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    "A fast, complex, exhilarating roadster ride through history and time.... Kino is an intoxicating Euro-brew, written with enormous skill and dedication." — Frederick Barthelme

    "Jürgen Fauth's deft mashup of genre and historical period is both a full-throttle literary thriller of ideas and a contemplative examination of film and fascism. Kino is a debut of great intellectual  force."– Teddy Wayne

    "A surprising alternative history. Kino brings the golden age of German cinema to light with loving, sometimes gritty, detail and great precision." – Neal Pollack, author of Jewball.

    "A delirious melange of conspiracy, magic, sex, history, bad behavior, and cinema, Kino is a stellar entertainment, and Jürgen Fauth is a writer of rare, sinister imagination." – Owen King, author of Reenactment

    "A light-hearted romp that leads straight into darkness and back through the shadows on the wall."– Ben Loory, author of Stories for Nighttime and Some for the Day

    "Movie nuts arise! A happy and felicitous debut."– Terese Svoboda

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Design Observer’s 50 Books/50 Covers

Kino has been selected by Design Observer as one of the winners of their annual Fifty Books / Fifty Covers awards, organized by Design Observer in association with AIGA and Designers & Books. Kino’s cover was designed by Jamie Keenan. Here’s the L.A. Times on 50 books/50 covers.

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Kino Review at The Rumpus

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Just in time for its one-year anniversary, Anna March reviewed Kino for The Rumpus:

For that whole year, I’ve been watching Kino on the hectic movie screen in my mind. I imagine it will always flicker there, for this exquisitely constructed novel endures… Read it.

Read Anna’s review.

The Novelist’s iPad

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Jürgen shared his ten favorite iPad apps for writers in the Huffington Post, including Evernote, GoodReader, and StoryCubes.

To save you untold hours of procrastination, here’s my current setup of ten apps for writing, drafting, outlining, editing, and generating story ideas, divided into five essentials and five remarkable aids for inspiration and creativity.

Read the article.

Horlemann to Publish German Edition of Kino

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We couldn’t be more excited: Berlin publisher Horlemann is going to release the German edition of Kino in the Spring of 2014. Jürgen will translate the book into his native language himself.

MJedit on Facebook

MJedit, Jürgen and Marcy Dermansky’s developmental editing services for writers, just launched its Facebook page. Like it for regular updates related to all things writing and editing. Of course we also have a twitter feed, @mjedit.

Kino in the LA Review

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The Fall 2012 issue of Los Angeles Review featured a review of Kino by Joe Ponepinto:

The pleasure of reading the work of an author who is completely immersed in the time and place of his fictional world is, unfortunately, rare. The chapters in Kino drawn from the title character’s journal are an example of writing that thrills not only by subject and characterization, but also by its sheer passion… The forays into Kino’s world of the 1920s, and the repercussions of his art eighty-plus years later, make this debut novel a winner.

You can read the entire review by downloading this pdf file.

 

Reading and Screening at the Murnau Foundation

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As a part of the F.W. Murnau Foundation’s new series “Film trifft Buch” (Movie Meets Book), I will read from Kino, followed by a conversation with me and Andrea Wink and a screening of Helmut Käutner’s 1945 film Under the Bridgeson February 1.

The F.W. Murnau Foundation, located in Wiesbaden,  preserves and restores Germany’s film heritage, and I’m thrilled to be presenting Kino in their beautiful new theater, followed by one of my favorite German films.

For details, please see the Murnau Foundation’s site, a pdf of their program, or the event’s Facebook page.

“The Death Bird” at BLIP Magazine

The Death Bird,” an excerpt from Kino, appeared in the Fall 2012 issue of BLIP Magazine (formerly Mississippi Review), alongside authors such as George Saunders, Marcy Dermansky, Angela Ball, Meg Pokrass, and Bobbie Ann Mason.

We arrived at Ufa-Palast am Zoo in a dreamy state to see Murnau’s vam­pire movie. How can I describe it to some­one whose eyes have been sul­lied by decades of triv­ial images danc­ing by on TV screens? You’ll never under­stand the rap­ture, the hor­ror, the euphoric bliss I felt at the sheer visual sur­prise. With each pass­ing moment, with every new shot on the screen, waves of plea­sure rolled through me.

Read “The Death Bird.”

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