At the end of But Now Am Found, Patricia Horvath’s debut story collection out from Black Lawrence Press in February, I felt like Arthur Miller’s Linda Loman, ready to grip someone, anyone, and fierce-whisper, “Attention! Attention must be paid!
—Allison Kornet, The Los Angeles Review
Like Miriam Toews, whose novel Women Talking concerns the mistreatment of women in an extreme sect, Horvath is clearly wary of indoctrination; like Toews, she also treats unsparingly of bereavement. There is a deep vein of grief in these stories, and it is here that we often discover the operation of grace.
—Joan Bauer, Dappled Things
In spare, precisely detailed prose, Patricia Horvath delivers a moving collection of stories that roam the low tides of life — the chemo ward, the stepchild’s realization that she’s unwanted baggage, the loss of a beloved parent — with a keen eye for small tendernesses that, if they don’t redeem, truly soften life’s blows.
—Heather Harpham, Author of Happiness: The Crooked Little Road to Semi-Ever After
In exquisite lyric prose, the sharpest of detail, and heartbreaking humor, But Now Am Found gives voice to the abandoned, the silenced, and the shunned women and girls of Patricia Horvath’s stark, and all too familiar, world; these powerful and truly unforgettable characters remind us, in each brilliant sentence, of their—and our—resilience.
—Susan Steinberg, Author of Machine
Generosity, love, searing beauty shine through Patricia Horvath’s stories, which unfold with the urgency and mystery of being alive.
—Martha McPhee, Author of An Elegant Woman
Rarely have I enjoyed a story collection as much as Patricia’s Horvath’s But Now Am Found, a book that deepens and refines itself with every title as a sculpture’s knife does stone. From the titular story to the final line, Horvath constantly reverts expectations, altering not only what it means to be lost or found, but constantly surprising with last-minute tragedies, rescues, reversals. These are the types of stories that send you back to the beginning again, eager to reread, explore. And even as the stories step into the male point of view, the gaze here remains purely, refreshening female. Seldom does a collection mine the complexities of the human heart with such wit and pathos, such confidence of vision, as this.
—Michelle Hoover, author of The Quickening and Bottomland