Between Heaven and Here - Hardcover

Susan Straight’s new novel, Between Heaven and Here, is the final book in the Rio Seco trilogy. Take One Candle Light a Room was named one of the best novels of 2010 by The Washington Post, The Los Angeles Times and Kirkus, and A Million Nightingales was a 2006 Finalist for the Los Angeles Times Book Prize. Her novel Highwire Moon was a Finalist for the 2001 National Book Award. Her short story "The Golden Gopher" won the 2008 Edgar Award for Best Mystery Story. She has published stories and essays in The New York Times, The Los Angeles Times, Harpers, McSweeney’s, The Believer, Salon, Zoetrope, Black Clock, and elsewhere. She is Distinguished Professor of Creative Writing at UCRiverside. She was born in Riverside, California, where she lives with her family, whose history is featured on susanstraight.com.

"It is only the rarest of novels that cry for a sequel, the most unusual of stories that at once satisfies and leaves the reader aching for more. Susan Straight's remarkable Take One Candle Light A Room is such a novel. And she has satisfied our desires in Between Heaven and Here, a magnificent novel, that manages to be at once unflinchingly real and transcendently beautiful. Susan Straight is one of the very best American writers. If you haven't read her, you're in for a delight and an awakening. If you have, then you're probably as thrilled as I am that she has taken us back to Rio Seco."
Ayelet Waldman

"Susan Straight finds LA’s secret heart in Between Heaven and Here and with a sleight of hand only the masters have, she creates an alley, a neighborhood, a history that is as rich and tragic as any Shakespearean tale."
Walter Mosley

"Straight employs glorious language and a riveting eye for detail to create a fully realized, totally believable world."
Kirkus (Starred Review)

"Straight plunges readers into a whirlwind of dialects, drugs, derelict homes, and delinquent locals as she weaves together the story of Glorette's life and death, while addressing weighty and timely issues like race, language, and the socioeconomically disenfranchised. Straight deftly avoids clichés and easy outs, and her refusal to vilify or sanctify the numerous members of her cast allows the experiences of each to resonate powerfully."
Publishers Weekly (Starred Review)

"Despite the tragedies that befall them, Straight’s characters still recognize the splendor of the natural world, from the pepper trees behind the taqueria to the orange blossoms in the alley scenting the midnight air. . . Straight’s group portrait of this community ought to be recognized as a national artistic treasure. Her focus on this singular place magnifies the hopes and disappointments of so many Americans, so many humans on earth." The Boston Globe

"And yet, in a novel set in a world in which people are too often stripped of dignity, Straight has accomplished the larger act of ennobling her characters. She sees them clearly and gives them a striking presence on the page." The New York Times
"Straight, a 2001 National Book Award finalist for Highwire Moon, has the ability to create straightforward contemporary voices, no pun intended. She does not subscribe to the maximalist school of over-the-top characters, yet she can still dramatize the complex, jagged nature of American culture today."
The Daily Beast

"Susan Straight has remarkable range as a writer. Her voice can be elegant in the rhythms and vocabulary of her narrative, yet also blunt and raw in dialogue... Her work is so intensely alive in its movement, action, and in the speech of her characters that reading it is almost like being caught in the center of a storm: exhausting but exhilarating at the same time."
The Rumpus

"How can a novel that is essentially the story of a dead prostitute prove so uplifting? It must be some kind of black magic that only Susan Straight can work . . . And by the end of this gorgeous and heart-wrenching novel, this family will be your people, too."
The Dallas Morning News

"Straight’s writing pulls the reader into a world that is both surreal and yet inescapably concrete, ugly and beautiful all at once. She binds the multifaceted perspectives together into a narrative that is fragmented but still very much whole." BUSTLE