A "New York Times Book Review" Editors' Choice In the winter of 2000, shortly after his mother's death, Donald Antrim began writing about his family. In pieces that appeared in "The New Yorker" and were anthologized in "Best American Essays," Antrim explored his intense and complicated relationships with his mother, Louanne, an artist, teacher, and ferociously destabilizing alcoholic; his gentle grandfather, who lived in the mountains of North Carolina and who always hoped to save his daughter from herself; and his father, who married his mother twice.
"The Afterlife" is an elliptical, sometimes tender, sometimes blackly hilarious portrait of a family--faulty, cracked, enraging--and of a man struggling to learn the nature of his origins.

In elegant, precise prose Donald Antrim crafts funny, tender stories of men and women disorientated by love, loss, and bouts of sorrow. An unfaithful husband goes out to buy flowers for his wife, while across town a new couple, both survivors of difficult childhoods, find comfort together in other people's apartments. On the edge of a university campus, a group of students are brought together by their ageing drama professor, whose predilection for pot and crush on his star pupil threaten to tip their performance of A Midsummer Night's Dream into a surreal and dangerous farce. And in the title story, a bereaved art teacher drives into the Blue Ridge Mountains of Virginia intending to throw away his ex-girlfriend's paintings.

As the sun lowered in the sky one Friday afternoon in April 2006, acclaimed author Donald Antrim found himself on the roof of his Brooklyn apartment building, afraid for his life. In this moving memoir, Antrim vividly recounts what led him to the roof and what happened after he came back down: two hospitalisations, weeks of fruitless clinical trials, the terror of submitting to ECT—and the saving call from David Foster Wallace that convinced him to try it—as well as years of fitful recovery and setback. Through a clear and haunting reckoning with the author’s own story, One Friday in April confronts the limits of our understanding of suicide. Donald Antrim’s personal insights reframe suicide—whether in thought or in action—as an illness in its own right, a unique consequence of trauma and personal isolation, rather than the choice of a depressed person. A necessary companion to William Styron’s classic Darkness Visible, this profound, insightful work sheds light on the tragedy and mystery of suicide, offering solace that may save lives.

Upon its publication, "Assorted Fire Events "won a Los Angeles Times Book Prize, was nominated for a National Book Critics Circle Award, and received tremendous critical praise. Ranging across America, taking in a breathtaking array of voices and experiences, this story collection now stands as one of the finest of our time.

Having accidentally inspired the local suburbanites to draw and quarter the town's blood-thirsty Mayor, Pete Robinson - civic-minded schoolteacher and enthusiastic historian of the Medieval Inquisition - embarks on a tenuous election campaign. But his sleepy town has entered a period of crisis; the local park is littered with landmines, the neighbours are building deadly moats around their homes, and his beautiful wife, Meredith, has discovered dark and powerful talents within herself, which threaten to transfigure their once serene lives forever. In amongst this chaos, can Mr Robinson satisfy the terrible will of the people? By turns funny and phantasmagorical, fiercely intelligent and imaginative, Donald Antrim's first novel of suburban civics turned macabre is a new American classic.

Ninety-nine brothers (one couldn't make it) gather in their decaying ancestral mansion.There's Rob, Bob, Tom, Paul, Ralph, and Noah; Nick, Dennis, Bertram, Russell, and Virgil. The doctor, the documentary filmmaker, and the sculptor in burning steal; the eldest, the youngest, and the celebrated "perfect" brother, Benedict. Bound by blood and a common streak of insanity, they have come together to feast, carouse, abuse each other and seek and inter, once and for all, the long-lost, cremated remains of their domineering father.

"The Dead Father "is a gargantuan half-dead, half-alive, part mechanical, wise, vain, powerful being who still has hopes for himself--even while he is being dragged by means of a cable toward a mysterious goal. In this extraordinary novel, marked by the imaginative use of language that influenced a generation of fiction writers, Donald Barthelme offered a glimpse into his fictional universe. As Donald Antrim writes in his introduction, "Reading "The Dead Father," one has the sense that its author enjoys an almost complete artistic freedom . . . a permission to reshape, misrepresent, or even ignore the world as we find it . . . Laughing along with its author, we escape anxiety and feel alive."