Ben Tanzer

Siskel and Ebert meet Joan Didion in Auteur, a unique series that combines in-depth film criticism with personal autobiography. Each book in the series examines a single movie through a critical and historical lens, filtered through the author's creative and emotional connection to the film. The result mixes literary memoir with a loving study of some of our most beloved and influential filmsAfter Hours: Scorsese, Grief and the Grammar of Cinema is a live wire examination of author Ben Tanzer's relationship to Martin Scorsese's famous 1985 film, and how it helped him to make sense of the death of his father. Tanzer also delves into the overall importance of Scorsese and his films to his family, using After Hours as a lens into his life decisions--most particularly in the form of late-night visits to downtown New York City in the 1980s when he first came of age and began to ask himself how one manages to live a life of meaning, excitement, exploration, and joy.

Featuring dark character studies of childhood, middle age, and (lack of) grace under pressure, these stories are considered by many to be among the best work of Tanzer's career, and voracious fans of his short work will surely be pleased and satisfied to have these small masterpieces collected together into one easy-to-read volume. So take a stool at Thirsty's, order another Yuengling, and be prepared to be transported into the black heart of the American small-town soul, as one of our nation's best contemporary authors takes us on a journey across space and time that will not be soon forgotten. Previously published as The New York Stories, this classic collection has been revised and edited, and includes a new introduction by Tortoise Books publisher Gerald Brennan.

With Orphans, Ben Tanzer continues his ongoing literary survey of the twenty-first-century male psyche, yet does so with a newfound twist, contemporary themes set in a world that is anything but. In this dystopian tale of a future Chicago, workers are sent off to sell property on Mars to those who can afford to leave, leaving what's left to those who have little choice but to make do with what's left behind: burnt out neighborhoods, black helicopters policing the streets, flash mobs, the unemployed in their scruffy suits, robots taking the few jobs that remain, and clones who replace those workers who do find work so that a modicum of family stability can be maintained. It is a story about the impact of work on family. How work warps our best intentions. And how everything we think we know about ourselves looks different during a recession. This idea is writ large in the world of Orphans, where recession is all we know, work is only available to the lucky few, and this lucky few not only need to fear being replaced on the job, but in their homes and beds. It is also a story about drugs, surfing, punk music, lost youth, parenting, sex, pop culture as vernacular, and a conscious intersection of Death of a Salesman or Glengarry Glen Ross with the Martian Chronicles. Looking to the genre of science fiction has allowed Tanzer to produce something new and fresh, expanding both his literary horizons, and the potential market for his work. Tanzer also looks to the story of Bartleby the Scrivener with Orphans, and the question of what are we allowed as workers, and expected to be, or do, when work is fraught with desperation. Ultimately, Orphans is intended to be a contemporary story about manhood and what it means in today's world, told from the perspective of work and family, and how any of us manage the parameters that family and work produce; but it's a story told in a futuristic world, where our greatest fears are in fact already realized, because there isn't enough of anything, and we are all too easily replaced.