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Author : Scott Lasser


Scott Lasser is the author of four novels: Battle Creek, All I Could Get, The Year That Follows and Say Nice Things About Detroit. He recently
completed a screenplay adaptation of Say Nice Things About Detroit for Steve
Carell’s Carousel Productions. His non-fiction has appeared in magazines ranging
from Dealmaker (for which he wrote a regular book column) to the New Yorker.
Lasser has worked for a variety of now-bankrupt companies, including the
National Steel Corporation, General Motors, Lehman Brothers, and Dealmaker
Magazine.

Say Nice Things About Detroit

 Twenty-five years after his high school graduation, David Halpert returns to
a place that most people flee. But David is making his own escape-from his
divorce and the death of his son. In Detroit, David learns about the double
shooting of his high school girlfriend Natalie and her black half-brother, Dirk.
As David becomes involved with Natalie’s sister, he will discover that both he
and his hometown have reasons to hope.
 As compelling an urban portrait as The Wire and a touching love story, Say
Nice Things About Detroit takes place in a racially polarized, economically
collapsing city that doesn’t seem like a place for rebirth. But as David tries
to make sense of the mystery behind Natalie’s death and puts back the pieces of
his own life, he is forced to answer a simple question: if you want to go home
again, what do you do if home is Detroit?

 REVIEWS
“You’ll love Scott Lasser’s style. His book spans a few years but keeps
  moving with dialogue that’s natural and alive: whites and blacks in Detroit, a
  setting you come to know and can feel what it’s about. I know; I’ve been here
  most of my life.”—Elmore Leonard

 “Lasser’s spare but intense tale is a smart, intimate homage to the power of
  second chances.”—Booklist (starred review)

 “Detroit is autumnal in this quietly moving novel of place…The complex
  divisions of Detroit are introduced obliquely and effectively through the
  characters…Lasser composes his sympathetic cast into tableaux that are
  meaningful, even emblematic, but that, even when highly dramatic, aren’t
forced.  His restrained portrait of Detroit evokes real pathos.”--Publishers
Weekly

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