St. EOM in the Land of Pasaquan

St. EOM in the Land of Pasaquan documents the iconography of a true iconoclast with a vitality entirely faithful to the eccentric energies of its subject.--Katherine Dieckmann ""Village Voice Literary Supplement"" [St. EOM in the Land of Pasaquan] finally and with a sure hand subverts and devastates the public conception of a the self-taught artist as naive, primitive, sweet, and isolated from the moral seriousness of the 'real' world.--Randall Seth Morris ""Paper"" Is Mr. Patterson perhaps incautious in accepting the word of a man who was justly proud if his talents as a deceiver? Never mind. The skeptic has not been born who could indefinitely withstand the alternately seductive and challenging, eloquent and profane, oddly black-inflected voice that speaks from the pages of St. EOM in the Land of Pasaquan.--Peter Schjeldahl ""New York Times Book Review"" Pasaquan might be one of Georgia's largest works of art, but it's also one of its least-known and least-seen. . . . Pasaquan, full of colors, symbols and faces, is just about impossible to describe. It's too big, too multifaceted--its story too intertwined with the complex life of its creator . . . as chronicled by Tom Patterson, whose book St. Eom in the Land of Pasaquan will be reissued next year by the University of Georgia Press.--Lee Shearer ""Athens Banner-Herald"" The story of worldly adventures and spiritual journeys, the book is as shocking, touching, and full of wisdom as the storyteller himself. . . . Through St. EOM in the Land of Pasaquan we are able to enter the bizarre world of Pasaquan and its creator. In the process we might even come to realize that its not that strange after all.--Mary Helen Frederick ""Folk Art Messenger""