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A masterful novel set amid racial upheaval in 1950’s America during the flight of second-generation immigrants from their once-necessary ghettos. Full of wisdom, consequence and grace, Salvatore Scibona’s radiant debut brims with the promise of a remarkable literary career, of which The End is only the beginning. (r) Annie Dillard, author of Pilgrim at Tinker Creek and The Maytrees Like no other contemporary writer, Salvatore Scibona is heir to Saul Bellow, Graham Greene, and Virginia Woolf, and his masterful novel stands as proof of it—a concordance of the immigrant experience from the beautiful to the brutal and everything in between. Each character stands both illuminated like a saint and obscured in shadows of past lives, debts and secrets. In The End, all the “beautiful caves” of the characters’ pasts connect, and “each comes to daylight at the present moment” in ways that leave one touched, surprised and amazed.(r) ZZ Packer, author of Drinking Coffee ElsewhereAbout_The_End_Novel_Salvatore_Scibona.html
From Publishers Weekly [starred review]: About_The_End_Novel_Salvatore_Scibona.html
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The Italian immigrants in this exceptional debut collide and collapse in a polyphonic narrative that is part novel, part epic prose poem spanning the first half of the 20th century . . . . The novel’s radiant beginning . . . is emblematic of both Scibona’s calibrated precision and the story’s potent humanity. This ravenous prose offers its share of challenges, but Scibona’s portrayal of the lost world of Elephant Park is a literary tour de force.About_The_End_Novel_Salvatore_Scibona.html
[A] portentous, labyrinthine debut novel of the epic search for home and the promise of a better future . . . gorgeous, bittersweet, and devastating.About_The_End_Novel_Salvatore_Scibona.html
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Engulfing. Entangled. Fate-laden. Flinty. Dry-eyed. Memento meets Augie March. Didion meets Hitchcock. Serpentine. Alien. American. Ohioan. McCarthyite (Cormac). Bellowed (Saul). About_The_End_Novel_Salvatore_Scibona.html
From EsquireAbout_The_End_Novel_Salvatore_Scibona.html

From the Georgia Straight (Vancouer)

Think of the skywriting scene in Virginia Woolf’s Mrs. Dalloway or the final lines of W. B. Yeats’s “The Circus Animals’ Desertion” . . . . It’s esteemed company to be in, to be sure, but the central image in Salvatore Scibona’s debut novel, The End, is so rich and so unabashedly in the modernist vein that it could be included on that shortlist retroactively. . . . As the book progresses, Scibona pans back to show the entirety of this neighbourhood with surgical precision. His characters are lush and wonderfully complex, their secondhand English flecked with a hundred subtle imperfections, and the central tragedy that links these disparate citizens together is nothing short of devastating. The End takes one more nod from its modernist predecessors in its perfectly formed architecture, which is on display as much as any plot point. It takes those quietly powerful moments and assembles them into something truly monumental.About_The_End_Novel_Salvatore_Scibona.html
From the Southern Review Rhapsodic and interior, inventive in its language and structure, and unflinching in its portrayal of the desolation and disenchantment that afflicts low-luck citizens . . . . There is a calamitous mystery in the lungs of this novel; one goes from chapter to chapter expecting horrendous spiritual crimes to cripple all involved and perhaps usher in the apocalypse . . . . Scibona has shaped a searing portrait of an entire Ohio community much like Sherwood Anderson’s Winesburg, although Elephant Park is a more menacing locale than Anderson’s middle-class would-be utopia . . . . [A] masterful novel of serious consequence, a novel unafraid to split into the breastplate of humankind and aim a floodlight at the demons dancing there. If the poetic truths and dark spiritual scope of this novel disconcert you, fine. But they will also remind you that the novel is thriving. About_The_End_Novel_Salvatore_Scibona.html