Brian Alessandro

Julian Sorrento has written a New Yorker article about selflessness and altruism. In it, he portrays himself as an exploited victim of his large, dysfunctional family and a savior to the homeless youth he serves as their social worker. Following the article's publication, Julian's family comes after him with a righteous fury. They claim he has exaggerated and distorted facts, making them the villains. His agent encourages him to expand the article into a book. As Julian meets with each member of his family to hear their grievances, he also seeks-or sometimes makes up whole cloth-additional damning secrets about them to include in his memoir." Brian Alessandro has written a rollicking family story that follows a flawed and fascinating character through the ethical terrain of memoir writing. Funny, beautifully written and brimming with the best kind of big questions." -Lexi Freiman, author of The Book of Ayn"An invenetive, wildly entertaining novel, which revolves around the hazards of writing a memoir about one's family. What a cast of characters Brian Alessandro has brought to life, thorugh sparkling dialogue and vivid, often comical scenes. I enjoyed Julian's Debut immensely " -Bill Hayes, author of Insomniac City: New York, Oliver Sacks, and Me""By turns comic, wrenching, appalling, bewildered, shrewd, never nice, and always alive, Julian's Debut is a powder keg of a book that explodes and explodes." -Paul Lisicky, author of Song So Wild and Blue: A Life with the Music of Joni Mitchell"Brian Alessandro's Julian's Debut is a masterful exploration of wit and emotional depth-a fearless, unapologetic examination of the fine line between truth and betrayal in storytelling. With raw vulnerability and sardonic humor, Alessandro vividly captures a protagonist navigating the delicate balance of baring familial scars to the world. This novel delves into the complexities of loyalty, identity, and the resilience that defines us, all while embracing our beautiful imperfections." -Emanuel Xavier, author of Love(ly) Child

Risk Bonaventura, a successful but insecure investment banker, moves his family from New York to Madrid to buy his way into bullfighting (a brutal childhood dream meant to edify his ego) only to be struck by conscience mid-fight and left seriously injured by the bull. What follows is a threesome with his professor wife, Lorna, (based in part on Camille Paglia) and Javier Forza, a Spanish matador whom he envies and obsesses over, and a sadistic crime, as well as meditations on beauty and disfigurement, arrogance and humiliation, toxic masculinity and the power of the feminine, the new lords of social media, cancel culture, and political correctness, and various permutations of sexuality. In the background the couple's queer video artist son, Theo, comes of age and engages in surreptitious spite work." Brian Alessandro is savagely calm, fiercely erudite, and fully determined to show us everything - everything - he sees." - Kathe Koja, Bram Stoker Award-winning author of Under the Poppy and The Cipher"Brian Alessandro's Performer Non Grata is a face-meltingly perverse satire-cum-farce, a sort of contemporary love child of Wilde and Burroughs, streaming with blood, splooge, booze, snot, bitcoin, litcoin-and prancing with turgidity. Theater as novel, and vice versa, with no guide for determining the gaslight from the candelabra, the performance from the performance-within-the-performance, colonized from colonizer, faux-minist from feminist, ancient myth from YouTube voyeurism, victim from perp. Who, or what, is there to root for beneath the effluvial wreckage? In a novel whose allegory is the bullfight, I ended up cheering for the bull " -Diane Seuss, Pulitzer Prize winning author of frank: sonnets"Hold on tight. Brian Alessandro's Performer Non Grata is a bucking bull ride of a novel. Placing an American family in the milieu of the Spanish toreadors, Alessandro deftly makes a scathing commentary on the most toxic manifestations of traditional masculinity, homophobia, and society's obsession with spectacle. Like Genet's Querelle of Brest, Performer Non Grata takes Oscar Wilde's famous quote, "each man kills the thing he loves," and runs with it, pushing the dynamics of sexual relationships to the very limits of morality. One can place Alessandro's work among the most irreverent satires of Roth, Albee, and White. And even though the trajectory of Alessandro's lovers' entanglements is a proverbial train wreck, Alessandro skillfully and compassionately imbues his characters with an uncommon humanity. As the novel centers on the world of Spanish bullfighting, with taut, muscular prose, one cannot help but recall Hemingway-only Alessandro turns Hemingway's antiquated machismo on its head and kicks it directly in its manhood. Performer Non Grata is a tour de force of satire for our times." -David Santos Donaldson, playwright and author of the novel, Greenland." Brian Alessandro's satire is warm but stinging. His view of toxic masculinity is accurate and compassionate. He is inventive, funny, odd. He's speaking to our crazy times." -Edmund White"By turns biting and grotesque, audacious and cruel, Performer Non Grata pierces through the absurdity of how and why we keep deifying masculinity." -Manuel Munoz, three-time O Henry Award winner and author of What You See in The Dark"A madhouse novel, both scathing and unforgettably tender, in which the real and the absurd are one... Alessandro is a virtuoso." -Junot D az, Pulitzer Prize-winning author of The Brief, Wondrous Life of Oscar Wao, Drown, and This Is How You Lose Her