“You’re a fucking star and the literary scene would be a poorer place without you. . . . You’re a hell of a writer”
– Tony O’Neill, novelist, August 2022

“Andrew Gallix is never wrong”
– Heidi James, novelist, July 2022

“This is just such an awesome article. It feels like the whole history of literature is in here. Beautifully done, Andrew Gallix, I’m in awe”
– Jenny McPhee, author and translator, May 2022

“Adored this” (see here)
– Max Porter, novelist, April 2022

“Terrific piece” (see here)
– Rupert Thomson, novelist, April 2022

“Delighted by this detailed, engaged reading of presence, absence, haunting and ghostliness in Ghosted: A Love Story by Andrew Gallix in The London Magazine. It is so lovely and rewarding to be read with such care and thought. I am very grateful”
– Jenn Ashworth, novelist, August 2021

“The prose is beautifully crafted, the story a wonderful mixture of literary satire, erudite references, superb puns and zingy one-liners, and jokes that made me laugh out loud. . . . As the story progresses, there is a shift in tone from comic to poignant and the ending is dreamy and bittersweet”
– Sam Mills, author, February 2021

“Very nice hommage. Excellent work”
“It was a cracking piece and caught Zermati perfectly”
– Andrew Hussey OBE, author and Professor of Cultural History at the University of London, June 2020

“I’m so touched by this sensitive and playful review — a pleasure to read in its own right”
“This review of Saving Lucia brought me such joy”
– Anna Vaught, author, May 2020

“I feel incredibly lucky and grateful to be read and written about by Andrew Gallix”
– Kathryn Scanlan, author, April 2020

“Maybe the smartest review yet of Lars Iyer’s Nietzsche and the Burbs from the great Andrew Gallix”
– Dennis Johnson, Co-founder and publisher, Melville House, April 2020

“20 years of deviancy, truculence, disrespect, undermining of authority and absolute heroism. They’ve [3:AM Magazine] made our world bigger and better”
– Sam Jordison, author and co-founder of Galley Beggar Press, April 2020

“Happy 20th birthday to 3:AM Magazine, home of the first, and longest-running literary blog. Love and respect to the main man Andrew Gallix”
– Ben Myers, novelist, April 2020

“We’d say someone should give Andrew Gallix a medal, but there’s no way he’d take it . . . or even show up to the ceremony. Happy birthday 3:AM Magazine!”
– Adam Biles, novelist and Literary Director at Shakespeare and Company, April 2020

“Rarely are magazines vital to a culture, but this one [3:AM Magazine] is”
– Richard Skinner, author and Director of the Fiction Programme at Faber Academy, April 2020

“So lucky to have responses as perceptive and comprehensive as this”
– Tim Etchells, artist and writer, January 2020

“If one thing is made clear by this paradigm-shifting collection [We’ll Never Have Paris], it is that Paris has been routinely plundered by another occupier, one which predates the German invasion by at least a decade, and which has hung around long after Liberation. As Andrew Gallix phrases it in his stunning introduction: ‘our vision of literary Paris has been shaped by anglophone writers'”
– Oscar Mardell, writer and academic, December 2019

“Gallix’s piece [‘Operators Manuel” in Love Bites] is, among other things, a masterstudy in place as palimpsest, a setting defined by what is elsewhere”
– Oscar Mardell, writer and academic, October 2019

“If many of the previous stories in this not-Paris book [We’ll Never Have Paris] had not been quite so inspiring as they have been, then I would have thought this excellent Gallix story was the sole reason why I was MEANT to read this massive book (a book that I picked up at a whim!) — from the ‘Zut, zut, zut’ of Marcel Proust to the Putain! Putain! Putain! of Sostène Zanzibar, this work is an astonishing delight. (…) I LOVED this story”
– Des Lewis, writer, August 2019

“[We’ll Never Have Paris] Strong contender for one of my favourite anthologies. It is impossible for me to choose a particular highlight, albeit the introduction alone is worth the full price of the collection. A masterpiece”
– Jane Roberts, writer, August 2019

“This [We’ll Never Have Paris] is such a brilliant book”
– Kenneth Goldsmith, poet, author, and founding editor of UbuWeb, July 2019

“There is something for most tastes among the 82 contributions, edited by Andrew Gallix. . . . Some of the writers, from the UK, US and beyond, live or have lived in Paris. Almost all of them explore the myth of bohemian Paris — ‘an anglophone construct’, according to Gallix. . . . Readers might come to this book for its celebrated contributors — the novelists Will Self and Tom McCarthy among them — but they should stay for the efforts of its lesser-known lights”
– Max Liu, Financial Times, 1 June 2019

“In a fine introduction, the book’s editor Andrew Gallix claims Paris as a product of the anglophone imagination, ‘the locus of an art-life merger… It is the place that you have to go to to become, be recognised as, and lead the life of a writer’. …Gallix claims that the city is a ‘sort of neutral meeting ground for writers and readers from across the Anglosphere’, which, though possibly true, is not necessarily or always an entirely good thing for the writing that comes out of it. (Gallix’s own short story, featuring a cruelly plausible intellectual called Sostène Zanzibar, is one of the best pieces in the book — funny, allusive, clever and terribly French)”
– Natasha Lehrer, Times Literary Supplement, 31 May 2019, p. 12

“An insanely hefty tome full of brilliant contemporary anglophone writing on the city some have called ‘the London of France'”
– London Review Bookshop, 24 May 2019 [We’ll Never Have Paris was their Book of the Week]

“Andrew Gallix, the editor, is one of the pillars of our world. Only Andrew would have had so many fantastic writers so eager to contribute to a project like this one. It’s a fine idea for a book. To write about Paris, but the Paris that doesn’t exist, the Anglophone vision of Paris, the dream of Paris… Anyway, you’ll see how well it works when you dive into its hundreds of pages and see how varied the contributions are. And it’s not just this book, it’s all the fantastic things Andrew — and 3:AM — have done over the years. Among our generation of writers and publishers, there are very few who haven’t been encouraged, helped and published by him. Chances are that he’ll have helped you if you’re a writer or publisher who isn’t quite at home in the big world, who has crazy romantic dreams about Art and Posterity and who instantly understands the 3:AM tagline: whatever it is, we’re against it. Quietly — rarely putting himself in the foreground — but unstoppably, he has moved things forward”
– Sam Jordison, author and publisher, Galley Beggar Press newsletter, May 2019

“Gallix’s accomplishment has been to draw together some of the finest voices in contemporary writing (with Joanna Walsh, Eley Williams, Sophie Mackintosh, Isabel Waidner, Alex Pheby and Max Porter all featured here), while creating a sense of balance among the many desires, reminiscences, and voices of the many visions of Paris found in the book’s 561 pages. . . . Indeed, as Gallix points out in his superb introductory essay, our interpretation of Paris is flawed by the anglophone background of the figures that we have built our mythology of the city around — Gallix noting that as cultural consumers of Paris, our interpretations tend to be far less informed by the likes of Verlaine, Rimbaud, Sartre and de Beauvoir than it should be”
– Robert Greer, The London Magazine, 17 May 2019

“A big thanks to Repeater Books and to Andrew Gallix for compiling what really is a truly excellent collection of writers and writing [We’ll Never Have Paris]”
– The London Magazine, 2019

“An incredible anthology of fiction and essays edited by Andrew Gallix”
– BOOKS etc, 2019

“Thank you very much for that review. I had been looking forward to it for a long time, and I was not disappointed. I was very touched reading it, I felt very understood, and at the same time, you have given me a lot to think about. Thank you very very much indeed”
– Kevin Breathnach, author, 2019

“Amazing review in the Irish Times, which describes Another Planet as ‘like Reginald Perrin rewritten by Samuel Beckett'”
– Tracey Thorn, singer-songwriter and author, 2019

“BEST REVIEW EVER”
– Owen Booth, novelist, 2018

“A publisher’s dream: The perfect review of a favorite book. Andrew Gallix’s precise and beautifully written appreciation of one of the greatest novels I’ve ever edited — Who’s Who When Everyone Else is Someone Else — is exactly that”
– Dennis Johnson, Co-founder and publisher, Melville House, 2018

“Grateful for the sensitive and thoughtful review of The Way of Florida by Andrew Gallix in Review 31″
– Russell Persson, novelist, 2018

“I just wanted to thank you for writing such an incredible review of The Way of Florida. It brought a little tear to my eye!”
– Andrew Latimer, Editorial Director, Little Island Press, 2018

“Gallix is eloquent in his defence of nostalgia against the cult of an amnesiac future. Punk might be not only the last great subculture in the rock and roll mode, but the most analysed and documented. Nevertheless, art and cultural histories are always reductive, and, as he writes, ‘the past is subtly rewritten, every nuance gradually airbrushed out of the picture'”
– Chris Kraus, author, 2018

“A generous, observant analysis”
– Damon Young, philosopher and author, 2017

“Gallix flips his finger at those who see nostalgia as an affliction and rightly attempts to promote the fragmented and contested legend of punk to ‘a summation of all the avant-garde movements of the 20th century . . . a revolution for everyday life'”
– Deborah Levy, novelist, 2017

“Utterly fascinating and brilliant” [apropos of Punk is Dead: Modernity Killed Every Night]
– Lee Rourke, novelist, 2017

“This 15-minute essay about Roland Barthes is so good it should be on the national curriculum”
– Tim Burrows, journalist, 2017

“It was gratifying to read a review that engaged so closely with the book”
– Dan Fox, author and co-editor of frieze, 2016

“I admired your thoughtful review of Pond”
– Sam Leith, Literary Editor, The Spectator, 2016

“Wanted to drop you a line to say how much I enjoyed reading your review of Pond. It’s so perceptive and knowledgeable and unpretentious. I feel quite blessed”
– Claire-Louise Bennett, author, 2015

“It’s a great review”
– Agustín Fernández Mallo, novelist, 2015

“Thank you for your astute questions and marvellous conceptual putting together of the Gorse interview”
– Deborah Levy, novelist, 2015

“What a fine, intriguing, witty Deborah Levy interview”
– Stefan Tobler, founder of And Other Stories publishing house, 2015

“You are too good, Andrew, too good”
– Simon Critchley, philosopher and author, 2014

“Superb interview with Simon Critchley by Andrew Gallix on Memory Theatre”
– Fitzcarraldo Editions, publisher, 2014

“The introduction, a brilliant extended meditation on ‘real’ failure by 3:AM’s own co-editor-in-chief Andrew Gallix, complements the fictional failures that follow”
– Julian Hanna, academic and critic, 3:AM Magazine, 2014

“The introduction by Andrew Gallix, editor of 3:AM Magazine, is a fascinating essay of literary failure and failures in literature”
– Mark Diston, journalist, The Register, 2014

“One of the finer pieces of literary criticism to be released this year”
– Jonathon Sturgeon, Literary Editor at Flavorwire, 2014

“I honestly think it’s the best thing in there” [Apropos of my introduction to The Biographical Dictionary of Literary Failure]
– C. D. Rose, author, 2014

“The writing is positively strong enough to dent metal”
– Nicholas Rombes, author and academic, 2014

“Les idées se bousculent dans l’esprit brillant d’Andrew Gallix. L’écrivain britannique, professeur à la Sorbonne, collaborateur du quotidien The Guardian, punk depuis l’âge de 12 ans, a lancé en 2000 le premier blog littéraire en anglais, 3:AM Magazine. Un webzine si avant-gardiste qu’il a donné naissance à un véritable mouvement littéraire, The Offbeat Generation, regroupant des plumes anglophones non conformistes, rejetant la culture dominante et le monde traditionnel de l’édition”
– Linn Levy, journalist, 2013

“This is a collection of other writings, particularly columns I wrote for the excellent 3ammagazine.com at the bequest of its equally excellent editor Andrew Gallix”
– George Berger, Introduction, Let’s Submerge: Tales From the Punk Rock Underground, 2013

“You make great pieces of work”
– Rebekah Weikel, Penny-Ante Editions, 2013

“Gallix is a leading new Modernist”
– Douglas Glover, author, 2013

“Your questions, as I told you, were the best reading of the book someone has ever done (including all the Argentine and Spanish critics). I’m flattered by your curiosity, and shattered by your intelligence and intellectual comprehension. Thanks to these qualities, I reread The No Variations, and developed a kind of No Variations Companion”
– Luis Chitarroni, author, 2013

“Yours is, honestly, the best interview — the most careful, the most intelligent, the most precise — I’ve been invited to answer. Thanks to your collaboration, the result could read as a real companion to The No Variations”
– Luis Chitarroni, author, 2013

“Everything Andrew Gallix writes for Guardian Books is so important. Brilliant. Simply brilliant!”
– Kenneth Goldsmith, poet, author, and founding editor of UbuWeb, 2013

[On “Fifty Shades of Grey Matter”] “The facts are stone, as dry as archaism, stratified, absorbed and the utter indifference to the sensual passion of its protagonist is expressed in a language chiselled and polished like marble. Everything is imagined with prodigal allusiveness. It’s as tight as wire, extremes of tragedy, pathos and irony are cut like contours ploughed into copper with a burin. If the effect is a dismembered cruelty, it is a cruelty of the universe, of a cause from somewhere else altogether”
– Richard Marshall, critic and academic, 2013

[On “Fifty Shades of Grey Matter”] “Droll, mischievous and wonderfully intelligent confection. Brilliantly witty”
– Douglas Glover, author, 2013

“Andrew Gallix stands out, not only in this book, but on the literary scene at large, as a major exponent of literary sophistication, both syntactical and philosophical”
– Tom Bradley, author, 2013

“Andrew Gallix has much of interest to say on the topic of the various ‘ends’ of literature that have occurred. …There are such things as literary ghosts, even a literary ‘hauntology,’ as Gallix calls it”
– Lars Iyer, author, 2013

[On “The Unread and the Unreadable”] “Excellent piece!”
– Bobbi Lurie, poet, 2013

[Apropos of “The Unread and the Unreadable”] “Beautiful piece”
– Kenneth Goldsmith, poet, author and founding editor of UbuWeb, 2013

“Worth the cover price alone, is a completely pure example of concept horror by Andrew Gallix”
– Jason Cook, Founding Editor of Fiddleblack, 2013

“Close as it gets to required reading for new fiction”
– Donari Braxton, author and filmmaker, 2013

“Andrew Gallix, writer and editor of 3:AM Magazine, knows what he’s doing and I am so pleased he’s doing it”
– Deborah Levy, author of Swimming Home, shortlisted for the Man Booker Prize, 2012

“The Keyser Söze of the literary world”
– Adam Biles, author and journalist, 2012

“This is the best piece of short fiction I’ve read in a good long while. It’s brilliant. I wish I’d written it, and I can hardly ever say that”
– Donari Braxton, author and filmmaker, 2012

[Apropos of “Fifty Shades of Grey Matter”] “Fifty shades of excellent writing. There is no doubt that Gallix is pregnant with his first novel. I will be first in the long queue to buy it”
– Deborah Levy, author of Swimming Home, shortlisted for the Man Booker Prize, 2012

“Your ‘Fifty Shades of Grey Matter’ was haunting in a super-charged way, which is to say: it was wonderful. There were so many good moments and turns of phrase, but I especially liked the lines ‘Was it like a slowly exposed action painting caught on Polaroid?’ and ‘She was fiddling with her pearl necklace as if rolling testicles around between thumb and forefinger'”
– Nicholas Rombes, author and academic, 2012

“Loved your slow writing movement piece”
– Viv Albertine, musician and punk legend, 2012

“Heartbreaking, but brilliant [‘The Man Without Quality Streets’]”
– Sam Jordison, author and journalist, 2012

“Such a stellar piece! Wow! [‘The Death of Literature’]”
– Kenneth Goldsmith, poet, author and founding editor of UbuWeb, 2012

“‘Celesteville’s Burning’ is a really witty and brilliant read”
– Samar Hammam, literary agent, 2012

“[A] fascinating, hypnotic essay [‘The Death of Literature’]”
– Nathan Ihara, publicist at Melville House Books & former LA Review book critic, 2012

“Fascinating article [‘The Death of Literature’]”
– Lars Iyer, author, 2012

“Andrew Gallix is a fantastic writer”
– Dennis Cooper, author, 2011

“A bruising but graceful play on language, violence and cocksmanship” [“Dr Martens’ Bouncing Souls”]
– Darran Anderson, poet and critic, 2011

“Read the piece by Andrew Gallix last night [‘Celesteville’s Burning’]. It’s a wonder, really”
– Jason Cook, Founding Editor of Fiddleblack, 2011

“All power to the lead in your penceul — much enjoyed [‘Celesteville’s Burning’]. Excellent line this one here: ‘He wondered how long it would take to drive back to the past’ — or indeed just to Clermont-Ferrand? I love your Guardian blog too: your comment about how Debord would be spinning in his grave — if he had not been cremated — had me laughing out loud. Can’t quite get that image out of my head”
– Deborah Levy, author, 2011

“A beautiful piece [‘Celesteville’s Burning’]”
– Kenneth Goldsmith, poet, author and founding editor of UbuWeb, 2011

“Brilliant (as I said before)”
– David Rose, author, 2011

“Loved it [‘Celesteville’s Burning’]; brilliantly witty. A ‘novel-in-regress’ — I’m going to start one. Wait, no — I have started one, last year”
– David Rose, author, 2011

“‘Really Good [‘Celesteville’s Burning’]. And scary”
– Tom McCarthy, author of C shortlisted for the Booker Prize, 2011

“A must-read”
– Lee Rourke, author, winner of The Guardian‘s Not the Booker prize, 2011

“I really loved the story [‘Celesteville’s Burning’]. Reading it was very exciting. …Really terrific piece! …Let me say how much I admired that recent piece you wrote on Hauntology at the Guardian. It said so much so well so concisely”
– Dennis Cooper, author, 2011

“I really enjoyed this [‘Celesteville’s Burning’] — the momentum is fierce, especially as it manages to look backward into Zanzibar’s life while the story keeps moving forward. And the compression of long periods of time into a short space happens so gracefully. It all made me think of Josipovici, and the little I’ve read of Eric Chevillard. It’s very funny, too, both in a physical way and a cerebral way. The build up to the realization he’s daydreaming while stuck behind parked cars is a terrific sequence”
– Steve Himmer, author, 2011

“Very much enjoyed this ludic story [‘Celesteville’s Burning’]”
– Chris Power, author and journalist, 2011

“Andrew Gallix’s writing is alive with energy and ideas and feeling. In ‘Celesteville’s Burning’ sordid scenarios and literary theory are given equal footing. This is a world where references to Heidegger and Schopenhauer can sit alongside characters called Chlamydia and not appear absurd; where a once-great novelist writes only in invisible ink, and where the fiction of Michel Houellebecq appears colourless and puritanical by comparison. This is important, vibrant writing, underpinned with a sense of the darkly comical”
– Ben Myers, author, 2011

“This [‘Celesteville’s Burning’] is hilarious and to use that time-honoured cliché: a tour de force”
– Georgia de Chamberet, founder of the BookBlast agency, 2011

“I absolutely love this story [‘Celesteville’s Burning’]: it’s fizzing with stuff, and it’s a hoot — made me laugh out loud”
– Lee Rourke, author, winner of The Guardian‘s Not the Booker prize, 2010

“‘Celesteville’s Burning’ is brilliant. I would call this a breakthrough. Some saggy asses in London-Paris-New York that have long needed kicking are in for it now”
– Tom Bradley, author, 2010

“I thoroughly enjoyed ‘Celesteville’s Burning’ and the mishaps of poor Zanzibar. It had me in stitches. Very stylish too”
– Ewan Morrison, author, 2010

“‘Celesteville’ is very funny. Very good too. Great story”
– Tom McCarthy, author of C shortlisted for the Booker Prize, 2010

“Loved the story [‘Celesteville’s Burning’]”
– Niven Govinden, author, 2010

“[‘Celesteville’s Burning’] is hilarious. And deliciously nasty. And clever. And supremely anti-clever too. I loved it. The line of parked cars makes a superb image. And the one liners are just jealous-making. ‘Mental AIDS’ is brilliant. And the ‘first orgasm’ line. And ‘un peu de welly’. And the signifier and signified crack. And, and and! The kicked puppy simile meanwhile, is horrible. And brilliant”
– Sam Jordison, author and journalist, 2010

“I love it [‘Celesteville’s Burning’]: hilarious and brilliant!”
– Phil Baber, artist and editor of Cannon Magazine, 2010

“I loved the story. Pretty damn brutal. It was quite unsettling / upsetting … in a good way (that’s to say a bad way that works!) I like the fact that you’re prepared to play around with words so much too. Hard to do those kind of paragraph endings and keep the story going to such a direct point. And the come in the hair was an awesomely disturbing image”
– Sam Jordison, author and journalist, 2009

[Apropos of an interview] “I think this is the best set of questions I’ve ever had; they’ve really pushed me. I think this may be the best set of questions I may ever have. They’ve actually had some influence on what I will do next”
– Ewan Morrison, author, 2009

“We love the article about having notalgia for bands you’ve heard about but not ever heard”
–Tatty Devine, boutique’s website, 2009

“Parmi les principaux mouvements littéraires radicaux comptant de nombreux ‘amis en ligne’ — notamment des figures de la contre-culture tels Dan Fante ou Billy Childish —, on trouve, à part nos Brutalists ou encore le collectif Riot Lit, l’Offbeat Generation, pareillement portée sur Huysmans, Bukowski et la dive bouteille. D’après son porte-parole Andrew Gallix, rédacteur en chef du magazine littéraire en ligne 3:AM, l’âge de ses auteurs s’échelonne de dix-huit à quarante ans; l’O.G. réunit des gens qui se sentent “aliénés dans un monde éditorial dominé par le maketing”. …Phénomène anglo-saxon, ces mouvements cousins sont de plus en plus présents sur le Net. Parmi les auteurs qui montent, retenons les noms de Heidi James-Garwood, Laura Hird, Matthew Coleman, Ben Myers, Tom McCarthy, H.P. Tinker, Andrew Gallix… et, d’abord, bien sûr, Tony O’Neill”
– Patrice Carrer, translator, 2009

“This is fabulous stuff! The world (including me, sometimes) definitely needs a Slow Writing Movement”
– Carl Honoré, author, 2009

“[T]he luxuriantly decadent stories of Andrew Gallix”
– Tom Bradley, author, Word Riot February 2009

“Just read your story [“Half-Hearted Confessions of a Gelignite Dolly-Bird”] and I think it’s gorgeous. I love the spontaneity and abandon, the musical details and fragmented affairs. Wonderful! I wish I had been there”
– Christiana Spens, author, 2009

“…[Hillary] Raphael’s novels and those of envelope-pushers under the same stamp — HP Tinker’s brilliantly progressive fiction comes to mind, likewise authors Andrew Gallix and Tony O’Neill — exist on their own accord, de-contextualized. And if you’re able to nix ‘experimental lit’s’ elitist subterfuge and instead embrace the tabula-rasa, you’ll see they read like any other, er, ‘non-experimental’ book. With pleasure”
– Donari Braxton, “The Consumption of Context: a Conversation With Hillary Raphael,” Anthem magazine 20 September 2008

“Really finely honed and flying. …It’s fantastic this sense — the Warhol essays, the piece on writers who do not write — that you’re building a counter-tradition, if I can use the dreaded trad-word, from these neglected materials”
– Gerry Feehily, author, 2008

“Lovely story [“Half-Hearted Confessions of a Gelignite Dolly Bird”] (and prose poem). A kind of Midsummer Night’s Dream in the 100 Club, or a bordello designed by Baudelaire. Or the 100 Club designed by Baudelaire”
– Gerry Feehily, author, 2008

“Marvelous piece of writing [‘Angel at a 25 Degree Angle’]”
– Mikael Covey, Editor of Lit Up Magazine, 2008

“The Offbeats and Brutalists are among the most interesting and fun people you’d ever wanna know. I was very lucky to meet Andrew Gallix of 3:AM Magazine, who’s pretty much the central figure in this movement. He invited me to an Offbeat get-together when I was in London, and I got to hang out with all these great people like Matthew Coleman, Joe Ridgwell, Vim Cortez, Heidi James, and a number of others. All very serious artists, but also a lot of fun to drink and joke with”
– Mikael Covey, Editor of Lit Up Magazine, interviewed in The Guild of Outsider Writers, 15 June 2008

“For those finding McSweeney’s too fey or self-consciously wacky, there’s the edgy, eclectic writing of the Offbeat Generation. The loose collective term originates from Andrew Gallix, editor of 3:AM Magazine, a highly regarded cult website that has been lauded by the likes of Dazed and Confused and The Guardian. Along with the likes of Scarecrow, Social Disease, The Beat and Susan Tomaselli’s Dogmatika, 3:AM have championed the new wave of writing and given a platform to young writers for whom Booker Prize lists are an irrelevance and who’ve been neglected by more established publishing outlets”
– Darran Anderson, Verbal Magazine, April 2008

“I just read your piece [‘Join the Slow Writing Movement!’] and I think it’s excellent”
– Chris Cleave, author, 2008

“What began on the blogosphere through websites like 3:AM Magazine, created by editor Andrew Gallix, as a small effort to raise greater awareness of new writing in 2000, has transformed into a growing cultural phenomenon. In a recent article on Offbeat writers (a group who have formed a key part of this new wave) in Dazed and Confused, Andrew Gallix suggested that the movement was going overground and that the prospective release of a new anthology of Offbeat poetry that he is editing was akin to the Sex Pistols 1976 gig at the 100 Club”
– “Brit Lit of the Post-Punk Generation,” Slates 6 December 2007

“…3:AM Magazine‘s Andrew Gallix has just finished putting together an anthology of key Offbeat writers’ short stories. ‘The movement is about to go overground,’ he explains. ‘The literary equivalent of the 1976 punk festival at the 100 Club'”
– Sarah Fakray, “Tell It Like It Is: The Offbeats,” Dazed & Confused, November 2007

“The ‘Offbeat Generation’ tag was invented by Andrew Gallix, Editor-in-Chief at 3:AM Magazine and author of many surreal, tightly composed short stories”
– Lee Rourke, author, 2007

“This was a fascinating work. So many lines struck out at me. I think there is a beautiful sorrow in it, mixing with gritty lust and sudden unexpected phrases”
– Leora Skolkin-Smith, author, 2007

“This is my favorite kind of writing, all the more pleasurable for its rarity (almost nobody has the chops to do it): exploding with allusions to the big, the timeless, the Biblical, the Shakespearean, the Miltonic, the Joycean, claiming its own niche among those gorgeous monster hardons through sheer dint of artistic and intellectual doughtiness, and at the same time dancing light as a mote of hashish ash. Nietzsche distinguished between artists who wring their works from a deficit of vitality, and those who blast forth from sheer surplus will. Andrew Gallix is clearly to be counted among the latter”
– Tom Bradley, author, nthposition 2007

“Andrew Gallix is The Editor-in-Chief at the critically acclaimed literary magazine, 3:AM. Not only has he been hailed as a man who has championed underground writing for years, but his own delicious oeuvre, published via the internet or small press, is well worth checking out. His style has been described as if ‘he invented Warhol on Monday, punk rock on Tuesday and then took the rest of the week off after declaring the project a sodding mess’ by renowned author Jim Ruland. Among other literary-related side-projects of Andrew’s, the 42-year-old is also part of a music band called The Ungodly Hours, the members of which are all writers. Oh, and if that isn’t bohemian enough for you, Andrew is half-English and half-French and lives in Paris”
– Kelly Buckley, Editor of The Great Small Fishes, 2007

“It does seem to me that suddenly all sorts of interesting writers are sprouting up. Which I think is largely due to the work of people like Andrew Gallix at 3:AM who have been championing underground writing for centuries now”
– HP Tinker, author, 2007

“Very gifted”
– Val Stevenson, Editor of nthposition, 2007

[Apropos of a non-fiction article] “I was enormously impressed”
– Dennis Cooper, author, 2007

“Andrew Gallix is the Mick Jones (from The Clash) of the literary world”
– James D. Quinton, author/Editor of Open Wide magazine, 2007

“Andrew Gallix writes as if he invented Warhol on Monday, punk rock on Tuesday and then took the rest of the week off after declaring the project a sodding mess. In this day and age when laundry detergent is bold and automobiles are innovative, Gallix’s prose is like a fresh breath of mercurochrome: sharp and acrid with truths that are hideous to behold even though it’s good for us. Never mind Gallix? Bollocks!”
– Jim Ruland, author, 2007

“3:AM editor Andrew Gallix’s work is well worth reading”
– Sam Jordison, writer and journalist, The Guardian, 2007

“The Offbeat Generation is not, as its spokesman Andrew Gallix (the editor-in-chief of the long-running online literary magazine 3:AM) points out, strictly speaking ‘a generation’ (since its writers range in age from 18-40), rather it is bunch of people ‘united’ because they ‘feel alienated by a publishing world dominated by marketing'”
– Sam Jordison, writer and journalist, The Guardian, 2007

“LOVE IT!” (apropos of “Half-Hearted Confessions of a Gelignite Dolly-Bird”)
– Georgia de Chamberet, founder of London-based writers’ agency BookBlast Ltd, 2007

“I must have read ‘Half-Hearted Confessions’ at least a dozen times now, and will continue to re-read it. It’s a gem… there are so many wonderful turns of phrases there. I’ve read bits and pieces of your writing (including ‘Enough Ribena’ in The Edgier Waters) and have arrived at the conclusion that you’re one talented fucker, or, to put it more politely, ‘Andrew Gallix is a writer,’ as Beckett would no doubt have said. I’d love to run this on Dogmatika, it’ll shine”
– Susan Tomaselli, Editor, Dogmatika, 2007

“A nauseatingly dizzy journey — in a single night — through all the post-war cultures of negation that, together, formed a vital historical crux: a time when the outside was in, when ‘tomorrow was today’. Capsulized sublimity”
– Travis Jeppesen, author and journalist, 2006 (apropos of “Half-Hearted Confessions…”)

“I have been rendered speechless by this simile: ‘having been awakened by a muffled squishy sound as of manifold foreskins peeled back in unison’. Once I dragged myself from this image, I enjoyed the deranged counter-cultural office party dream affair”
– Matthew De Abaitua, author and Literary Editor of The Idler, 2006

“I liked your story. The proof of its quality being the twinge of jealousy I felt as I read it”
– Sam Jordison, author and journalist, 2006

“Talking of good things I just read the story you sent me. Wow, you are really pushing the envelope. I like it, I know that. This bit really got me: ‘Today was tomorrow when Fanny’s angelic features were bathed in gold, her halo melting like fondue cheese, and sparkling fruit carved in dewdrops dangled lasciviously from chandeliers like overripe testes’. I mean it’s just brilliant writing. And yes, you made me wish I was at that party”
– Tony O’Neill, author, 2006

“Wow, ‘Half-Hearted Confessions of a Gelignite Dolly-Bird’ is a gorgeously-written story. And I like the main character, and the parade of characters throughout. Really cool stuff”
– Utahna Faith, author and editor, 2006

“Mighty fine. Bravo”
– Emma Barnes, Snowbooks, 2006

“Andrew Gallix’s short stories make me think of a clandestine meeting between the Marquis de Sade and Borges somewhere on Atlantis shortly before the ‘lost continent’ sank into the sea. He is the Breton of the post-punk generation, the Rimbaud of the Net, Beckett to my Joyce, and Trocchi to my Beckett. Leaving myself aside (although I don’t really see why I should), there aren’t many writers I’d rate higher than Gallix”
– Stewart Home, writer, artist and underground legend, 2006

“I so enjoyed reading your ‘Sweet Fanny Adams’ — beautifully done!”
– Lisa Williams, author of Letters to Virginia Woolf and Professor of Literature at Ramapo College of New Jersey, 2006

“I admire your work, particularly ‘Sweet Fanny Adams’ — a terrific story. For a long time I’ve admired what you’re doing”
– Richard Grayson, author, 2006

“I just came across a few of your pieces which I hadn’t read before, one of which ‘Sweet Fanny Adams’. It’s excellent. Continuously in your work, at least to me and at least throughout what I have read of you, is this over-arching tracing of the most eccentric, most eery but attractive erotisicm. These kinds of ‘outre’ parallels you draw to sexuality I find really out, and wonderful, man:
‘Margherita seemed in a hell of a hurry all of a sudden, even her nose was running. Where is it running to? he wondered. To by-corners Byzantine, I’ll be bound, and wondrous Wherevers, to the end of the earth, at the end of its tether.’
I think I have to epigraph that somewhere, Gallix. It’s fucking incredible”
– Donari Braxton, author, 2006

“Andrew, it’s a gem! I really like the line: ‘Did she acknowledge your existence as she plucked celestial chords on her flyaway hair and breathed honeyed tones down her cellular phone? Did she fuck’.”
– Lee Rourke, author and Editor of Scarecrow, 2006

“Spellbinding”
– Lee Rourke, author and Editor of Scarecrow

[On “Sweet Fanny Adams”] “Reminds me of Ada by Nabokov”
– Tom McCarthy, novelist, 2005

“Crisp and humorous stories. Mickey Spillane meets Thomas Nashe in Pissing Conduit. Also like it when a writer in a natural way sends me to a dictionary as you did with ‘micturated’ and ‘matutinal'”
– William Levy, writer and living legend, 2001

“I read through ‘Sweet Fanny Adams’ again last night, and laughed so much. You’ve got quite the spark!”
– Mary Sands, Editor of Jack Magazine, 2001

“Mr Gallix, I don’t know if you’re the same Andrew Gallix who published a story in Milk Magazine, but if you are, I wanted to tell you I really enjoyed it”
– Lisa Polisar, writer, 2001

“You’re one of the best writers I have on the site”
– Paul Ash, writer and Editor of Sniffy Linings Press, 2001

“The best [story in Planet Prozak 12] was Andrew Gallix’s ‘Sweet Fanny Adams’: witty, clever, different (the ‘fleeting glimpse of the dark, gaping twilight zone between M’s parting thighs’ reminded me of the good things that life has to offer in Parisian railway stations)”
– Steve Redwood, letter to the Editor of Planet Prozak, 2001

“Very good indeed”
– Kaye Roach, I.M.P. Fiction, 2000

“By way of introduction, this is what I like: A voluptuousness of language — Andrew Gallix’s ‘Sweet Fanny Adams’ is smart and funny and simply basks in its own linguistic glow”
– Valerie Cyhilic, Editorial, The Melic Review (issue 10), 2000

“It luxuriates in language, the pure pleasure of words”
– The Melic Review, 2000

“Funny and bouncy and sexy prose”
– Alistair Gentry, author, 2000

“An excellent story”
“Thanks for the marvelous story”
– C.A. Wyman, Editor of The Absinthe Literary Review, 2000

“Good god, man — are you sure you wouldn’t want to send these tremendous works to a paying market?”
– Brendan McKennedy, Editor, Tourist 2000, 2000

“First rate! These are the sort of stories we are looking for”
– Jay Currie, Publisher, Two Chairs Magazine, 2000

“I think you have a bucketload of talent”
– The Scriberazone, 1999

“It is a joy to read someone who isn’t afraid to have fun with words”
– James Horner, Editor of Progress, 1999

“One of the best pieces of prose we’ve seen in quite a while”
– Erin Elizabeth Smith, Editor-in-Chief of Stirring, 1999

“I was blown away by ‘Sweet Fanny Adams’. The wordplay made me grin with admiration”
– Natalie DuPont, Editor of ApparentDepth, 1999