"For most other filmmakers, making a movie as good as Mysterious Object at Noon would be a crowning achievement. Because it’s Apichatpong, the film is usually considered relatively minor, a promising start. That’s nuts. A portrait of the collective imagination of Thailand, the movie doesn’t just anticipate many of his long-term themes––memory, the boundaries between real and unreal, dislocation––it explores them deeply, intricately, and with a radical appetite for play and invention. Neither documentary nor fiction, and existing somewhere between the total control of his later features and the experimental spryness of his short films and gallery work, it’s a unique masterpiece by the best filmmaker in contemporary cinema."

"This is a deeply soulful novel that comprehends love and cruelty, and separates the big people from the small of heart, without ever losing sympathy for those unfortunates who don’t know how to live properly. Hurston is a lyrical writer, and lyricism is not usually my cup of tea, but there are talents that go beyond genre and taste. Her greatest claim over me is that she never was ashamed of the novel as a form—she believed in the transformative power of storytelling, and she took risks with sentiment that few contemporary writers are prepared to make. This book is a part of my character now—that’s how many times I’ve read it. I don’t look to fiction to find heroes, but I have to admit that Janie has meant more to me than any other character. She’s singing my song, somehow. And you realize the breadth of Hurston’s talent when you find out how many other people feel exactly the same way."