William Lychack
You could reach down into your throat and pull your heart out raw and warm and still-beating to show the world, but the world would probably just shrug like it was nothing. The world had its own problems. The world didn’t want your heart. It had more than enough hearts already.
— Excerpt from Cargill Falls
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Reviews for Cargill Falls

Cargill Falls is an immediate classic. At once essential and profound and hugely entertaining, the story of the two boys at the heart of this book, and the men they become, follows in the tradition of great coming of age stories like Stand by Me, and then twists and reinvents and does the tradition better, upending all that we know and expect. It’s rare to come across books like this. A writer hopes that once in his or her life he or she can write something so honest.”
—Charles Bock, Beautiful Children

“In how it slows down the world, William Lychack’s Cargill Falls achieves something quite unexpected: this is a book that makes your heart drum loudly, that leaves you breathless under the tall canopy of a forest in Connecticut in the 1980s, that pulls you toward a single day’s burning, bright core. Not since William Maxwell’s So Long, See You Tomorrow has a novel captured so wondrously the landscape of youth, regret, mystery, and violence, and done it with such tenderness, humor, and raw, wild energy.”
—Paul Yoon, Snow Hunters

“William Lychack’s exquisite sensibility of language combines with delicate dramatic tension as he explores the possible meaninglessness of causality. What if one event is not related to another? This is the best novel about adolescent boys I can remember.”
—Blanche McCrary Boyd, Tomb of the Unknown Racist

“A double dimension dream of a book, Cargill Falls trapezes adroitly between the quotidian's ancient ache and the elusive, gleamingly provocative escutcheon of the ideal. It is moving, tender, and compelling from start to finish.”
—Patrick McCabe, The Butcher Boy


The Architect of Flowers is a stunning collection. Each story is like a brilliant dream, evanescent, yet managing to linger in all the senses long after the last page has been turned. It is a poetry of narrative rarely ever found in fiction.
— Mary McGarry Morris, author of Songs in Ordinary Time
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The Architect of Flowers (2011)

A small town policeman brings himself to shoot a family’s injured dog; an old woman secretly trains a crow to steal for her; a young boy at his father’s wake finds the man lying in flowers as if in a bath; a hybridizer’s wife discovers the perfect lie to bring her family magically together again; all the characters in this collection yearn to somehow re-enchant the world, to turn the ordinary and profane into the sacred and beautiful again, to make beauty serve as an antidote to grief. Set in dying mill towns of New England, in timeless fishing villages by the sea, in great dreamlike cemeteries north of Greenpoint, each of these stories tries to necessitate the accidents that befall us, to build something durable from the worries and joys we carry, our lives so often prefigured by the losses and betrayals that we strive so hard to untangle, to make sense of and ultimately redeem. A middle-aged couple tries to salvage the deer they have accidentally killed; a pregnant woman brings home a box full of chicks to raise in the yard; from ghostwriter to ghost runners to ghosts in a chapel, these stories center on relationships—husbands and wives, fathers and sons—and bring to life the honest work and quiet grace involved in making-do, in holding onto all we care about as we say goodbye, the world always more strange and complex than we expect, love always more familiar and simple than we imagine.

*Portions of this collection have appeared in The Best American Short Stories, The Pushcart Prize, and on public radio’s This American Life.

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Lychack simply makes a reader feel the sadness inherent in this whole business of trying to connect with other human beings.
— Maureen Corrigan, Fresh Air
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The Wasp Eater (2004)

The Wasp Eater is a love story about a boy’s quest to bring his mother and father back together again. He sets out to do this by running away to redeem a family ring at a pawn shop, as if his whole world was but one gesture away from life, as if all of his mother’s ache and anger and longing could be released by one symbol, a blue diamond that had always stood for her own father and the life he promised for her and her family before he died. In a world of contradictions, the boy will get this ring for her, but he’ll achieve the opposite of what he thought he wanted...

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