It’s the end of summer, 2003. George W. Bush has recently declared the mission in Iraq accomplished, the unemployment rate is at its highest in years, and Martha Stewart has just been indicted for insider trading. Meanwhile, somewhere in the Midwest, Troy Augustus Loudermilk (fair-haired, statuesque, charismatic) and his companion Harry Rego (definitely none of those things) step out of a silver Land Cruiser and onto the campus of The Seminars, America’s most prestigious creative writing program, to which Loudermilk has recently been accepted for his excellence in poetry.
Loudermilk, however, has never written a poem in his life.
Wickedly entertaining, beguiling, layered, and sly, Loudermilk is a social novel for our time: a comedy of errors that deftly examines class, gender, and inheritance, and subverts our pieties about literature, authorship, art-making, and the institutions that sustain them.
Lucy Ives is as deeply funny and ferocious a writer as they come. She’s also humane and philosophical when it matters most. I love Loudermilk.
With Loudermilk, Lucy Ives tears down the curtain to unveil the wizard—and here all of the characters are implicated in operating the clunky machinery that creates then lionizes the concept of merit or talent in the academic/literary world. The result is this wildly smart novel that hilariously exposes its characters as they try to vault or cement themselves into some literary canon and/or ivory tower, unaware that the canon/tower is an ever-vanishing mausoleum wherein living writers go to get stuck, or lost, or to scrawl their names and draw butts and boobs on the walls.
Half gonzo grad school satire featuring these two princes among men, half theoretical inquiry into the nature of writing and reality . . . Wonder Boys meets Cyrano de Bergerac meets Jacques Lacan meets Animal House. Something for everyone.