for his 2014 faves, along with the likes of Robert Coover and Alain Robbe-Grillet.

Made to Break hits Library Journal’s Top Indie Fiction List for Summer 2014.

I’m one of the “literary luminaries” recommending summer reads over at Flavorwire . . .

Dennis Cooper LOVES Made to Break.

Made to Break makes Flavorwire’s list of 15 most anticipated books for 2014 . . .

Made to Break makes Flavorwire’s 10 Must-Read Books for March 2014 . . .

Scott Cheshire is seriously grooving on Made to Break . . .

• • •

PRAISE

“Reading D. Foy’s prose is like watching Robert Stone and Wallace Stevens drag race across a frozen lake at midnight.”
Anthony Swofford, author of Jarhead, Exit A, and Hotels, Hospitals, and Jails.

“D. Foy’s writing is so rich, so saturated in both life and literature, that one is tempted to strain for comparison, to find whatever madcap equivalencies (“It’s X meets Y!”) might begin to describe it accurately. Yet its whorl and grain, the fantastical strangeness of Foy’s sentences and the astonishing accuracy of his perception, amounts to something I can only call new. Made To Break is that rare thing: a truly original, and ferociously necessary, book.”
Matthew Specktor, author of American Dream Machine

“D. Foy’s Made to Break is a fiercely engrossing story of isolation, decaying friendships, and what people are capable of when they become, in body and in soul, trapped, all set against a dangerous winter landscape. These characters are so richly alive, these sentences so stormy and beautiful, this novel reads less like a debut than an assured, indelible work of art.”
Laura van den Berg, author of The Isle of Youth

Made to Break is a fearless exploration of fragility–the fragility of friendship, the fragility of romance, the fragility of human life–but the book itself, trussed by D. Foy’s lavishly constructed sentences and astute psychological observations, is built to last. Think: Celine. Think: Burroughs. Think: Denis Johnson. Or better yet, think: D. Foy, poet laureate-elect of that marginal America filled with  junkies and drunks, where death is omnipresent, and the refuge of an open diner on a stormy night is the closest one gets to the American Dream.”
Adam Wilson, author of Flatscreen and What’s Important Is Feeling

Stand back—D. Foy has ignited a big bad bacchanal where the sentences—if not whole pages—sear your skull. And buckle up, too, because the characters in Made to Break don’t. Here is a novel to cheer and to foist upon others.”
Terese Svoboda
author of Tin God, Black Glasses Like Clark Kent, Bohemian Girl

While reading Made to Break I just couldn’t believe it was the author’s first novel. The characters are deadly, troubled, vibrant, and their world is suffused with evil—not the manufactured evil of a Hollywood horror movie, but the carefully paced malevolence of a world doomed to swallow its inhabitants, consuming their shallow, fucked up memories in a swell of amoral darkness. D. Foy is not just a writer. He’s the kind of archangel Stanley Kubrick would have built wings for. Don’t just read this book. Revel in it. I swear you won’t be able to stop.”
Samuel Sattin, author of League of Somebodies

Made to Break is a debauched Decameron for the punk and pills age. The group of friends in this excellent debut novel hit bottom together, and hit it hard. D. Foy sets his characters in motion and sends them reeling, one sure hand on the reader’s throat in a gorgeous, exhilarating tumble.”
Cari Luna, author of The Revolution of Every Day

“If Jonathan Ames, David Lynch, and Jack Kerouac banded together to pen a cautionary tale about Peter Pan and his drug- and alcohol-addled Lost Boys-as-Donner Party refugees, it would look like Made to BreakIn D. Foy’s hands, men and women too old to behave like the impetuous teens they once were still cling to the dying code of what made their youth survivable.  This book is one wild, wild ride.”
Christian Kiefer, author of The Infinite Tide

“D. Foy is spinning together his own breed of narrative, dubbed ‘gutter opera,’ where the grit merges with the glory, the kind of beauty that can only be found in literature. Made to Break is an amazing book and, man, he’s one of the writers I am actively following, eager as hell to hear about his next.”
Michael J Seidlinger, author of The Laughter of Strangers and The Fun We’ve Had, publisher of Civil Coping Mechanisms, and Reviews Editor at Electric Literature

“There is suffocation and speed, words popping and sentences packed, old friends, new love, grudges and pain. They are trapped, and squeezed, and things have to give, and break, and you want to call it horror, but don’t do that, call it fear and confusion, and real life, compressed and harried. Call it Made to Break, the glorious debut novel from D. Foy.”
Ben Tanzer, author of Lost in Space and Orphans

• • •

REVIEWS

J.T. Price at The Daily Beast reviews Made to Break: “D. Foy’s fiction is the kind that could very well shatter in your hands . . . Akin in spirit to David Foster Wallace . . . and echoing the signature cadences of Kerouac, the narrative of Made to Break puts the machina back in deus ex, and then, in case you can’t believe your eyes, does it again . . . Literary, cinematic, and pop enthusiasms fill his debut to bursting. A reader senses both storyteller and critic fighting for full expression on the page, one facet overlaying the other . . . What’s unique in this deregulated age . . . is that Foy’s movement appears to be utterly his own. He is a writing school of one, and Made to Break ushers his literary energies into categorical existence . . . Made to Break revels in multiplicity, even as its narrative constantly verges on collapse—like that of a beatific thrill-seeker, stoned among the fantastic incongruous.”

Joseph Salvatore at Rain Taxi reviews Made to Break: “What Made to Break demonstrates, and what Foy understands that [David Foster] Wallace’s teachers seemingly didn’t—and what perhaps even Wallace himself couldn’t have foreseen—was how far less worrisome such issues would become to a new generation of writers a couple of decades hence. Playful and crafty with language . . . Foy is no lazy technician, nor is his debut novel merely a Gen-X love letter. Employing a highly aestheticized language that calls to mind Hubert Selby, Jr. and Denis Johnson, and privileging the arc of character over the development of plot, the music of voice over the functionality of dialogue, Foy offers up a pre-apocalypse end-of-the-world tale about cannibals, mutants, corpses, survivors, road trips, lovers, and friends . . . The game sequence itself is a marvelous literary set-piece, in which Andrew ruminates on all the secrets he won’t reveal about himself and his four friends: alliances, betrayals, transgressions, family histories, some of them dramatized as flashbacks, all of them the necessary ammunition for long-awaited showdowns.”

Publishers Weekly reviews Made to Break:  “Foy uses a poetic and gritty genre-clashing voice to construct a winter horrorland.”

Nathan Goldman at Full Stop reviews Made to Break: “Breathtaking and cataclysmic . . . The first thing a reader notices in picking up Made to Break is Foy’s phenomenal prose, which I hesitate to even label as such: the term itself seems too restrictive. Like Joyce, Woolf, McCarthy, and others before him, Foy maintains basic structures of the prose novel while obliterating and reinventing the reader’s notion of what a sentence can do . . . Made to Break is the opposite of didactic: it is a question, an event, a song. It is the kind of glorious thing that makes one mix one’s metaphors in the struggle to give an account of it.”

David Rice at The Los Angeles Review of Books reviews Made to Break: “More than the revelation of any particular truth behind this pretense, however, Foy is interested in the language and mood of nights like this, when accumulated guilt and despair boil over into a kind of total spiritual reckoning. This process . . . takes AJ . . . all the way down to confront the alien and indescribable self he actually is . . . Looping and repeating with the urgency of prayer, scenes from his past . . . bleed together . . . This creates a charged atmosphere that’s somehow both manic and stately, as his soul writhes in the terror of the moment while also bearing witness to the slower, sadder facts of a lifetime.”

Samantha Anne Carrillo at Alibi reviews Made to Break: “A riveting narrative . . . Sublime and damning . . . Before the party can get started, desire and chance call forth an accident. What ensues is tragic, desperate and transformative, and it admirably reflects the essential natures of five friends and one uncommon interloper . . . Foy unabashedly manipulates metaphor and allegory, etching description and dialogue with a deft touch . . . Here, the scatological and the sacred transcend coexistence, and their communion epitomizes symbiosis. Made to Break’s fictive marriage of profanity and divinity gracefully articulates the persistence of attraction.”

Patrick Benjamin at TROP reviews Made to Break: “Like most good books, it’s the second read that reveals the tireless hours that must have gone into such a totally measured and multilayered text . . . Like a pointillist peeking under his blindfold, Foy dots in little personas whom we recall long after for their detailed and beautiful descriptions . . . Even more stunning than the character development and descriptions is Foy’s expert control of metonymy, meter, repetition, and rhythm . . . Beckett, Foy, and Robert Johnson exhale—some unholy triad . . . And here, like Henry Miller . . . From Huysman to Miller. From Miller to Denis Johnson. Johnson to Foy. And every band you’ve ever heard of and all their lyrics and all their key changes . . . It’s rare to find a book that both comprehends its possibilities and fulfills them . . .The juxtaposition of offal and elegance—an aesthetic or genre Foy has dubbed “gutter opera”—creates a brand of asymmetry like looking through 3-D glasses and finding both lenses to be red. A scar on the heart sliced open to let in dirty blood. (If there’s no dirt in the blood, little has been accomplished or needs consideration.) Filth is the gateway to compulsory adulthood, and Foy—unlike many of his tedious contemporaries—is a grown-up.”

Benjamin Rybeck at Electric Literature reviews Made to Break: “Cutting through all the dark clouds that crowd Foy’s world, sensitivity and kindness shined through his prose. I wasn’t expecting to feel so moved . . . Foy shuffl[les] his timeframe in a way that affords the reader not only glimpses of the characters’ pasts but also brilliant glimpses into the future . . . [that] add fatalistic poignancy to Made to Break, and the reader watches what happens in the cabin . . . knowing that loneliness will always lie ahead . . . Much has been made of Foy’s language, and deservedly so: Made to Break sustains its manic intensity throughout every sentence . . . Such compressed, lucid writing makes Made to Break always understandable, and a thrilling world to inhabit . . . Foy’s mission is to embody the familiar for so long that it becomes unfamiliar, sort of like saying a name again and again until it loses all meaning . . . I thought of Lawrence Ferlinghetti . . . Foy is a kind of poet too, only his mirror walks down familiar streets, making them seem strangest of all.”

Kim Winterheimer at The Masters Review reviews Made to Break: “The literary world has been applauding this book since it hit shelves in March, and while we might be late to the party, don’t count us out—we have applause to offer as well . . . Made to Break primarily focuses on . . . [the narrator] AJ and his search for understanding . . . AJ’s existential crisis drives a great deal of the text and Foy is an expert in unraveling [AJ's] struggles with empathy and, also, disgust. The fact that AJ is so self-aware of his shortcomings derives sympathy, and Foy handles this beautifully . . . The characters in Made to Break are fairy-tale like . . . An off-kilter sensation permeates throughout book . . . The way [the characters] treat each other is strange and cruel, yet tinged with love. Their actions are measured, and follow a trajectory just clear enough to make sense, but there is a sense that everything is out of proportion . . . There is a more lyrical and headier handling of this group than a simple examination of the trials and tribulations of long-term friendship, and this is enhanced by the warped exposure into these characters’ lives . . . You are privy to a great deal more than first meets the eye . . . Made to Break it is executed in a style all its own . . . Applause, D. Foy. Applause.”

Michael Jauchen at The Rumpus reviews Made to Break: “One thing D. Foy’s menacing and dense first novel, Made to Break, understands extremely well is the strange, exhilarating, depressing, and often stupid and dangerous territory of longtime friendship . . . Foy’s initial setup calls to mind the frontier stories of Stephen Crane and Jack London, one where the scenic backdrop is less about a realistic rendering of space and more interested in creating a mythic, impressionistic arena for testing the ties binding a group of people together . . . This cosmic darkness, the earth’s default setting of violence, is at the core of Foy’s vision in Made to Break, [and his] description[s are] meant to ready us for the most heightened edges of human behavior: fear, the drive for dominance, and feral self-preservation.”

Gabino Iglesias at HTMLGIANT reviews Made to Break: “With influences that range from Jack Kerouac to Tom Waits and a prose that possesses a fast, strange, perennially changing rhythm that’s somewhat akin to some of John Coltrane’s wildest compositions, this narrative is at once emotionally gritty and surprisingly beautiful even during its darkest moments. Foy has a way with words, and the result is a novel that’s comfortably nestled in literary fiction but has tendrils that reach out and touch on noir, tragedy, romance, nostalgia, and even humor. Foy has delivered the kind of notable narrative that pulls an author out of the very crowded rookie pool and places him at the top of the list of fresh voices that readers of outstanding fiction should keep on their radar.”

Alex Kalamaroff at Entropy magazine reviews Made to Break: “There’s this psychotic union of invulnerability, bug-eyed terror, and shrill laughter, a symbiotic mix that’s the result of too much drinking and too many drugs . . .  It’s one swell medley of mayhem and defeat dashed together by the vitality of Foy’s prose . . . It’s intimate. Horrible, embarrassing, distasteful, and gross, but definitely intimate . . . Zainy, sly, and darkly comedic, Made to Break is a heartfelt ode to the brutalities of friendship and wild youthful times.”

Henry Stewart at L Magazine reviews Made to Break: “This brashly written debut concerns friends too old to still be friends, which is to say that it’s about partying: about youth and life, both destined to end even though the characters can’t see it or admit it, not even on the last page, not even after a death or with the hindsight of a future lived in seclusion and extinguished revelry. In bareknuckle prose, Brooklynite Foy . . . focuses on insularity, how these people relate to each other, careers be damned, past the point at which they should be going through such self-destructive motions of adolescent carousal. But it’s a rut they can’t escape, their loneliness, bitterness and fear coming to a head during the rained-out getaway.”

English Kills gives a rundown of Made to Break’s launch date in Manhattan at McNally Jackson Books with Sean Madigan Hoen.

Derek Harmening at Curbside Splendor reviews Made to Break: “D. Foy’s prose fizzes and crackles throughout, a reckless, speeding car with bits of Hunter Thompson, Kerouac, and Pynchon splattered on the windshield. These glimmers, mixed with an appreciation for the milieu of ’70s and ’80s horror films, lend the novel a tone simultaneously funny, paranoid, and claustrophobic . . . What’s real and what isn’t feeds the world of Made to Break. From its characters’ total lack of identity all the way to an ending reminiscent of The Graduate—a burst of the ideal so juxtaposed with the novel that it may very well be a figment of [the narrator's] imagination—this book stands toe-to-toe with the fears many of us will never outrun. It doesn’t bat an eye. And that’s a good thing.”

Westin Cutter at Corduroy Books reviews Made to Break: “Foy’s waving a motherfucker of a wand here, casting something of a spell . . . That’s the big reason to jump up and down about this book: the shock of the new, or at least (I’d argue) the re-emergence of a style that’s been principally dormant for a good while. I don’t see how you could read this thing and not be propulsively charged right the hell up. Take or leave whatever else you want: you gotta get your eyes wet with this sort of sentencing. You really do.”

Jon Reiss at Brooklyn Based reviews Made to Break: “Once I began to understand the method to Foy’s tempered madness I became like an enthusiastic child, finally being let in on the secrets of the older and wiser . . . Both the language and structure of this book challenge the reader in a way that you just don’t see in first time novels. It’s as if Dennis Cooper published Marbled Swarm–a book that deliberately confuses the reader about what is and isn’t real—as his debut or if Bret Easton Ellis published Glamorama—a book that uses repetition of like words and phrases in a way that lulls you into near hypnosis—as his first. Ultimately Made To Break is a psychological thriller in the purest sense and it’s one of the gutsiest debut novels you’re likely to come across.”

Keith Rawson at LitReactor reviews Made to Break: “Like the last four Two Dollar Radio titles I’ve read, Made to Break has the pacing of a breakneck drugstore thriller and doesn’t cling to any single genre. It plays around the edges of gothic horror and locked room mystery. Foy has a poet’s gift, blending the everyday with surrealist prose, but not so surreal that he loses the reader’s attention. Overall, Made to Break is an entertaining, at times artful piece of pulp trash (and I mean pulp trash in the most complimentary way) that will leave the reader spinning.”

From Ron Tanner (on the Amazon page for Made to Break): “Not for the faint of heart, D. Foy’s debut novel is a wild trip through a dark night of fear, doubt, and desperation. With the menace of a slasher movie, the story finds five feckless people stranded in a cabin in the woods, far from civilization. One of their party has just had an accident and may die of his head injury. Or not. These characters roll, collide, and carom like ball bearings through a game of crazy-maze. It seems nobody can do anything right. And there’s lots of regret to go around. The narrator races us through it all like a poetic speedhead, desperate to find a safe place to land and maybe make sense of his life as he strives to make sense of this senseless night in the wilderness. You might call this slacker noir. Buy this book: it will be worth the ride!”

James R. Gapinski at Heavy Feather Review reviews Made to Break: “Foy’s debut work is ambitious, and its complex character arcs intersect in surprising ways . . . The novel is more about digression than progression . . . It’s got drama, some messy romance, and life-or-death stakes—but the work finds its most convincing voice when it wanders into tangential territory . . . The reader becomes increasingly aware that this group is emotionally wounded and running on fumes . . . [The true meaning of the] story is found in the subplot[s]. It’s found in all the tangents, steeped in sex, drugs, and obscure references to film, literature, celebrities, and historical figures. It’s in the torrent of memories these characters share around the metaphoric campfire. All while the external world collapses and demands attention . . . Made to Break explores what really matters even when the shit hits the fan . . . And it works.”

Larry Nolen at Gogol’s Overcoat reviews Made to Break: “Made to Break is something harsher, more biting, and yet ultimately more meaningful than simply a tale of bickering friends . . . The narrator, AJ, is the most self-conscious of the lot and it is his recounting, some years later, of the events surrounding New Year’s 1996 that tinges these days with a mixture of reflection and blithe obliviousness that makes Made to Break a compelling trainwreck to witness . . . Though this passage might be the most eloquent in Made to Break, it is not the only one . . . Made to Break is raw, visceral . . . a sobering, powerful read.”

• • •

INTERVIEWS

Sean H. Doyle and Eric Nelson interview me for their podcast Almost Live at Mellow Pages: “In Episode 11, we spend some time with the relentless and charming D. Foy, author of Made to Break. We talk about booking your own book tour and all of the things that go into that kind of stew, traversing America by car solo, psychic abilities, and about staying true to your artistic vision irrespective of obstacles.”

Evan Allgood interviews me at Full Stop: “The other day a buddy lifted D. Foy’s novel off my desk, skimmed a couple pages, and said, ‘I can’t tell if this is awful or great.’ Two Dollar Radio’s Eric Obenauf had a similar reaction: Two months after passing on Made to Break, Obenauf had a revelation about Foy’s style, reread the manuscript in one sitting, and called that night to buy the rights. Foy has dubbed his work gutter opera for its juxtaposition of the rarefied and profane, its nasty musicality. ‘There’s a rhythm and a cadence and a melody and all those things that I’m really concerned with,’ Foy says. ‘But there’s also a certain blue collar trashiness that is part of my makeup. I ran away a lot as a kid, and I spent a lot of time on the street, so I have a foul mouth.’ Foy punctuates this statement and countless others with hard laughter. Gutter opera has left fans and critics alike scrambling for comparisons, and some of the blurbs lining Made to Break’s jacket read like elaborate spoofs. It’s natural to want to situate a piece of art along a spectrum, but D. Foy is one slippery bastard. His prose isn’t just purple; it’s bruising. We met on a perfect bird-chirpy day in Brooklyn’s Carroll Park. Foy, arms raised: ‘This is pretty fuckin’ good, right?’ It was great.”

Jim Warner of Quiddity International Literary Journal and Public-Radio Program interviewed me for the mag’s series, 5Q4Q. What’s made to break on me at the most inopportune time? Best way to pass time in a remote cabin? D. Boone, D(ee) Snyder, or Vampire Hunter D? Or how do I think I’d fare in a krump battle with Rae Bryant? The answers are waiting here!

Lincoln Michel interviews me (and Alena Graedon, Scott Cheshire, and Julia Fierro) at Buzzfeed: “2014 isn’t just great for established writers; there is a wealth of interesting debut novels already out or coming out soon. We reached out to four authors of astonishing debuts to talk about the tricky process of pitching books, non-literary writing influences, and how to navigate the literary world.”

Joshua Mohr interviews me at The Rumpus: “There’s no other way to say it: D. Foy is the real deal. His first novel, Made to Break (Two Dollar Radio), just dropped and it’s a lovely sucker punch. The book is at once poetic and raunchy and dangerous and poignant. I read it in one sitting because the damn thing demanded that’s what I do. And so, I chatted recently with Mr. Foy about all the wonderful things that can be found in a gutter and how to take those ignominious life experiences and turn them into art.”

Matt Bell interviews me at The Brooklyn Rail: “D. Foy sets a breakneck pace throughout his first book, propelling his trapped and hapless characters from one breaking point to the next.”

The Collagist does a cool form of interview called an “interview-in-excerpts,” where authors answer questions using—yes—excerpts from their books. Here’s mine, with responses out of Made to Break.

Brad Listi at the now-famous Other People interviews me.

Porter Square Books in Boston talks with me about gutter opera.Made to Break, a novel by D. Foy, is a debauched celebration of art, language, prose, and story. It’s a simple plot, some friends get trapped by a storm in a remote cabin near Lake Tahoe on New Year’s Eve. The result, however, is anything but simple. As I read the book, terms kept popping into my head; “noir romanticism,” “squalor glamor,” “postmodern voyeurism,” and “death by art.” Weird terms trying to describe a weird book. I sent those terms to D. Foy for his thoughts, reactions, comments, rebuttals, and ramblings.

David Gutowski says some nice words and hosts a playlist I created for his Book Notes series at Largehearted Boy.D. Foy’s novel Made to Break is as challenging as it is rewarding, and his inventiveness in form and language coalesces into a dark and impressive debut.

Scott Cheshire at Tottenville Review interviews me.Made to Break is a mad reflection on our greener, meaner days, an apocalyptic eulogy, a love song for excess and its wreckage. A debut like no other, Made to Break eats up every first novel cliché in its path. It is frightening, strange, and beautiful.”

Tobias Carroll at Vol. 1 Brooklyn interviews me. “It’s a tense, harrowing read that both subverts expectations and does interesting things with structure. Sometimes horrific, sometimes visceral, and sometimes unexpectedly funny, Made to Break stands as one of the best books I’ve read so far this year, and Foy’s candor in person echoes his clarity as a writer. ”

Emma Clark at LitReactor interviews me. “D. Foy is a man running on coffee and willpower. I first met him when he stopped by the LitReactor booth at AWP a month ago, and he has literally been on the road every day since then promoting his first novel, Made to Break. Released in March by Two Dollar Radio, the book, which he refers to as his “old man,” has had a sixteen-year journey to publication. I had a chance to sit down with the literary road warrior and self-described clown when he rolled through Minneapolis recently. Over coffee and breakfast sandwiches, we talked royalty checks, Amazon, and why writers need an ass like leather.”

Ben Tanzer at This Podcast Will Change Your Life interviews me. “There is suffocation and speed, words popping and sentences packed, old friends, new love, grudges and pain. They are trapped, and squeezed, and things have to give, and break, and you want to call it horror, but don’t do that, call it fear and confusion, and real life, compressed and harried. Call it Made to Break, the glorious debut novel from the D. Foy, who is all speed and word popping too, once trapped, but now hurtling down the open road, talking, and reading, and taking twenty plus years of jacked-up energy and splaying it across the universe to all who will listen. Call any and all of it whatever you want, just call it, read it, and do note that we jumped onto the D. Foy journey, albeit briefly, but still long enough to podcast, so do hit it, it just might change your life.”

Justin McIntosh at Columbus Alive reviews Made to Break and interviews me. “Foy has crafted a bustling, colorful tale that aims to get at what keeps a group of longtime friends together, particularly when they might not really like each other — or themselves. Think Twelve Angry Men for the Hunter S. Thompson set. Everyone’s on trial, but the reckoning comes through drugs, alcohol and violence. Foy calls it gutter opera, this blend of street and high-brow that populates Made to Break. Others have called it experimental fiction, but that view seems shortsighted. Foy’s not attempting to be different for its own sake, but rather uses stylistic shifts and tones and genre-mashing to illuminate the novel’s themes.”

 

 

 

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