Rick Moody - Praise

Praise

Literary critics have praised Moody's writing.

The Washington Post reviewed Moody’s most recent collection of novellas Right Livelihoods. In response to the novella "The Albertine Notes" they describe it as “one of the best stories to appear in the new millennium; it underscores that Rick Moody is one of our best writers.” Irish literary critic Val Nolan, writing in The Sunday Business Post, called the story “a symbolic reaction to the crisis of instability in American identity today” and remarked that the collection as a whole “brilliantly reflects the unease and baroque insecurities of the post-9/11 nation."

His 2005 novel The Diviners received praise in multiple reviews: “In this affectionate but unflinching cautionary tale about vanity, ambition, and life's unlikely paths, Rick Moody delivers a masterpiece of comedy that will bring him to a still higher level of appreciation.”

Of the novel The Ice Storm (later produced as the movie starring Sigourney Weaver), Hungry Mind Review commented that it “works on so many levels, and is so smartly written, that it should establish Rick Moody as one of his generation's bellwether voices."

Reviews of Moody’s novel Purple America continued in this vein. Salon commented: "Reading Purple America can feel like dancing a quadrille with four very different partners. On we go, propelled from consciousness to consciousness by Moody's prodigious gift for ventriloquism and large, supple vocabulary." Details was also positive: "You come up gasping on the last page." And Booklist states: "Closely interknitting his narrative with the lyrical, soaring monologues of all the key players, Moody effortlessly moves from one striking passage to the next....it's the characters' voices, so full of urgency and distress, that are unforgettable."

Michael Chabon and Thomas Pynchon gave high praise for the memoir, The Black Veil, the former calling it "a unique blend of wrenching emotion and human playfulness," the latter saying Moody "writing with boldness, humor, generosity of spirit, and a welcome sense of wrath, takes the art of the memoir an important step into its future."

The Review of Contemporary Fiction, in their June 2003 issue, says of Moody's writing:

"Within Moody's fictional treatments, the reader is necessarily one step removed from experience. We are engaged within a tight fuselage-world of the rendered text, an intricate and highly original language system wherein lurks characters sustained by the exertion of words, like the music sustained by the exertion of piano keys. Indeed, Moody's characters are like word-chords whose considerable tribulations and emotional woundings are never the central fact of the text, but rather convincing casings, occasions to press ink on paper. Voices emerge--language projections that ignite from plot moments, from brutal experience set to the available music of language, characters finally as sonic events who inhabit a geography of print."

Esquire describes Moody as “that rare writer who can make the language do tricks and still suffuse his narrative with soul."

Lydia Millet, in a 2001 article for The Village Voice, described Moody as "equipped with subtle but powerful typographic tools—the vibrant and pervasive Bernhardian italic phrase, pregnant with meaning, the elegant Joycean em dash denoting dialogue—Moody strikes me as a self-styled avenging angel of highbrow literary cool. Underneath the Clark Kentish exterior lurks a crypto-Superman schooled in semiotics and steeped in pop culture, one eyebrow permanently raised at the unsightly stupidity of the masses."