About The Devils That Have Come To Stay:
Siddhartha Deb, PEN/Open Book Award-winning author of The Beautiful and the Damned said:
Haunting and edgy, this Forty-Niner western reclaimed and radicalized for the 21st century is a debut novel by a writer to watch.
On Goodreads, Shelley Ettinger, author of Vera’s Will said:
If this novel must be compared to Cormac McCarthy’s work, and apparently this is inevitable, I’ll rate it superior. McCarthy’s finest, which to my mind, is Blood Meridian, has some of the horrors without any of the payoff we get in The Devils That Have Come to Stay.
On Start With a Story, Lynn Kanter said:
The Devils that have Come to Stay is a riveting novel. You can read it to see what happens next. You can read it as a powerful indictment of the cruelties of the Gold Rush years in America or of capitalism itself. You can read it to submerge yourself in unique characters and a distinctive historical place and time.
On Small Press Picks, Beth Castrodale said:
In her starkly beautiful, poetic novel The Devils That Have Come to Stay, Pamela DiFrancesco takes us into a dark and violent world that only gets darker with each turn of the page. While this book satisfies within the parameters of the genre, it delivers on many other levels as well.
About other work:
While nominating my short story “The Chuck Berry Tape Massacre” for Best American Mystery Writing, The Carolina Quarterly said:
The latter prize interprets mystery broadly, indicating that a crime or threat of crime hangs over the plot. We think DiFrancesco’s story, though not a genre piece, fits this criteria in all its multi-layered emotional complexity.
In a review for NewPages.com on Jan. 17, 2012, Sarah Gorman said:
A newer talent which does reveal the scaffolding of the writing process is that of Pamela DiFrancesco in “The Chuck Berry Tape Massacre.” The account of mother love swamped by mental illness, child neglect, singing, and rock ‘n’ roll unfolds through discrete scenes that the reader pieces together only gradually. Despite surreal juxtapositions, jerky movement, and painful scenes, DiFrancesco finally bestows on her characters redemption and even immortality. She communicates the tragedy of human suffering.