David Ebenbach

“Good writers...have to notice everything, and have to pay particular attention to the essentials—have to zoom in on any detail that, all by itself, characterizes a person, that vividly captures the poignancy or excitement of a situation. They have to see the thing that’s truly unsettling or promising or beautiful. That, to me, is vision.”

Excerpt from interview with JMMW

“I don’t even understand how a person can write about a character at any length without coming to feel some sympathy for that character.”

Excerpt from interview with Fiction Writers Review

JMWW, June 2017

In a wide-ranging interview covering everything from writer envy and spirituality to the evolution in David’s writing and the relationship between sadness, humor, and insight, fellow author Jen Grow asks David about his novel Miss Portland, his short story collection The Guy We Didn’t Invite to the Orgy, and his non-fiction creativity guide The Artist’s Torah.

Fiction Writers Review, May 2017

In the middle of National Short Story Month, David Ebenbach and fellow author West Moss have an energetic back-and-forth about crossing boundaries, writing compassionately, and about how much they love one another’s new story collections: The Guy We Didn’t Invite to the Orgy and The Subway Stops at Bryant Park (Moss).

New Orleans Review, 2015

Fellow author Anya Groner interviews David about his poetry collection We Were the People Who Moved, touching on all kinds of topics: writing about place, writing in multiple genres, the role of religion and parenting in the writing process, and more.

“This fiction focuses on the most important human relations, the ones central to our conceptions of who we are and what life is about. Ebenbach does this all while playing to his strength: using the small, the ordinary, the everyday to give little glimmering glimpses of the enormous, the extraordinary, and the startlingly true.”

Excerpt from Washington CityPaper review of Into the Wilderness

“Ebenbach’s writing contains multitudes.”

Excerpt from New Orleans Review review of We Were the People Who Moved

Kirkus Reviews, February 2021

Kirkus Reviews' says of David's new novel How to Mars "Six Marsonauts must survive on the red planet after their reality TV show is canceled in this delightfully unconventional novel....A poignant examination of what it means to be human."

Millions, May 2019

The Millions' Nick Ripatrazone calls David's poetry collection Some Unimaginable Animal "must-read poetry": "A funny, tender, inviting collection, whose traits come from Ebenbach’s gifts of storytelling....Ebenbach takes us into his poems, and these are welcome journeys."

Washington Independent Review of Books, July 2019

Grace Cavalieri of the Washington Independent Review of Books praises Some Unimaginable Animal and David for his "big voice that includes everybody with wry love....He belongs here at this time in history to help us understand how meaningful every dust mote is in relation to the universe. It’s rare to have observation and insight so deliciously prepared that you feel everything is going to be alright. That’s why you keep reading."

Foreword, May 2017

Foreword Reviews’ Letitia Montgomery Rogers hails David’s debut novel Miss Portland as “a moving paean to becoming the place where you belong….a complex, intimate, and deeply humane portrait of a person whose experience of the world is both alternate and poignantly familiar.”

Best New Fiction, April 2017

In a review for Best New Fiction, author West Moss calls David’s short story collection The Guy We Didn’t Invite to the Orgy “an enormously lovable collection of stories that explores the alienation that most people feel, but attempts to resolve it, showing that in the end ‘We are all the same.’”

Washington Independent Review of Books, October 2015

“This is a powerful perception of America with intensity of language and lightness of tone,” writes Grace Cavalieri of the Washington Independent Review of Books about David’s poetry collection We Were the People Who Moved. “How does Ebenbach achieve balance? Diction, word choice, and goodwill. Some poems are hyper realism but beneath language is genuine emotional substance.”