Heads up! On Friday the 13th, I will be appearing on Tarek Al-Ubaidi's popular Austrian podcast, CROPfm, to discuss CRYPTOPOLIS & OTHER STORIES and related insanity. Most of Al-Ubaidi's shows are in German; however, he also does an occasional English interview from time to time. Friday the 13th will be one of those occasions. Click HERE to listen to the interview LIVE at 10:00 a.m. (PST). The show will switch to English about five or six minutes after the hour.
PRAISE FOR CRYPTOPOLIS & OTHER STORIES:
"The stories in Cryptopolis feel like the bloody, star-filled lovechildren of Burroughs and Delany, with each tale ostensibly one part of a greater whole; abstract limbs and organs tethered together by strained flesh. Cryptopolis will take readers on a hallucinogenic journey through worlds fractured by time and place—slipping through liminal dimensions with seamless abandon to unveil unsettling illusions and heartbreaking realities—and totally worth the trip."
--Philip Fracassi, author of Boys in the Valley
--Publishers Weekly
"Cryptopolis may end up being a gateway drug into Robert Guffey’s work. I don’t use that term spuriously. So many of Guffey’s stories in Cryptopolis
have a hard-bitten edge and gritty feel to them that I could see him
crafting a metatext about an author whose books are physically
addictive. Across the collection’s twenty-five stories and vignettes,
Guffey displays a range of interests and foci with such depth and heart
that I wouldn’t be surprised if he became one of my favorite modern
writers [...].
"Affect, the experience of emotional response, seems to be at issue in every one of Guffey’s offerings. From the opening eponymous story (which is the only outright Lovecraftian story in the collection), with its resonances of love as a torturous paralytic, to the last, 'Esthra, Shadows, Glass, Silence,' a parable of alternate lives and lost possibilities, the emotional response drawn from the reader appears to be the crux of every piece. These stories are engines designed to make the reader feel."
--Géza A. G. Reilly, Dead Reckonings
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