'[Fassbinder] Thousands of Mirrors is not a sorrowful kill-your-heroes recanting. It's much more interesting than that - a freewheeling, hopscotching study of the Fassbinder allure and an investigation of Penman's younger self...It's a book about a film-maker but also, hauntingly, about the way our tastes and passions change over time.'
- Anthony Quinn, Observer
'Do Penman's flurries of quickfire erudition add up to a dazzling kaleidoscope overall, or a labyrinth of aborted pathways? The answer is both. He's boldly querying his subject's genius from every vantage point - angry and young; older and (maybe) wiser.'
- Tim Robey, Telegraph
'Ian Penman is an ideal critic, one who invites you in, takes your coat, and hands you a drink as he sidles up to his topic. He has a modest mien, a feathery way with a sentence, a century's worth of adroit cultural connections at the ready, and a great well of genuine passion, which quickly raises the temperature.'
- Lucy Sante, author of The Other Paris
'This is a wonderful book, and a surprisingly encouraging one too. Acute in its glancing survey of Fassbinder's films, it also engages the early Seventies as a moment of ideological dishevelment that refuses to pass. If Penman lingers over those years in his own taut and revealing way, that is partly because they produced a kind of critical thought that, having not yet been squared up to fit the academic conveyor belt, could be rarified, speculative and experimental while also remaining closely engaged with political reality. Fassbinder is a great model for anyone puzzling over how we might remember as well as think and act in this chaotic time.'
- Patrick Wright, author of The Sea View Has Me Again
'Ian Penman - critic, essayist, mystical hack and charmer of sentences like they're snakes - is the writer I have hardly gone a week without reading, reciting, summoning to mind. The writer without whom, etc.'
- Brian Dillon, author of Affinities
'Approached from all angles, Fassbinder is by turns a figure of intense corporeality, glistening with sweat, and an overblown mass of meaning.'
- Georgie Carr, Times Literary Supplement
'The book is many things, but above all it is a reckoning with the idea that art might enter the commodity world and awaken its inhabitants.... [T]he late 1970s/early 1980s, in which Penman was a shadowy but vital presence - post-punk, new pop, new romanticism - is remembered similarly as a moment where a sudden societal switch led to an efflorescence of radical popular culture. Writing his book in 2022, Penman was remembering Penman in 1982 remembering the just-dead Fassbinder marking one historical moment of transition by making reference to another that took place decades earlier. To read Penman doing this in what feels like another moment of passage into something unknown and frightening is rather eerie.'
- Owen Hatherley, London Review of Books
'This is a jittery, clammy book, sweat beading on every page... In its exuberant phrase making, obsessive listing, emotional explosions and crashes, bursting seams - the book has three appendices - and its linguistic pyrotechnics, it ultimately comes down on the side of willing delirium.'
- John Douglas Miller, Frieze
'[A] slender love letter.'
- Stuart Jeffries, Spectator
'[T]his is the efficient, gregarious guidebook that neophytes have been missing'
-Chris Molner, Los Angeles Review of Books
'Drifting through personal back alleys and intellectual boulevards a la the wanderings of Walter Benjamin and Geoff Dyer. A maze of epigrams, aphorisms (Aren't all masks death masks?), anecdotes, and numbered fragments. An exquisitely companionable guidebook-inventory of a vast, intimate mental space Penman dubs the Fassbundesrepublik...A Thousand Mirrors doesn't try to solve the contradictions of its subject but lays them out like a suit and inhabits them.'
-Howard Hampton, Artforum
'Ian Penman's Fassbinder Thousands Of Mirrors isn't a biography of the epic and controversial master filmmaker Rainer Werner Fassbinder - it's much more. It's chock-a-block with quotes and confessions, famous writers, artists, politics, history, social commentary and a bit of sex, drugs and rock'n'roll, among - of course - film talk. Like me, you'll have to re-read this, not least because it's a who's who of post-WWII culture world.'
- Rhonda Lee Reali, Buzz Magazine
'And so, as if making a pact with his young review-churning self, Penman opted for a different strategy: to write quickly, finishing in a matter of months a critical portrait of Fassbinder in the style of Fassbinder - fast, made-to-deadline, bristling with ideas yet economical.The book rushes by in a flurry of numbered one-or-so-paragraph notes. The notes drift, venture lightly and suggestively down quick-flash exploratory tunnels, turn Fassbinder and his films over and peer at them from various heights.'
- William Harris, Jacobin
'Fassbinder Thousands of Mirrors, by the British critic Ian Penman, offers... an erotics-of cinema, of memory, of the gradual wreck of history. The sensuality of Penman's book is inseparable from the music of his prose.'
- Jeremy Lybarger, The Baffler
