"The greatest miniaturist of our age, Copi was a man of the Baroque, a Shakespeare, magically reincarnated in gay Paris." -- César Aira "With his rotating cast of invalids, cripples, and colorful outcasts, Copi unfolds an iconoclasts impudence, and stakes everything on a saturation of buffoonery, on a truly electrifying extremism. Every work by Copi is an earthquake. In Copi, eschatology transforms into a diabolical Venetian Carnival." -- Clarín "Copis work is intensely political, comic, fast-paced, joyful and dark, but its nearly impossible to fit it into a tradition or activist project because it disrupts everything: ideology, icons, genders, languages." -- La Nación "Copi and his works outraged French critics: reviewing Eva Perón, conservative newspaper Le Figaro called him sinister, inept, indecent, odious, nauseating and dishonest." -- The New Statesman "Copi's tender psychos hurtle through increasingly outré adventures that seem to expand and contract like accordions. Here is radiant detail and joyous destructive energy." -- Robert Glück "Copi's casual ease with instability is the mark of his true genius: nothing, truly nothing, is safe from his destructive wonder, and what follows the demolition is only more astonishing." -- Federico Perelmuter - Southwest Review "In my life, there is a before and after Copi." -- Gabriela Cabezón Cámara "City of Rats is, all at once, a dreamof Gombrowicz, of Macedonio FernándezRataouille, a comic book, and an epistolary novel co-authored by Flaubert and George Sand. Copi was an exile in the absolute sense: exiled from all of society, cast out from language and into the translation of translation. He lays claim to the dregs and dares to scorn both morality and law." -- Ariana Harwicz "Unfurling like a classic film serial, this breakneck voyage one-ups itself in ridiculousness with every new letter, and Copi guides the expedition with a steady hand and his tongue firmly planted in his cheek." -- Publishers Weekly
