Winner of the Ernest Hemingway Prize for Best First Novel in 1976<br> <br> It has been more than thirty-five years since Renata Adler’s <i>Speedboat</i> charged through the literary establishment, blasting genre walls and pointing the way for a newly liberated method of writing. This unclassifiable work is simultaneously novel, memoir, commonplace book, confession, and critique. It is the story of every man and woman cursed with too much consciousness and too little comprehension, and it is the story of Jen Fein, a journalist negotiating the fraught landscape of contemporary urban America. Her voice is cuttingly perceptive, darkly funny, and always fiercely intelligent as she breaks narrative convention to send dispatches back from the world as she finds it.<br><br>This new edition of <i>Speedboat</i> will include an interview between Renata Adler and Guy Trebay discussing the genesis and composition of the book.<br><br><br>“Renata Adler's collage novel <i>Speedboat</i> captivates by its jagged and frenetic changes of pitch and tone and voice. She confides, reflects, tells a story, aphorizes, undercuts the aphorism, then undercuts that. If she's cryptic in one paragraph, she's clear in the next. She changes subjects like a brilliant schizophrenic, making irrational sense. She's intimate: bed talk uninhibited by conventions. Ideas, experiences, and emotions are inseparable. I don't know what she'll say next. She tantalizes by being simultaneously daring and elusive. The book builds: images recur, ideas are interwoven, names reappear. Paragraphs are miniature stories. She's always present, teasing things apart, but not from a distance. There's very little that's abstract. I can feel her breathe.” – David Shields