Patrick Dacey


Patrick Dacey is a native of Cape Cod, Massachusetts, and now lives in Virginia. Patrick's short fiction has appeared in Zoetrope: All-Story, Bomb Magazine, Guernica, Salt Hill, and the Washington Square Review, among other publications, and he holds an MFA in creative writing from Syracuse University. Patrick's debut work, a collection of short stories entitled WE'VE ALREADY GONE THIS FAR, was published in February 2016 from Holt as the first in a two-book deal. The second, titled THE OUTER CAPE, will publish in June 2017.


Books

We've Already Gone This Far

"Patrick Dacey is one of my favorite young American writers. The stories in We've Already Gone This Far are dangerous, funny, sometimes savage (the phrase 'lyrical hammers' comes to mind), but underneath it all beats a strangely kind and hopeful heart. Dacey is channeling both a terrifyingly dark view of America, as well as a movingly optimistic one, and he shows us that the truth of who we are lies in that very juxtaposition. Fast, poetic, edgy, full of tremendous affection for the things of the world." - George Saunders

"We've Already Gone this Far is a strong, intelligent, deeply-felt book; Patrick Dacey is a beautiful and natural writer." - Mary Gaitskill

"Whether a used-car salesman or past-his-prime coach or lonely mother of a deployed soldier, the characters in Dacey's collection are 'living on these images of the past' looking for something that glimmers just out of reach. A book that brims with unguarded humanity and quiet moments of communion, I couldn't stop reading it. Dacey is a masterful prose stylist, a vibrant and original new literary voice." - Rae Meadows, author of Mercy Train

The Outer Cape

A piercing and compassionate debut novel about the twisting ways in which the young atone for the sins of the old in small town America.

Robert Kelly and his wife Irene were a golden couple of the late '70s, she an artist, he a businessman, each possessed by a dynamism that seemed to promise them a place in a new and vibrant age. But with two young boys to care for, Irene finds herself confined by the very things she'd dreamed of having, and her painting ambitions atrophy as she struggles to invest meaning into her role as wife and mother. And Robert, pressured by Irene's demands and haunted by the failure he sees looming, risks the family name and business to pursue a "can't-miss" real estate scheme.