Strange, beautiful and unclassifiable. . . . The portraits, or sketches, which [Cohen] offers are subtle, intimate, and persuasive . . . not only a significant study of a century of American culture, but a fascinating entertainment.
—John Banville, The Guardian
Cohen is besotted with the cross-pollination of talent, with the way creative people flit in and out of each other's orbits . . . like a portraitist, Cohen turns her subjects this way and that, refracting a moment until the light catches it just right . . . the effect can be dazzling.
—David Kipen, NPR
Dazzling . . . a book that’s as addictive as popcorn . . . It elevates name dropping to an art, and transforms literary criticism into a party.
—San Francisco Chronicle
Innovative . . . faultless . . . [Cohen] gives us a more intimate sense of these people in a few pages than one sometimes gleans from entire biographies.
—The New Yorker
A masterpiece . . . A Chance Meeting takes thirty American writers and artists from Henry James to Robert Lowell, and braids them together in thirty-six encounters. Each person comes round two or three times, and every meeting, friendship and collaboration has a resonance that can be heard down the ages until what you have before you is an immense chain of artistic consequences.
—The Economist
Symphonic . . . elegant and elegiac . . . [A Chance Meeting] answers hungers you did not even know you had. . . . At book’s end, the world to which Cohen returns you is more vivid, peopled with new acquaintances. . . . Outstanding.
—Emily Bernard, Chicago Tribune
Enthralling. . . . The 36 essays, as they progress . . . from the Civil War to the civil rights movement, constitute something of a new genre, rare in our period. . . . What is being divined is nothing less than a century or so of American taste, the nature of modern literary and artistic tangency in the United States. . . . I know of no remotely analogous cultural articulation — not even Alfred Kazin's richly rehearsed An American Procession — that ventures so explicitly, and so readily, into the American briar patch of racial and sexual encounters. . . . Rachel Cohen's vision of the life of art in her chosen century, and the effect of that vision upon her reader, is one of an astonishing gladness.
—Richard Howard, Los Angeles Times Book Review
Captivating . . . like an elaborate fugue . . . [Cohen’s] prose is elegant yet plain, and her judgments sound and generous. . . . While carving a set of brilliant miniatures, Cohen is also indirectly telling a story of sex, race, political protest and celebrity culture in America, from the Victorian era to the 1960s.
—The Boston Globe
Cunningly crafted and meticulously written. . . . What Cohen has written is not so much a group biography as a sort of evocative matrix of writers and artists over time, with exhilarating overlap and cross-reference.
—The New Republic
Stylish . . . A Chance Meeting explores the imaginative enlargement that results from an encounter with an inventive (and kindred) mind. . . . Cohen writes like a fiction writer . . . [and] deftly evokes character through eccentric detail.
—Meghan O’Rourke, Slate
An innovative hybrid of biography, cultural history, ‘imaginative nonfiction,’ and gossipy anecdote. In Cohen’s great chain of being, one brilliant creator is linked to another and another, so that American culture is seen as the vibrant organic whole it truly is.
—Newsday
