Skip To Main Content
Patrick Preziosi on Muck Rack

Patrick Preziosi

As seen in: Bandcamp Daily, Notebook, America Magazine, The Quietus, Little White Lies, Slant Magazine, Commonweal Magazine, Screen Slate, In Review Online, Review 31 and
Is this you? As a journalist, you can create a free Muck Rack account to customize your profile, list your contact preferences, and upload a portfolio of your best work. Claim your profile

Get in touch with Patrick

Contact Patrick, search articles and posts on X, monitor coverage, and track replies from one place.

Learn more about Muck Rack

Actions

Share this page

Is this you?

As a journalist, you can create a free Muck Rack account to customize your profile, list your contact preferences, and upload a portfolio of your best work.
Claim your profile

Articles

The Depths of Hamamatsu: On Tomoko Yoshida’s “Dunderhead”

|
By Patrick Preziosi
| Cleveland Review of Books Verified
Tomoko Yoshida | translated by Adam Sutherland | Dunderhead | ISOLARII | June 2026 | 324 Pages Patrick Preziosi is a writer and used book dealer born and based in Brooklyn, New York. His work on literature, music and film has appeared in Bandcamp Daily, Screen Slate, Commonweal, We Jazz, and more. He runs the used bookstore Red Hook Books with his wife, Tanya Chernyak, in Brooklyn.
Open in Who Shared Issue with article?

Close to the Bone

|
By Patrick Preziosi
| Commonweal Magazine Verified
Jim Thompson with his cat, Deadline (Jami Reed/Library of America) Jim Thompson, the most detectably modernist, entertainingly ludicrous, and titillatingly depraved crime novelist of the twentieth century, hit upon his working method in the early 1930s as he submitted story after story to the serialized pulps and true-crime magazines of the era.
Open in Who Shared Issue with article?

Poetlike: On Richard Hell’s Godlike

|
By Patrick Preziosi
| Cleveland Review of Books Verified
Richard Hell | Godlike | NYRB Classics | February 2026 | 168 pages The original copy for Richard Hell’s 2005 novel Godlike, a shaggy transposition of Rimbaud and Paul Verlaine’s tawdry, painful fin de siècle dalliance to 1970s New York City, made no mention of either of the French poets, almost as if it were embarrassed by its high-art aspirations.
Open in Who Shared Issue with article?
See all 70 articles