The Remedy For Love is an Indie Next Pick for October!
Bill Roorbach Portland Press Herald
Nice article and video on the Portland Press Herald site.
"There is poetry in Bill Roorbach's prose ... his lyricism is touched lightly with irony." --The Boston Globe
"While genuine in his appreciation of nature, Roorbach is the antithesis of the smug and self-absorbed naturalist." --The Believer
"Roorbach is a master of capturing and expressing joy." --Hartford Courant
"I've admired Bill Roorbach's voice for a long time. He's a writer who is full of compassion and warmth for his subjects, and he's funny as hell, too."
"Bill Roorbach's writing is notable for its warmth, its sensitivity to women, and its irresistable bad boy charm."
"Roorbach falls, for me, into that small category of writers whose every book I must read, then reread."
"Bill Roorbach is a storyteller's storyteller."
"Roorbach has put his finger on a basid element of artistic creation: the desire to join with the things one loves." --Newsday
"Bill Roorbach's stylish writing--with its surprising and generous observations about landscapes, internal and external--makes for great literature."
"Here is a narrator who makes you glad to be alive, giddy to be in his presence, grateful to love friends and family and dogs with generosity and abandon, to show tenderness and thus by saved by strangers."
--Melanie Rae Thon
"Roorbach has a knack for tapping into deep undercurrents and bringing them to the surface with the least amount of fanfare or fuss."
--Los Angeles Weekly
"Bill Roorbach has quietly built a stellar reputation."
Contact Bill at email@example.com
For conference and appearance bookings, private study, interviews, more information, or just to stay hello.
Spring News from Bill Roorbach
Algonquin will publish my new novel, THE HIGH SIDE, spring, 2012.
"... a superbly grown-up love story." --Kirkus
A closely observed meditation on isolation and loneliness “in a world in which no social problem was addressed till it was a disaster.”
Eric is a middle-aged “small-town lawyer with no cases,” struggling with separation and lost love, when he lays eyes on a young woman in the supermarket line who's just such a disaster. Danielle is a hot mess brimming with suspicion and hostility, to say nothing of being hobbled by a bad sprain and no immediate prospects. When Eric helps her with her groceries—and then, episode by episode, with bits of her torn-up life—young Danielle responds mostly with cagey bitterness, dismissing the train wreck that is her existence with tossed-off observations like “[p]eople are complicated.” Yes, they are, and Danielle—if that is her real name, for, as she tells him, it’s “Danielle, for now”—is more complicated than most. Set against the backdrop of a howling Maine blizzard (“Storm of the Century, that’s what I heard,” says Eric. “Of course that’s what they always say”), Roorbach’s story never takes an expected or easily anticipated turn. Eric makes a project of Danielle, a project that brings some glimmer of meaning into his life. Danielle, in turn, resents being made into said project. She’s an exceedingly strange bird, but strange is better than nothing—maybe, for Danielle is harboring enough secrets to keep an NSA agent busy for years. “I’m sure I lied,” she tells Eric, simply, in one typical exchange. And so she has, though she has her reasons, which we learn as Roorbach’s superbly grown-up love story unfolds.
Lyrical, reserved and sometimes unsettling—and those are the happier moments. Another expertly delivered portrait of the world from Roorbach (Life Among Giants, 2012, etc.), that poet of hopeless tangles.