I'm Jack

A gripping study in self-invention - and, ultimately, self-erasure - <i>Tom McCarthy</i></br>Here are dark telegrams from an expertly realised otherness that is Sunderland. Spare. Swift. Smart. And dangerous. Carrying us through maps of shame to rescue a convincing fiction of the past from its sullen entropy - <i>Iain Sinclair</i>The varied range and wit of his polyphonic chorus are reminiscent of Joe Orton's darkly subversive correspondence pranks... [An] intelligent [and] disturbing slice of noir - Catherine Taylor, <i>Guardian</i></br>An audacious exercise in mimicry... Its tone is mischievous, with a vein of dark, crafty humour - though the overall effect is sombre. Blacklock's Humble is impossible to like; yet by the end it is almost impossible not to feel sorry for him - Austin Collings, <i>Financial Times</i></br>Less a novel and more an assault on the senses, I'm Jack cleverly uses inter-textual trickery and deft Mackem parlance to create a portrait of a man obsessed. It is a forensic montage, a frenzied confessional and a stark commentary on the effects of public notoriety. Moving, haunted and necessary - Benjamin Myers, author, <i>Pig Iron</i></br>Compelling, troubling, fascinating, a delight to read. It is a sublime anti-novel and a brilliantly original intervention into a most peculiar episode of recent history - James Miller, author, <i>Lost Boys</i></br>Absorbing and fascinating. Using multi-layered storytelling, a deep personal knowledge of Sunderland past, present and legend in a believable and hard-hitting blend of fact and imagination, it paints a genuinely disturbing vision of an obsessive, calculating and ultimately self-destructive personality - Bryan Talbot, author, <i>Dotter of Her Father s Eyes</i></br>A deftly executed ventriloquist act, it's anchored in the true story of notorious hoaxer John Humble... The book itself is just as slippery - Hephzibah Anderson, <i>Observer</i></br>[An] intriguing debut... There is an air of grubby menace throughout - Ben Myers, <i>New Statesman</i></br>The ageing Humble is a figure lost on the margins of society: alcoholic, in and out of gaol and lacking any real relationship... [Suggesting] that crime might be understood by looking at the particular social situations that contribute to it, Blacklock presents Humble as far from 'evil' but a melancholic echo of a wider deprivation - Jerome de Groot, <i>History Today</i>