Robert Steiner - ...and beyond the horizon the bleeding sun, but eventually even ruin is nothing but gravity

Robert Steiner, Negative Space, Counterpoint, 2010

"While sitting on a French terrace overlooking a three-hundred-year-old olive grove at sunset, a man listens as his wife confesses her love for someone else. Preparing to leave after twenty years of marriage, she details her erotic and emotional life, a confession that leaves her husband spent but delirious with love for her. The imminent loss of the passion of his life leads him to experience the power of desire, grief, and flushed obsession—and thus begins this riveting monologue at the end of a marriage, one that is mesmerizing with anger and regret.
Entirely alive in these intense moments, the husband examines every experience, every feeling that floods his mind with grief and anticipation. And this need, this experience, becomes one of absolute truth, as the story itself becomes composed of complicating love and loss.
Negative Space joins Steiner's earlier fictions—such as Bathers, Dread, and The Catastrophe—in evoking the dark texture and brilliant detail of erotic loss. The result is an exploration of heartbreak and sexual obsession the reader will not soon forget."

"I’m in the middle of writing a review of Robert Steiner’s Negative Space, after having read it twice. It’s a marvelous novella mapping the mania of a cuckolded man, featuring lyrically meandering sentences, like this one:
“Smoldering ruins can occupy a panorama the way from our terrace I witness the olive grove, and the sea beyond it, and beyond the sea the horizon that cuts it, and beyond the horizon the bleeding sun, but eventually even ruin is nothing but gravity.”
I’ve read a hundred books, so far, this year, and this short book was one of the best, and so, I highly recommend it. And I’m grateful to Steiner for writing it, and to Counterpoint Press for publishing it." - John Madera

"The nature of change dictates that the person we become often looks back on the person we were with bewilderment. Old decisions, habits, and affinities can be completely baffling to our new incarnation; memories may even be recalled from a bird’s eye view as though someone else were living our life.
But what happens to the people left behind? How do they see themselves as they watch us separate from the reality we had defined together? This is one of the key questions posed by Robert Steiner’s Negative Space, in which an unnamed man listens to his wife confess her infidelity and love of another man over the course of one night. While her confession forms the frame of the book, the majority of the novel passes inside of the narrator’s mind as he questions the nature of self and want as he experiences the end of his marriage.
In seemingly simple yet profoundly economic prose, Steiner showcases a man grappling with loss. Sentences such as “My wife could not believe in the reality of her new love if she did not believe in the unreality of the old,” deftly maneuver us through the narrator’s obsessive attempt to define the shapelessness of grief.
As his wife’s confession unfolds, the narrator finds himself eroticizing her in the face of her infidelity and the secret life she’s been conducting for months, or even years. As she describes her sexual and emotional life with her new partner, the narrator immerses himself in obsessive questioning, circling around the key question of whether, as it ends, every relationship is defined only as a prelude to its conclusion. And, as the narrator wonders, if his whole life has previously seemed a preface to their marriage, is his identity not now collapsed in the face of her departure?
It’s a question we all deal with on some level as our lives change, and relationships shift and disappear. With love, more than anything we have to reduce years of lives together to one key conclusion about our incompatibility in order to digest, label, and move on.
Yet our narrator cannot, at this moment, agree. He is staring down the face of misery and loss, knowing, as the title suggests, that his future will hereafter be defined more by his wife’s absence than anything else. In an especially poignant phrase, the narrator states: “The absence of fresh flowers on our dining table will recall to me the absence of my wife, I thought, so that I do not own a dining table without flowers so much as a dining table whose flowers are missing.” And it is solely he who will be trapped in her absence, as her new life with her new lover will be defined by their joint future rather than her past. So our narrator is trapped in his love, its definitions and stasis in its death; trapped as the forgotten side plot in his wife’s continuing narrative.
Negative Space is a sad but beautifully told tale. For anyone who has experienced the loss of love, it is an affecting and cathartic read that leaves you stinging, much like a cauterized wound." - Christina Shideler

Robert Steiner, The Last Judgment.

The Last Judgment is a dark vision, an apocalyptic fever dream, a panorama of chiaroscuro lit by the torched South at the end of the Civil War. In this, his final novel, Steiner recounts the aftermath of Lincoln’s assassination and the defeat of the South in a style that is Proustian in detail, Jamesian in stateliness, and Faulknerian in its rhythms. It is a remarkable achievement. -Vincent Czyz

Robert Steiner has given us an extraordinary work: a microscopic and kaleidoscopic vision of Lincoln’s assassination, assimilating the dead president to the Biblical Abraham, and the war that surrounded him to the End of Days. This novel combines a marvelous ingenuity of concept with a vatic, thundering style that does the Old Testament prophets proud. - Madison Smartt Bell

Fierce, blood-stained and breathtaking, The Last Judgement is a lamentation on America’s original sin of slavery and its attempted expiation in the civil war. Focusing on the dying and unconscious Lincoln, the novel weaves its terrible and stylish magic around questions of guilt, atonement, shame and retribution. No comforting Zen bardo here, this is old testament history, where vengeance is the Lord’s and redemption uncertain. This is a darkly brilliant book. - Jeffrey DeShell

Out of personal bravery, Steiner manages to deal directly long and hard with darkness. Sometimes reading him, one shakes oneself. Grace Paley

There is no writer of his generation of whom I think more greatly. John Hawkes

Through its articulate and painfully nuanced first-person narration, Steiner's examination of jealousy and betrayal at its simplest becomes something sublime. Publishers Weekly, for Negative Space

Like Roth's The Counterlife, this novel challenges by taking repeated advantage of the reader's willingness to suspend disbelief. Publishers Weekly, for Dread

Steiner’s primary theme seems to be that pain is as profound a symbol of life as joy or happiness or desire (indeed, perverse aura of desire wafts throughout this difficult collection). Publishers Weekly, for Nothing Lasts Forever

Steiner knows what he's doing, and he's in firm command of his style. Kirkus Reviews, for Nothing Lasts Forever

Robert Steiner . . . has written astonishing work . . . in a style dark and gorgeous. (He) is a master of the sensual. Los Angeles Times