Lipshitz 6 or Two Angry Blondes

The Los Angeles Times Bestseller

(in both hardcover & paperback)
Named a “Best Book of 2006″
by The Believer & Austin Chronicle

The only known novel (in any language) about Russian immigrant Jews, the aviator Charles Lindbergh, and an Eminem-impersonator who performs on the NYC bar mitzvah circuit.

"What distinguishes Cooper's take [on the European Jewish diaspora] is its utter lack of sentimentality. No overbearing but ultimately well-meaning Jewish mother figures in Lipshitz Six. Instead, we get Esther Lipshitz... Not since Sophie Portnoy has there been a Jewish mother from quite the same place in hell... This kooky but strangely compelling story...is further enhanced by Cooper's considerable descriptive powers, which bring to life such varied tableaus as a Russian pogrom, a Lower East Side gang fight and a Lindbergh rally in Oklahoma City... [T]he story of Esther...resonates long after the book has been closed."

—The New York Times Book Review

"Cooper's storytelling skills are phenomenal. He effortlessly shifts perspectives, from the unhappy Esther and her downtrodden husband to their gay son, before switching to first person for the coda. Throughout, his experiments are divine: They serve to make this peculiar family feel real."

—Time Out New York

Lipshitz Six, or Two Angry Blondes is a brave novel of poignancy, reverberations and ingenuity.”

—David Mitchell, author of Cloud Atlas

"Whether it's enjoyed as an immigrant saga, a multigenerational family tale or a sly commentary on the phenomenon of fame in our time, Cooper's novel reveals a fresh, engaging voice that will capture the reader's imagination from the first word and hold it to the last."

—Book Page

"Enthralling."

—The Baltimore Sun

"Cooper takes apart the usual Jewish heritage tale and themes of assimilation, touching them with postmodern parody and Chagall-esque folk magic."

—Publishers Weekly

"Rich characters and unforgettable scenes... This [is] one strange, funny story."

—The Dallas Morning News

"The author's talent lies in his ability to capture the endlessly complex nature of families and their shared memories."

—The Washington Post

"An extraordinary and moving family portrait."

—Chicago Free Press

“T Cooper is a prodigious talent. This novel is more than just a smart, stylish page turner; you'll find some of the most audacious thinking in America today between its covers.”

—Darin Strauss, author of Chang and Eng and The Real McCoy

"If... identity can be cooked up into myriad forms, like rice into sticky balls or candy or paper, and anything categorized as autobiography nowadays is met with skepticism, how do we confront a work that's part dark history and part light-hearted, self-conscious, gender-flexing fiction? T Cooper's second book conjures the conundrum--and casually shrugs it off... Full of weary father figures and aptly placed metatextual embellishments, the [first] section [of the novel] could stand alone. But a shorter, codalike section infuses the work with a staggering self-confidence... The way Cooper toys with readers is part Sarah Silverman and part Jonathan Safran Foer. Obscuring gender in fiction is nothing new, but Cooper hits his puckish stride when roiling his audience, and then (usually) letting it in on the joke."

—The Believer

"A strangely compelling tale... an unsettling but intriguing meditation on the power of genetics to shape a person's world."

—The Providence Journal

"Cooper has an affinity for creative liberties, even in anything-goes 21st-century fiction, liberties of a stunning sort... This is not another generic everyday family saga, not when it starts in the Russian pogroms, jogs past Charles Lindbergh and closes with a guy who impersonates rapper Eminem at bar mitzvahs."

—Seattle Post Intelligencier

"One of the author's strong suits is his people, and he keeps their multiple storylines juggled in the air... Lipshitz Six is a haunting look at the legacy of lost children--those who go missing, those who are murdered, or those who are simply lost to themselves through neglect. Cooper is best when he levels his steady gaze on them, as he does... in the harrowing aftermath of a pogrom. Which is to suggest not that he limit his experimental streak--he's too good and too ambitious a novelist for that."

—The Forward