'[ A]larming, wondrous speculativea searing indictment of capitalist destruction wrapped in the pleasures of a first contact taleThe prose is elegant, philosophical, and introspective, though also pocked with reminders of human corruption.' Michelle Anne Schingler , Foreword
'This dense and poetic novel of first contact from Morrison (Falling Hour) submerges readers in a future that is both collective and fractured [ Readers] will be rewarded with much food for thought.' Publishers Weekly
From literary puzzles and spy thrillers to science fiction and Marxist theory, The Coffin of Honey seamlessly brings together many genres and influences. A work of great mystery and imagination that is about our current moment as much as it is about the future. Babak Lakghomi, author of South
Written in rhythmic prose and filled with a rhapsody of ideas, The Coffin of Honey is a palimpsestic text that pulsates with strangeness and beauty. This singular novel offers satire-laced musings on the absurdities of the capitalist world, and a meditation on transport and transformation, and on the collective construction of meaning in the face of the unknown. A remarkable work. Christine Lai, author of Landscapes
Praise for the author:
A stellar debut novel by a stellar new talent. Falling Hour is written in a prose style that enlivens every page. Mauro Javier Cárdenas, author of Aphasia
There is impressive control in the deployment of these mind spirals, with Morrison integrating link after link into a narrative that grows more complex but keeps all its many balls in the air, the kind of juggler who satisfies and surprises with what he is able to toss into the mix. Emily McBride, The Rumpus, on Falling Hour
From the first page to the last I felt wholly captivated by Falling Hour and Hughs sensitive and far-ranging digressions. Morrison has captured the magic of Sebald and made it entirely his own, a curiously anti-capitalist exploration of what it means to live in a fake country. André Babyn, author of Evie of the Deepthorn
Falling Hour is a profound incantatory exhalation a quiet triumph; to read it is to engage in a smart, humane and at times very funny conversation that you will never want to end. Simon Okotie, author of After Absalon
In Falling Hour, an immensity is condensed into a single day, a single park, a single empty frame. To themes of loss and dispossession that recall in scope and sensitivity the work of Teju Cole and W.G. Sebald, Morrison brings the attentive eye of a poet and a truly impish sense of the absurd. Jen Craig, author of Panthers and the Museum of Fire
It is rare to come across a debut novel that feels so unapologetically intellectual and, at the same time, so alive to what is beautiful and terrible in human life. Falling Hour is more than just the record of a characters thoughts over the course of a day; it is a kind of literary ghost bicycle chained to the spot where a cyclist was killed, an anthem of the defeated, a howl of rage at a violent machine. It is also, Im afraid to say, a masterpiece. André Forget, Literary Review of Canada
Falling Hour deserves mention as a notable debut along the estuary of modern fiction. D. W. White, Atticus Books, Phoenix, AZ
In Falling Hour, Geoffrey D. Morrisons impressive first novel, a ruminative young man named Hugh Dalgarno takes an old picture frame to a public park where he has an appointment to sell it to a stranger. Kevin Canfield, Necessary Fiction
Falling Hour is an existential feast, a satisfying banquet of innovative fiction, ripe with free-flowing associations that astound, all with the cohesion of a lucid dream. Danial Neil, The British Columbia Review
Falling Hour is a densely woven text of rhythmic sentences and shifting metaphors, of righteous rants about colonialism, capitalism, and Methodist-minded Canadians, of lyrical meditations on the natural world, of facts that beget more facts. Reading it broke my brain, and I mean this as the highest compliment. Marisa Grizenko, Plain Pleasures
The perks and pleasures are innumerable in this, the memories of the disgruntled protagonist on a single, lonely day. Brett Josef Grubisic, Vancouver Sun, on Falling Hour
Morrison offers a tender portrayal of loneliness amidst the ravages of late capitalism, where everything, including the most basic forms of human relation, have been subsumed under market logic. Aaron Obedkoff, Canadian Notes & Queries, on Falling Hour
