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&ldquo;A phantasmagoria of alcohol, sex, art, conversation, glam rock, and New Wave cinema. Hannah&rsquo;s writing combines self-aware humor with an intoxicating punk energy.&rdquo; &mdash;The New Yorker&ldquo;A farewell to an entire era of decadence. . . . An unusually levelheaded portrait of New York in the seventies.&rdquo; &mdash;The Paris Review&ldquo;Filled with gritty, evocative memories.&rdquo; &mdash;Vice &#160; &ldquo;A gallery of the louche, the lurid, and the illuminating.&rdquo; &mdash;Vanity Fair &#160; &ldquo;These diaries . . . are like the Dead Sea Scrolls of a mythological Lower Manhattan underground. As the writing progresses . . . we glean Duncan&rsquo;s romance and eventual providence: to be cool is not the idea, being an artist in love with the universe is.&rdquo; &mdash;Thurston Moore, co-founder of Sonic Youth&ldquo;In which a teenage Minnesota boy is drawn into the swirl of downtown New York in the 70s &mdash; yeah, lots of sex, drugs, rock n roll and art! Hannah&rsquo;s personal documents become an accumulation of detailed cultural insights as he too becomes an accomplished artist. Complete with &lsquo;guest appearances&rsquo; by just about everyone who defined the explosive scene of this period.&rdquo; &mdash;Jim Jarmusch &#160;&ldquo;Twentieth-Century Boy provide[s] a rich, endlessly diverting answer to the question &lsquo;What do men want?&rsquo; These journals&mdash;full of hunger, curiosity, and wonder&mdash;are raw, graceful time capsules. Art, sex, ambition, drugs, music, alcohol, movies, excesses, and extremes are all there, but Hannah observes the world around him with rare, and loving, attention.&rdquo; &mdash;Joan Juliet Buck&ldquo;Hannah documents that impetuous, drugged-up scene with flushed revelry and latent apprehension. These journals, simultaneously breathtaking and detached, are riveting cautionary tales, demonstrating the necessity of raw experimentation as a source of discovery and creativity.&rdquo; &mdash;Bookforum&ldquo;Eloquent and funny, written by a teen wise beyond his years. Duncan Hannah&rsquo;s journals bring back the adolescence that most of us wish we had.&rdquo; &mdash;Gillian McCain, coauthor of Please Kill Me&ldquo;Hannah&rsquo;s book illuminates this last great bohemia. . . . How fortunate that [he] managed to stagger home to bed to . . . immortalise his passage through this starry vortex.&rdquo; &mdash;The Art Newspaper&ldquo;So brilliant, so sexy, so real.&rdquo; &mdash;Danny Fields&ldquo;Terrific! Delightfully funny, written with great candor.&rdquo; &mdash;Michael Lindsay-Hogg, director of Let It Be&ldquo;[A] hugely entertaining diary.&rdquo; &mdash;John Berendt, author of&#160;Midnight in the Garden of Good and Evil&ldquo;A portrait of someone in love with and endlessly intrigued by the world around him. . . . Hannah has survived the seventies. More than that, he has kept them alive, in ink.&rdquo; &mdash;The Globe and Mail (Toronto)&ldquo;Hannah&rsquo;s . . . good looks, talent, determination, and . . . his absolute willingness to test the human body&rsquo;s capacities for alcohol, drugs, and (especially) sex . . . make us exceedingly fortunate that he wrote everything down. The other great joy . . . , apart from the splendor of all that excess, is the straight-line, crisp, beautiful nonchalance of his style.&rdquo; &mdash;Peter Straub, author of Ghost Story&ldquo;A dandy, a flaneur, a rock &rsquo;n&rsquo; roll wastrel wandering Candide-like through the dangerous undercurrents of the 1970s: if Duncan Hannah didn&rsquo;t exist, you&rsquo;d have to invent him.&rdquo; &mdash;Jon Savage, author of England&rsquo;s Dreaming and 1966&ldquo;A breezy, demotically precise portrait of Bowie-and-Warhol New York.&rdquo; &mdash;Los Angeles Review of Books&ldquo;An American literary classic. . . . Twentieth-Century Boy reads like a carefully crafted work of art. Savvy readers might be inclined to see it as literary kin to James Joyce&rsquo;s classic, A Portrait of the Artist as a Young Man. . . . [It] offers a fast-paced record of a time and a place unlike [any] other.&rdquo; &mdash;New York Journal of Books&ldquo;That these pages were written by a raw boy painter and not an &eacute;minence grise master of the art of memoir is key to their magic and mystery. A Pillow Book from a decade when no one ever slept.&rdquo; &mdash;Brad Gooch

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Childbirth In New South Wales

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