The South Will Rise at Noon


Douglas Glover“A fast, furious, and funny read.” (The New York Times Book Review)

“Among the greatest comic novels ever written by a Canadian.” (CBC State of the Arts)

“A rollicking and readable portrait of a most unusual man . . . [a] vastly entertaining book.” (The Globe and Mail)

“Jaunty social commentary in a manic plot . . . Wonderfully choreographed . . . Beneath the relentlessly breezy tone, there is a curious autumnal melancholy.” (The Toronto Star)

“Riotous, rolling, rambunctious, and compulsively readable . . . It’s been a long, long time since a novel has succeeded with the uninhibited vulgarity of The South Will Rise at Noon. This is such a great, toothy grin of a novel, what used to called a tour de force, that I want to quote the whole thing . . . when the end draws near one wants, not a tidy wrap-up, but more.” (Books in Canada)

“Wonderfuly implausible, crazy, hilarious, unexpected — like it’s hero.” (The Kingston Whig-Standard)

Douglas Glover“A farce . . . exactly how I plan to behave in my next life.” (San Diego Tribune)

“A hoot and a half . . . a wonderfully engaging fictional voice. The South Will Rise at Noon is a thoroughly enjoyable romp of a book . . . Those good ole boys surely can write — even when they’re from Canada.”  (The Chicago Tribune, Atlanta Journal-Constitution)

“Glover’s ripe imagination keeps this shaggy-dog story hurtling along.” (Publishers Weekly)

“Shall we clear away the superlatives and blurt out the bias here, straight out? Whale Music is the best comic novel since Douglas Glover’s The South Will Rise at Noon (1988), which was the best comic novel since Michael Malone’s Handling Sin (1985), which has been called the best since Joseph Heller’s Catch-22. We’re talking not of slapstick or the merely amusing, but of the serious novel that is not sombre, that makes you laugh while confronting reality.” (Jack Macleod in Books in Canada)

“A lively piece of work . . . packed with incident . . . an amiable romp.” (Montreal Gazette)

“Glover shakes windows, rattles walls, and challenges dominant CanLit tropes like few others.”  (The Danforth Review)

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