“Or had all those who sought to cast a new, unique look on the travels of Kerouac simply not cared to see this woman other than through Jack’s gaze? Was this drug-addled, prostituting Azteca deemed a distraction from the greater task of understanding the American writer? Was she not worth the trouble? Or did her trails running away from Jack—into the past and into the future—only expire into the thin Mexican air, leaving anyone foolish enough to take up the search fanning silken particles of light? But I will begin it, I tell myself, happily smoking my Te Amo in the sun outside the Café del Ángel, which itself no longer exists. I can start the story after B arrives and supplies me with all the requisite information.” (The Starlight Line, p. 47)
My debut novel, The Starlight Line, has just been published by Red Giant Books. This has been in the works for a while now, but, after some unexpected delays, the book is finally out and itching to be read.
Part barroom Beat romance, part cubist caper, part speculative literary critique, The Starlight Line is sure to please. So get ye to your favorite local bookstore and order up some copies for you and your friends. (Also available from usual online suspects: Amazon, Barnes & Noble, Powell’s.)
Some Advance Praise for The Starlight Line:
With echoes of Kerouac, Lowry, and Bukowski, Matt Marshall delivers a penetrating, but oddly reassuring, look into the souls of the drifters, drinkers and all the rest of us who just don’t fit in.
—Larry Kirwan, author of A History of Irish Music, Rockin’ the Bronx and Liverpool Fantasy, and former leader of Irish-American rock band Black 47
Matt Marshall’s novel, The Starlight Line, is a fascinating, complex, layer-cake of a book. The frame narration is semi-autobiographical; the narrator is a frustrated writer from Cleveland, searching for inspiration. The other layers interpenetrate and enrich the frame story: Jack London’s drug-addled wanderings; Trotsky’s assassination in Mexico; a writer’s search for Jack Kerouac’s mysterious muse, Esperanza Villanueva. Marshall’s skillful technique allows him to experiment with a variety of narrative voices that work like various instruments in a symphony. The voices add texture and depth to the story. In effect, Marshall produces a novel that is about the process of fiction writing itself.
—Philip J. Skerry, author of Dark Energy: Hitchcock’s Absolute Camera and the Physics of Cinematic Spacetime and Psycho in the Shower: The History of Cinema’s Most Famous Scene