The Black Sheep Dances
". . . Daitch manages to reveal her characters in a light that makes us wonder if we are seeing them as they are or as another shadowy transparency. While the book is extensive in scope, the writing is sharp and lean."
The Review of Contemporary Fiction
"Daitch has lost none of the bristling intelligence that makes her work so uniquely literary. . . . Daitch's narrative can certainly be enjoyed as cerebral noir; the cryptic calls and notes delivered to Frances are reminiscent of Paul Auster."
"The world Susan Daitch spins is like uncovering a lost history first-hand through the eyes and ears of those who were there. An engrossing novel for the age of censorship and redaction."
Hey Small Press
"In 1993, Susan Daitch was showcased in the Review of Contemporary Fiction alongside David Foster Wallace and William T. Vollmann. Her first novel, L.C., is an unheralded masterpiece, but due to its politics (and the gendered world of literary criticism) it never achieved the critical or commercial success of her peers Wallace and Vollmann. Nonetheless, for many readers the arrival of a new book from Daitch is the most exciting literary event of the year. In Paper Conspiracies, Daitch approaches the Dreyfus Affair, the defining incident of modern anti-semitism before the Shoah, by focusing on the fringes of the case, particularly the film-maker Georges Méliès, who made a silent film about Dreyfus. Fin de siècle France is drawn into the present by a film restorer trying to save the Méliès movie. As expected, Daitch's prose is intelligent and beautiful."
New York Journal of Books
"Enthusiastically recommended to fans of highbrow, erudite historical fiction. Readers who enjoy the novels of Umberto Eco, for example, will probably also enjoy those of Ms. Daitch."
"Questions of integrity, authenticity and the slipperiness of 'truth' in a politicized society animate Susan Daitch's ambitious and highly satisfying novel about France's infamous Dreyfus Affair and its legacy."
"Like Herzog's study of Viennese literature, Susan Daitch’s third novel, Paper Conspiracies (City Lights, August), shuttles from the fin de siècle to the present, only in France. Daitch takes her impetus from the silent movie about Alfred Dreyfus made by the cinematic pioneer Georges Méliès, best known for his fanciful A Trip to the Moon (1902). A film in which one of the first masters of special effects took on a sensational political event makes good sense as a jumping-off point for Daitch’s formally experimental, intertextual fiction. She’s the sort of writer who favors footnotes and who imagines how the Yiddish-speaker who busted Lenny Bruce felt; David Foster Wallace once called her 'one of the most intelligent and attentive writers at work in the U.S. today.' "