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&ldquo;More Kafka than Kafka, Renee Gladman&rsquo;s achievement ranks alongside many of Borges&rsquo; in its creation of a fantastical landscape with deep psychological impact.&rdquo; &mdash;Jeff VanderMeer  &ldquo;Renee Gladman has always struck me as being a dreamer&mdash;she writes that way and the dreaming seems to construct the architecture of the world unfolding before our reading eyes.&rdquo; &mdash;Eileen Myles  &ldquo;Gladman is more fantasist than estranging analyst. The quality of her dreaming, its interior abstraction, is exquisite. Its wonder lies in how closed its shutters are to any mundane world, how far back the lanes and alleyways of its imagining recede from the proper nouns and pedestrianisms of our lives.&rdquo; &mdash;n+1 &ldquo;The Ravikian novels exalt the primacy of language to further imaginative possibility, which dominant and oppressive regimes would shut down. Gladman's writing cleaves to the luminous. It slips through the gaps in our thinking to pluralise, queer, subvert, and mobilise. These books are strange but, through a bright and deft poetic obliquity, they shine an incomparable light onto our contemporary moment.&rdquo; &mdash;The White Review &ldquo;The Ravicka books&mdash;flagships of the elegant small press Dorothy&mdash;are what usually get classified as 'poet's novels,' like Anne Carson's Autobiography of Red or My Life by Lyn Hejinian, but in this case, that's a cop-out. Gladman writes and publishes poetry, nonfiction, and novels with the same frequency. I doubt she makes much distinction between disciplines (and in fact she resembles a visual artist in her staunch pursuit of a theme through varied layers of form and abstraction).&rdquo; &mdash;BOMB  &ldquo;[The Ravicka] books are absurd and surreal, and are stabilized by an eerie interior logic: Think The Phantom Tollbooth for adults.&rdquo; &mdash;The Atlantic  &ldquo;Gladman&rsquo;s talent for linguistic architecture makes for a supple, tight promenade through heady ideas whose appeal rests on the implicit connection it draws between a people, their language, and the shape of communication. A novel set inside a poem, the work grasps at the heart of an imaginary people, deftly illustrating their inner life and looming stagnation in little more than 150 pages.&rdquo; &mdash;Publishers Weekly &ldquo;Aesthetically precise and formally daring, Renee Gladman sets us adrift in the country of her imagination, challenging us to puzzle out fluency, space, and meaning along the way.&rdquo; &mdash;Windham-Campbell Prize Committee

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&ldquo;I&#160;love it so much. Fire & Blood is Martin Unbound . . . and I couldn&rsquo;t put it down. . . . There&rsquo;s an&#160;addictive quality to the prose that&rsquo;s outright gossipy.&#160;. . . The obvious comparison here is J.R.R. Tolkien&rsquo;s The Silmarillion. . . . Writing centuries after the events he&rsquo;s describing, the&#160;Gyldayn voice complicates this game of thrones with a clash of perspectives and a storm of debatable facts.&#160;. . . Heavy stuff, but Fire & Blood flies.&rdquo;&mdash;Entertainment Weekly&ldquo;A brilliant book . . . vivid, memorable and personal.&rdquo;&mdash;The Times &ldquo;Lean and efficient and slyly seductive and instructive . . . The text is filled with such a wealth of incident and so many colorful characters.&rdquo;&mdash;Locus &ldquo;The overall narrative of the book is wonderfully fluid. . . . Fire & Blood was a great surprise to me. I found myself becoming deeply emotionally invested in the Targaryens, thrilling when they achieved great victories and lamenting when they succumbed to their more idiotic desires. (And they have a lot of idiotic desires.) This book feels like A Song of Ice and Fire. And you know how I know? Because I want the next book right away.&rdquo; &mdash;Tordotcom &ldquo;[There are] treasures hidden in this new Targaryen history.&rdquo;&mdash;Vanity Fair &ldquo;The world of ice and fire only gets more fascinating the more we learn about it.&rdquo;&mdash;Mashable &ldquo;Martin is still a powerfully gifted, inventive writer. . . . [Fire & Blood] has hundreds of fascinating anecdotes, ranging from the cruel fate of a jester named Tom Turnip to a dragon that, tellingly, refuses to venture beyond the Wall. . . . Fire & Blood is a lavish object, with charts, family trees, and stunning illustrations by comic book artist Doug Wheatley. . . . In this sense it fits into a venerable tradition, from J.R.R. Tolkien in his Silmarillion to Diana Gabaldon in her companion to the Outlander series.&rdquo;&mdash;USA Today &ldquo;[Fire & Blood] explores the dragon-fueled secrets upon which the current saga is built.&rdquo;&mdash;The Hollywood Reporter &ldquo;Martin has done it again. . . . [Fire & Blood is] a beautiful weaving of the wars, marriages, deaths, dragons, and politics that shape the world Martin has created, leaving the reader feeling like this is a true history rather than a piece of fantasy. This is a masterpiece of world-building. . . . Beyond Martin&rsquo;s legions of fans, anyone with a taste for richly, even obsessively detailed historical fiction or fantasy about royalty will enjoy this extraordinary work.&rdquo;&mdash;Booklist (starred review)

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Quantum Independent Increment Processes II

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