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A Quitter's Paradise

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Literary Hub is pleased to reveal the cover for Elysha Chang’s A Quitter’s Paradise, the first book on Sarah Jessica Parker’s imprint at Zando, forthcoming in June 2023. This debut novel examines the grief of a young woman desperate to detach from the reality of her mother’s death and estrangement of her family. The novel examines what it means to be a family, and how, regardless of time and space, families can remain tied to each other, for better or worse. Yes, she’s keeping secrets from her husband. Sure, she quit her PhD program and is now conducting unauthorized research on illegitimately procured mice. And, true, her mother is dead, and Eleanor has yet to go through her things. But what else is she supposed to do? What shape can grief take when you didn’t understand the person you’ve lost? In A Quitter’s Paradise, the darkly humorous debut by bold, new voice Elysha Chang, a young woman does everything she can to ignore her mother’s death, even as unearthed family secrets become increasingly inextricable from her own.

A Quitter’s Paradise – Books and Mischief A Quitter’s Paradise – Books and Mischief

A Quitter’s Paradise is a glorious, pondering, heartbreaking, extremely funny, VERY special book. In Eleanor Lin and her family, Elysha Chang has created captivating characters, who continuously surprised, delighted, and intrigued me—so much so that I didn’t want to leave them. The stories of their lives are at once intimate and universally resonant. It’s truly the perfect inaugural book for SJP Lit and I couldn’t be more honored to be working with the extraordinarily talented Elysha Chang.” Eleanor is doing just fine. Sure, she’s hiding things from her husband. True, she quit her PhD program and is now conducting unauthorized research on illegitimately procured mice. And yes, her mother is dead, and Eleanor has yet to return to her house to go through her things. But what else is she supposed to feel, exactly? What shape can grief take when you didn’t understand the person you’ve lost? What do you inherit from a mother who refused to make herself known, even to the people she loved most? What I was trying to express was that I didn’t want to co-opt an author and make them feel that that was my end point, that I just wanted to get my hands on the rights, you know? The experience of reading is so special, it’s so unique. If it came to be that an author felt that I was the right person to pursue the screen rights, that would be a cherry on the sundae. But it wasn’t what I set my eyes on because I felt that it muddied the waters, and it took the purity away from the whole experience and the exercise of convincing an author to let me shepherd this alongside them. But also, that it turns into a kind of monetary thing—not that it necessarily specifically says that, but there’s something unpleasant, slightly, about it for me. A masterpiece that wrangles several lifetimes of wisdom, loss and heartbreak into a slim novel you can clutch to your chest, pass on to your sharpest, most mercurial friends and say: read this, feel this!”

Advance Praise

We focused on the lost marmoset as a leading theme from the story, accentuating the strangeness and untethered feeling of being alone in the city.” Cohen, frequent illustrator for the New York Times and The New Yorker, told Lit Hub. “I searched for the right atmosphere—we didn’t want a happy marmoset. We were looking for a certain combination of grief, self-search, and otherness, but also some humor. At first, it was just the marmoset, as an avatar for Eleanor, the main character. It was Evan’s idea to have Eleanor wander through the park, and make the marmoset into also a viewer, akin to the reader. Now both are on a journey away from home, both have an otherness.” You’re on movie and television sets, and on theater stages—does that preparation and anxiety translate at all to the preparation and anxiety leading up to having a conversation with an author whose book you want to acquire, or to publication day? Or does it feel very separate? Sarah Jessica Parker: I read everywhere I can. I tend to not think of it as inappropriate anywhere. We were a family of readers. Early on, it was sort of imposed upon us. My mother believed that a person should never walk out of a house without something to read. We would go to museums or even the symphony; those are pretty daunting experiences for very young people because they can get bored, but she would make us bring books, and we would just sit there and look at books and listen to the music, or we would eventually end up on a bench in a museum with a book.

Review | NetGalley

As A Quitter’s Paradise follows Eleanor’s winding journey to make sense of herself and her grief, her story is interwoven with those of her family members—from her parents’ lives in the military villages of Taipei, to their early days as immigrants in New York City, to Eleanor and her sister’s childhoods. Somehow, despite deep rifts in time, distance, and perspective, the Lius remain a family. But what does that truly mean? Why is it that what holds a family together can also be what pulls it apart? I anxiously awaited the release of A Quitter’s Paradise, the first of hopefully many in the SJP Lit collection. As an avid reader and a fan of Sarah Jessica Parker’s former imprint SJP for Hogarth, I knew this story would be captivating, thought-provoking, and fresh, expanding my perspective beyond measure. One might call that an assumption; however, over the past week, it proved correct.

Featured Reviews

With tenderness and humor, Elysha Chang . . . [asks] what it means for a first-generation daughter to stop striving, to want a meaningful life on different terms. A riveting, wise, and singular novel about grief, love, longing, and the mysteries of family, A Quitter’s Paradise will linger in your heart and mind.” A Quitter’s Paradise is, in many ways, about someone searching for a way to see herself and her life objectively. It’s a search that consumes the protagonist, Eleanor, and, I would say, results in a lot of her strange behavior and distorted interpretations of the world. Dror Cohen has so cleverly captured the irony of Eleanor’s preoccupation with seeing and thinking ‘clearly.’ I absolutely love this cover’s gesture to all that lies beyond Eleanor’s field of vision. How unaware that tiny figure is of what’s ahead, behind, and above her. Of course, it is all perfectly visible—just from the marmoset’s point of view. I always feel nervous about the responsibility attached to it. It’s somebody’s, in many cases, 5, 10 years of solitary work: quiet, secretive to some degree. And in some cases, it’s been painful financially and emotionally. There’s just so much at stake for these writers. I tend to be nervous, anyway, about everything that matters to me. Maybe that’s a good thing. You’ve said before that you’re not interested in the adaptation potential of a book. Is that still the case?

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