Scott Blackwood

2011 Winner in
Fiction

Scott Blackwood is the author of two novels, a story collection, and two narrative nonfiction books. His novel See How Small (2015) won the 2016 PEN USA Award for Fiction and was named a best book of 2015 by NPR and an “Editor’s Choice” by the New York Times. His previous novel, We Agreed To Meet Just Here (2009), was awarded the AWP Prize for the Novel, the Texas Institute of Letters Award for best work of fiction, and was a finalist for the PEN USA Award for Fiction. Blackwood’s two narrative nonfiction books, The Rise and Fall of Paramount Records, Volumes I & II, published by musician Jack White’s Third Man, tell the tale of a white-owned “Race record” label that began in a Wisconsin chair factory and changed American popular music forever. Blackwood was nominated for a 2015 Grammy Award for his writing on Volume I. He is also the recipient of a Whiting Award in Fiction and is a former Dobie-Paisano Fellow and Whiting/OMI Writer’s Residency recipient. Blackwood’ stories and creative nonfiction have appeared in American Short Fiction, Boston ReviewChicago magazine, Gettysburg Review, the New York TimesSouthwest Review, and TriQuarterly, and have been anthologized in Janet Burroway’s Imaginative Writing. Blackwood has taught at the University of North Texas, UT Austin, Northwestern University, University of New Orleans, Southern Illinois University, directed Roosevelt University’s MFA Creative Writing Program, and was been named a distinguished fiction writer-in-residence at Wichita State University.

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Reviews & Praise

“. . . a genre-defying novel of powerful emotion, intrigue, and truth . . . Blackwood explores the effects of senseless crime on an innocent, tightly knit community, using deft prose to mine the essence of human grief and compassion.” —Publishers Weekly, starred review [on See How Small]

“Entering Blackwood’s debut novel is like plunging straight into a dense, white fog. You have to keep your arms up, because you know something is coming, even if you can’t see it. And Blackwood plumbs that sense of dreadful anticipation for all it’s worth in this numinous, abbreviated tale of suburban woe.” —Time Out Chicago [on We Agreed to Meet Just Here]

We Agreed to Meet Just Here is not a story about redemption, and it is not a story about making peace and meaning out of terrible events. Instead, this lyrical portrait of mystery and longing functions like a piece of music—a sad piece of music that gives voice to a yearning that is both general and specific. The narrative voice alternates between the songs of soloists and the swell of the full choir. Blackwood constructs his movements like a conductor, artfully choosing scenes that echo each other . . .” —Rain Taxi

Selected Works

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From the Selection Committee

The Whiting Selection Committee was struck by We Agreed To Meet Just Here's “marvelous compression, and the elegiac, ominous yearning, the fugue of loss and love and death that pervades the book.”