Toth's Airplane Novel is narrated from the vantage point of the South Tower, and it uses the structure of tragedy to elaborate, in five acts, on its own destruction.
Oxford History of the Novel in English: Volume 8: American Fiction since 1940 "I am a building, but I am more or less than a building. I was conceived during the 1938 World Fair exposition and born in New York City four decades later. I was raised in scaffolding. During my gestation, I grew until I saw people from the north, south, east, west; a compass of my makers in a high-rise nest of people. Later, I was the sum of destructions, as Picasso said, but I began as the sum of constructions. Soon, the first terrorists - birds - flew into me. All of this I remember or know via the IBM1670 - at the time the best computer."
4th Best Independent Novel of the Year
USA Today
Airplane Novel is, without a doubt, the most extraordinary of all books published to date on the destruction by terrorists of the World Trade Center on September 11, 2001.
Dan Newland, international journalist for The New York Times, The London Daily Telegraph, The London Daily Express, Newsweek and mor
There have been a lot of books about 9/11, but I promise you none like this.
Midwest Book Reviewer Reviewer's Choic
Is Paul A. Toth's new Airplane Novel the 9/11 novel? Perhaps. It certainly makes the short list. We've been seeking perspective, after all, and Toth delivers.
Shelf Unbound
Eminently quotable. The man can certainly write a damn good sentence, and with endearing, terribly 'real' characters.
decomP Magazine Toth is undeniably talented and has all the makings of a notable force in contemporary fiction.
Bookgasm
Paul A. Toth's Airplane Novel retells 9/11 from the narrative point of view of the South Tower, with continuous references to the past, but constantly, undercutting its own narrative architecture by metafictional and self-reflexive interventions.
New York: A Literary History. Ross Wilson, . ed. The Sixth Borough, Imagining New York after 9/11, Brigit Däwes Toth's novel functions as a form of narrative retribution, a revenge against conventional perspectives that must now be reconsidered and rescinded. Robert Moscaliuc, 9/11 Imagineria: Writing, Catastrophe, Memory, and the War on Terror
