“Go Now is vile, scabrous, unforgiveable, and deserving of the widest possible audience.” 

– William Gibson, author of Neuromancer

“Similar in intensity to Hell’s work as a musician and to Irvine Welsh’s Trainspotting, with which it shares a junkie’s-eye view of life, Go Now is a strange, scary water slide of a read…” 

– Mim Udovitch, New York Magazine

“I was captive shortly after word one.”

– Laurie Stone, The Nation

“…real insight and even beauty, not to mention that there’s something perversely fascinating about seeing the depths to which he sinks, resulting in a climax that’s by turns thrilling and sad.” 

– USA Today

“Richard Hell’s novel is spare, mean and winningly piss elegant.” 

– I.D.

“[A] splenetic journey that delights in changing lanes from one genre to the next without indicating.  Hell slews into the oncoming traffic of Hemingway, Henry Miller, and P.J. O’Rourke, but he has sufficient fury to hold his own.  Go Now is a lucid, gritty chronicle that flings muck and questions at the reader in equal measure…” 

– Times Literary Supplement

“Hell’s brilliant junkie novel, Go Now, is prison writing from the lockup of the head, but unlike the majority of addiction testimony, narrator Billy’s sentences are hammered out of hard-won insights, snaking around your basic pillars of consciousness—loneliness, self-disgust, oblivion, and sex.” 

– The Village Voice

“Go Now is On the Road updated by punk rocker Richard Hell, but Hell’s trip across America, while less epic than Jack Kerouac’s, is more deadly fun—and a lot sexier.  …By honestly exposing his own wretched psyche, Hell has produced a truer documentary of an American journey for the ‘90s than Kerouac did for the ‘50s.” 

– Srew

“What is surprising -- or even what might be called delightful -- about this novel is its fleshy beauty as a travelogue.” 

– Sarah Vowell, The Twin Cities' City Pages

“Capable of moments of profound personal insight and revelation as well as acts of profane indecency and sexual deviance, Hell’s character both seduces and repels. Yet in the end Mud is Hell’s greatest gift as a novelist. In the ambiguity of Mud’s characterization lies the power of Hell’s language. Only a writer as versatile as Hell could describe Mud’s bout with heroin withdrawal with sympathy and pathos, then go on to make us despise his semi-conscious hero. Hell, like Mud, plays a great, bold game with the reader, proving himself as a writer with a vision that is not easy to shake off.”

– Bookpage