Promotional Information

Campaign emphasizing one of the greatest works of eastern European literature to appear in English
Serialization outreach targeting New Yorker, Granta, Paris Review, Astra Magazine, BOMB, n+1, Electric Literature, Literary Hub
National review, feature, and interview outreach targeting print publications (NYTBR, New York Times, New Yorker, Wall Street Journal, Washington Post, LA Times, Boston Globe) and online (NPR, Literary Hub, Buzzfeed, The Millions)
Targeted outreach to publications spotlighting translated literature: World Literature Today, Asymptote, Words Without Borders, Latin American Literature Today
Multiple print galley runs targeting media and booksellers
“Solenoid Reader”: promotional tie-in to contextualize Cartarescu’s work
Promotional reading group to build buzz
Virtual events featuring author and translator at bookstores and festivals (PEN World Voices)
Promotion to radio and podcasts: Fresh Air, Beyond the Zero, Otherppl, Bookworm, Between the Covers
Outreach to Romanian and Eastern European Literature and Language departments
Promotion on the publisher’s website (deepvellum.org), Twitter feed (@deepvellum), and Facebook page (/deepvellum); publisher’s e-newsletter to booksellers, reviewers, librarians

About the Author

Mircea Crtrescu is a writer, professor, and journalist who has published more than twenty-five books. His work has received the Formentor Prize (2018), the Thomas Mann Prize (2018), the Austrian State Prize for Literature (2015), and the Vilenica Prize (2011), among many others. His work has been translated in twenty-three languages. His novel Blinding was published by Archipelago in Sean Cotter's English translation.

Sean Cotter is a translator and professor of literature and translation at the University of Texas at Dallas. A previous National Endowment for the Arts Translation Fellow, Cotter is the translator of 11 books, including T.O. Bobe's Curl and Nichita Stnescu's Wheel with a Single Spoke and Other Poems, which was awarded the Best Translated Book Award for Poetry. His translation of Magda Crneci's FEM, a finalist for the PEN Translation Award, was published by Deep Vellum in 2021.

Reviews

"Solenoid . . . is a novel made from other novels, a meticulously borrowed piece of hyperliterature. Kleist’s cosmic ambiguity, the bureaucratic terror of Kafka, the enchantments of García Márquez and Bruno Schulz’s labyrinths are all recognizable in Cărtărescu’s anecdotes, dreams and journal entries. That fictive texture is part and parcel of the novel’s sense of unreality, which not only blends the pedestrian and the bizarre, but also commingles many features of the literary avant-garde. Although the narrator himself is largely critical of literature . . . he also affirms the possibility inherent in the “bitter and incomprehensible books” he idolizes. In this way, he plays both critic and apologist throughout, a delicious dialectic whose final, ravishing synthesis exists in the towering work of Solenoid." —Dustin Illingworth, New York Times "Instead of delivering a sharp, succinct punch, Solenoid goes the way of the oceanic—rejecting brevity because the author, a Romanian Daedalus, is laying the foundation for a narrative labyrinth . . . The writing itself is hypnotic and gorgeously captures the oneiric quality of Cărtărescu’s Bucharest . . . Cotter’s translation is attentive to the efficiency of Cărtărescu’s ornate but surprisingly approachable prose, gliding from sentence to sentence and calling little attention to itself. The sheer immensity of Cotter’s undertaking combined with the unfailing evenness of the translation’s quality is nothing short of remarkable." —Ben Hooyman, Los Angeles Review of Books "The great fun of this teeming hodge-podge is the way that Mr. Cărtărescu tweaks the material of daily life, transmuting the banal into the fantastical." —Sam Sacks, Wall Street Journal "A masterwork of Kafkaesque strangeness, brilliantly conceived and written." —Kirkus Reviews (Starred Review) "[S]omething of a masterpiece . . . Solenoid synthesizes and subtly mocks elements of autofiction and history fiction by way of science fiction. The result is unlike any genre in ambition or effect, something else altogether, a self-sufficient style that proudly rejects its less emancipated alternatives…The mesmerizing beauty of creation, of reality giving way to itself: that, above all, lies behind the doors of Solenoid." —Federico Perelmuter, Astra Magazine