We are deeply saddened by the news of our author Amy Krouse Rosenthal’s death. We have had the honor of working with Amy for many years, and have great admiration for her both professionally and personally. Together, we will be privileged to bring the joy of her books to adult and children’s readers for generations to come.
Amy Rennert, Amy’s longtime literary agent and friend, shared this: “Everything Amy did was life and love affirming. She was such a bright light with a great sense of wonder. Amy loved her family. She loved words, ideas, connections. She taught us that life’s seemingly small moments are not really small at all. Amy’s final essay, written under the most difficult of circumstances, a love letter to her husband Jason, was the ultimate gift to him and also to the rest of us. She leaves behind a legacy of love and beauty and kindness.” Random House Children’s Books, Penguin Young Readers, Dutton, and The Crown Publishing Group (3/13/17)
Dear READERS:What you have here is a debut novel that is the work of the first new writer I have taken on in a decade. To say I am excited about the novel and the writer is an understatement. Lili Wright is a mature woman who has travelled, lived, and thought a great deal about the worlds she has moved through. It shows in the power of her themes, in her sensitive understanding of her seriously flawed characters, and in her extraordinary grasp of the contradictions embedded in the Mexican culture. She is that rare American who has thrown off her carapace of privilege to understand Mexico, whose deeply fatalistic people must manage to survive amid the ferocious drug wars and top-down corruption that are corroding the heart and soul of this bedeviled country. “Poor Mexico, so near Los Estados Unidos, so far from God.” Lili Wright has crafted a literary thriller: A novel of propulsive power, it is told in short chapters and many voices. At the center of the plot is the attempt to recover an artifact purported to be the death mask of Montezuma. It has been found by a looter, a meth-addicted American in the employ of a ruthless narco drug lord who wants that mask for his own collection. But so do many others, including an expat American collector, a former Oaxacan museum director who now makes money providing (false) provenances for looted artifacts, the addled grave-robber himself, and Anna Ramsay, a young American who knows that getting hold of the mask will save her father’s reputation as an expert, a reputation that has just been savaged in a report claiming many of the masks in his collection are forgeries. The setting is ripe for multiple double-crosses. Even the secondary characters have secret agendas and how these play out is complex and unpredictable.
But what gives this novel its psychological power is its multifaceted exploration of how we hide ourselves in plain sight. The front we present to the world is just another mask.As Reyes, the drug lord, says, “Everyone loves masks. Because everyone has something to hide.” Indeed, he himself is such a master of disguise that no one can describe him. He is a shape shifter of outlandish proportions and would be a character in an opera buffa were he not a coldblooded killer. Just as chilling is the expat collector, Thomas Malone. “A man in a mask,” he says, “is above the law. He makes his own rules, his own moral code.” Wright is masterful in the way she slowly builds his psychopathology. Anna herself says, “I’ve worn a mask most of my life. For years I thought wearing a mask was a way to start over, become someone new. Now I know better.” Anna is a very wounded woman, but there is not an ounce of self-pity in her and it is Lili Wright’s extraordinary craft that makes us sympathetic to her even as we wait to find out the source of her emotional scarring. She is a heroine for the moment—think “Orange is the New Black,” think the female version of “Breaking Bad.” Dancing with the Tiger is filled with a large and richly conceived cast, a mix of expats and Mexicans from all social strata. None of them are mere walk-ons, all are brought movingly to life in Wright’s talented hands. It is a highly sensual novel and also an erotic novel in the worst way, and it is sprinkled with very quotable one-liners and acid observations: black humor at its finest. (Anna thinks: “chastity, like abstinence, was a virtue best begun tomorrow.”) This is grown-up fiction: Always gripping, often frightening, yet oddly touching. You care about these people. The debut writer I took on ten years ago was Olga Grushin, author of The Dream Life of Sukhanov, which earned her a place on Granta’s Best Young American Novelists (2) in 2007, won her the NYPL Young Lion’s prize that same year, brought her a nomination for the LATimes First Novel award and made her one of three finalists for England’s Orange Prize. The thrill I felt on first reading that novel was just what happened when I read Dancing with the Tiger. I’m really excited about Lili and ready to run with the novel. Marian Wood
# # #Mitch Horowitz is vice-president and editor-in-chief at Tarcher/Penguin. He is the author of Occult America (Bantam), which received the 2010 PEN Oakland/ Josephine Miles Award for literary excellence. His new book, One Simple Idea: How Positive Thinking Reshaped Modern Life, is forthcoming from Crown in January 2014. Horowitz frequently writes about and discusses alternative spirituality in the national media, including CBS Sunday Morning, Dateline NBC, All Things Considered, The Wall Street Journal, The Washington Post, and CNN.com. He is online at: www.MitchHorowitz.com.
A note from Meg Leder, editor of THE WANDER SOCIETY by Keri SmithIn 2006, I had one of the most fortuitous lunches of my editing career with Faith Hamlin, an agent at Sanford Greenburger. We sat at the now-closed Steak Frites in Union Square and near the end of the lunch, she handed me a project in a manila envelope, telling me I should take a look at it when I was back at my desk. That project was a one-of-a-kind Moleskine mockup of Keri Smith’s Wreck This Journal, a magnificently and quietly subversive little book that we bought three days later, and that went on to sell several million copies worldwide, leading to eight subsequent books and legions of devoted Keri Smith fans. In the ten years since, I’ve shared with Keri ideas and prompts for dream projects. However, in true subversive fashion, Keri always politely acknowledges them, then sends back completely different ideas that are more genuine and amazing than anything I could come up with on my own. So it should have come as no surprise to me that when I asked Keri to consider writing a creativity manifesto—a way to share the integrity that drives her work—she came back to me with a manifesto actually written by someone else: a secret group called The Wander Society. But it did surprise me, and in the most delightful ways imaginable. Because after signing up the book, I started receiving mysterious letters in the mail—strange musings typed on a real typewriter, an envelope of maple tree seeds, a small, badge with hand-embroidered with a lightning bolt.
The Wander Society was reaching out to me, inviting me to join—the lines between reader and editor and author and member starting to blur.And so this summer I found myself on the shore of Lake Michigan, tying a small Wander Station filled with the society’s pamphlets around a tree. This fall, on my sabbatical in Paris and London, I left behind stickers of Walt Whitman, the patron saint of the Wander Society. A few weeks ago, I spent the afternoon wandering through the Lower East Side, ambling down streets I’d never explored before. I don’t know who exactly The Wander Society is, but I know that Keri’s a member now, and I am too. I know that the regular practice of wandering has opened me up to the possibility of surprise, newness, and the joy that come from discovering new places.
Turns out, I really like the freedom of not knowing exactly where we’re going next—whether it’s a literal journey or a publishing one.Twitter: @WanderSpotters @PenguinPbks Instagram: @PenguinBooks @WanderSpotters #TheWanderSociety