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Review
'His language is complex, poetic, strange and beautiful, conjuring up the misty fields and woods of the Ozarks, and the fiercely independent people who live there.' (Josh Lacey, Guardian )
'wonderful, savage narratives...remarkable even by Woodrell's soaring standards' (Irish Times )
'tales of horror and desperation that'll leave you reeling. In a good way.' (Shortlist )
'In a tight navigation of narrative voice, Woodrell manages to turn candid detachment into a form of rough poetic truth, even though the lives of his characters remain far removed from the world of literary sentiment.' (TLS )
'Woodrell writes about violence and dark deeds better than almost anyone in America today, in compact, musical prose that doesn't dwell on visceral detail. An unerring craftsman...Every story is loaded with gems...Most of the stories deal with the darkest recesses of the human heart, and once you start reading them you can't stop.' (Donald Ray Pollock, New York Times )
'Woodrell writes a striking prose that lopes from clause to clause like William Faulkner's...he recalls writers such as Cormac McCarthy, Flannery O'Connor and the Faulkner of Sanctuary in his ability to transform crime into literature.' (John Dugdale, Literary Review )
'Each story is a stylized dark allegory...The language is sparse yet majestic, deftly describing mountains, canyons and creek beds.' (Theresa Munoz, Scottish Sunday Herald )
'He has moved beyond the noir of his earlier work into something that encompasses a greater spectrum of understanding. He has cemented his role as one of America's greatest writers...THE OUTLAW ALBUM is an idiosyncratic, lyric, stunning collection of stories. It is one of the most important collections of short fiction produced in this country in over fifty years.' (William Hastings, Industrial Worker Book Review )
'wonderful, savage narratives...remarkable even by Woodrell's soaring standards' (Irish Times )
'tales of horror and desperation that'll leave you reeling. In a good way.' (Shortlist )
'Woodrell is a marvellous writer'
(Roddy Doyle )'In a tight navigation of narrative voice, Woodrell manages to turn candid detachment into a form of rough poetic truth, even though the lives of his characters remain far removed from the world of literary sentiment.' (TLS )
'Woodrell writes in an almost biblical idiom, which makes the brutality of his stories shocking... These are timeless tales of humans capable of compassion but also monumental violence.'
(Leyla Sanai, Independent )'gripping...Woodrell's folk are as separate in their rituals and customs as any of Tolkein's mythical creations...Woodrell whittles his stories into shape with a serrated knife, and while the language of his characters is a constant surprise with those oblique turns-of-phrase...the curious sideways progression of his plots is what I find most enrapturing.'
(George Pendle, Financial Times )'Woodrell writes about violence and dark deeds better than almost anyone in America today, in compact, musical prose that doesn't dwell on visceral detail. An unerring craftsman...Every story is loaded with gems...Most of the stories deal with the darkest recesses of the human heart, and once you start reading them you can't stop.' (Donald Ray Pollock, New York Times )
'Woodrell writes a striking prose that lopes from clause to clause like William Faulkner's...he recalls writers such as Cormac McCarthy, Flannery O'Connor and the Faulkner of Sanctuary in his ability to transform crime into literature.' (John Dugdale, Literary Review )
'Each story is a stylized dark allegory...The language is sparse yet majestic, deftly describing mountains, canyons and creek beds.' (Theresa Munoz, Scottish Sunday Herald )
'He has moved beyond the noir of his earlier work into something that encompasses a greater spectrum of understanding. He has cemented his role as one of America's greatest writers...THE OUTLAW ALBUM is an idiosyncratic, lyric, stunning collection of stories. It is one of the most important collections of short fiction produced in this country in over fifty years.' (William Hastings, Industrial Worker Book Review )
Review
'It brings us all the satisfactions of crime thriller and mystery...The beauty lies in the loveable and wholly believable character of Ree' -- Guardian on WINTER'S BONE 'A suspicion grows that you are reading the sort of book D.B.C Pierre's Vernon God Little might have been, had it been five times as keenly observed and deeply felt' -- The Times on WINTER'S BONE 'Woodrell is a marvellous writer' -- Roddy Doyle 'Woodrell throws down sentences that will leave you amazed' -- Charles Frazier 'Reading this will make you feel that you walk on very, very thin ice, and know that chaos is very, very close. Such knowledge has many consequences, one of them is exhilaration' -- Niall Griffiths, Observer on WINTER'S BONE 'Brutal, violent and completely gripping' -- Independent on Sunday on WINTER'S BONE
--This text refers to an out of print or unavailable edition of this title.
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Most Helpful Customer Reviews
5 of 5 people found the following review helpful
Format:Hardcover
I never thought I'd ever give two stars to a Daniel Woodrell publication, but really this just doesn't work. I was bitterly disappointed by the lack of touch, for which Woodrell is famous. There are occasional glimpses of the customary poetic brilliance, but in the end it's a real mash-up of scraps of manuscripts and in one case is actually an earlier write of the brilliant novel "Woe to Live On". It feels like a mood board for a writer who seems to have lost his muse. There is one story, that begs to be turned into a novel - about a northerner who buys an old campground in the Ozarks and quickly finds himself in conflict with the baddest of the bad, but it just stops in mid-stream. It has been five years since Winter's Bone. I hope The Outlaw Album isn't expected to sate us for another five.
4 of 4 people found the following review helpful
Format:Hardcover
Readers may have encountered ten of the twelve stories collected here in periodicals such as Esquire, New Letters, and The Missouri Review, or in anthologies such as Murdaland, A Hell of a Woman, Men From Boys, and Bloodlines. I can imagine that when nestled in amongst other voices in these publications, Woodrell's distinctive prose bites the reader like a snake hiding in a woodpile. His first-person Ozark narratives are hard to mistake as belonging to any other author, and their matter of fact recounting of violence among hardscrabble people bring a lot of weight to the brief pages of each story.
The collection's tone is set not just by the first story, but by the first sentence of the first story: "Once Boshell finally killed his neighbor he couldn't seem to quit killing him." It's a story which establishes both the physical boundaries and the boundaries of expected behavior of the Ozark hollows Woodrell lives in and writes about (most famously in his book and the film made from it, Winter's Bone). The stories that follow include rape, arson, PTSD, more murder, guns, knives, and plenty of tough lives. Most are contemporary, although several duck back in time: one to a racial murder in the 1920s or 30s, and the story "Woe To Live On", about a Dutch bushwhacker riding with Quantril's Raiders during the Civil War. (This latter story was expanded to a book of the same name which became the basis for the 1999 film Ride With the Devil.)
When gathered together in this collection, Woodrell's characters lose a bit of their distinctiveness and power. As a result, the stories are probably best read slowly, perhaps one a week or so. Not every one is successful, but they all mark Woodrell as one of the best writers we have at this time and comparisons to Cormac McCarthy are hard to avoid. I'll definitely be seeking out other books of his.
The collection's tone is set not just by the first story, but by the first sentence of the first story: "Once Boshell finally killed his neighbor he couldn't seem to quit killing him." It's a story which establishes both the physical boundaries and the boundaries of expected behavior of the Ozark hollows Woodrell lives in and writes about (most famously in his book and the film made from it, Winter's Bone). The stories that follow include rape, arson, PTSD, more murder, guns, knives, and plenty of tough lives. Most are contemporary, although several duck back in time: one to a racial murder in the 1920s or 30s, and the story "Woe To Live On", about a Dutch bushwhacker riding with Quantril's Raiders during the Civil War. (This latter story was expanded to a book of the same name which became the basis for the 1999 film Ride With the Devil.)
When gathered together in this collection, Woodrell's characters lose a bit of their distinctiveness and power. As a result, the stories are probably best read slowly, perhaps one a week or so. Not every one is successful, but they all mark Woodrell as one of the best writers we have at this time and comparisons to Cormac McCarthy are hard to avoid. I'll definitely be seeking out other books of his.
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