Tony Tulathimutte

2017 Winner in
Fiction

Tony Tulathimutte is a graduate of Stanford University and the Iowa Writers’ Workshop. He has written for The New York Times, The New Yorker, The New Republic, VICE, N+1, Playboy, The Paris Review, and elsewhere. He is the recipient of an O. Henry Award, a MacDowell Fellowship, and a Whiting Award in Fiction. His novel Private Citizens was published by William Morrow in 2016, and was named a best book of the year by The New Yorker, The Guardian, The Atlantic, and Buzzfeed, among others. He lives in Brooklyn.

Photo Credit:
Beowulf Sheehan
Reviews & Praise

“Tony Tulathimutte’s brilliant debut novel is hilarious and heartbreaking all at once—a spot-on, satifical portrait of modern San Francisco and the privilege that inhabits it . . . Brimming with wit and heart, Private Citizens is an impressive debut from a sharp new voice.” —Buzzfeed

"The setup is practically foolproof, but that shouldn't discount Tulathimutte's talent for comedy. A funny situation doesn't always lead to funny writing, and Tulathimutte frequently proves his ability to nurse laughs even from dire, awkward, uncomfortable situations, not just from explicitly amusing ones. Tulathimutte's niftiest feat, though, is his ability to subtly shift the reader's laughter from the kind engendered by a sense of superiority to the kind built on recognition . . . [Private Citizens] is a comedy . . . that is, in all respects, emotionally engaging and more than satisfying." —Manuel Gonzales, The New York Times Book Review

"The first great millennial novel." —New York magazine [on Private Citizens]

 

Selected Works

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From the Selection Committee

In the work of Tony Tulathimutte, every sentence must be a story all its own…and it’s got to sing. He tackles the 21st century social novel armed with tremendous verve, an unsparing eye, and formidable skill. Reeling from scene to vibrant scene, his portrait of four recent Stanford grads adrift in the Bay Area is scathingly funny and unexpectedly anguished; it charts the ways in which technology and critical theory have intensified his generation’s self-consciousness to a nearly unbearable degree. What might merely be an achingly hilarious skewering builds to a vision of devastation, though his pessimism is tempered by understanding. It is a dazzling debut.