Joe Moshenska at The Guardian:
Reading Schulz’s works, it’s easy to see why he might have had such an effect on this array of creative minds. His stories defy description, explication, paraphrase. They are set in a phantasmagoric version of the city of Drohobycz (now in western Ukraine), where Schulz was born and died, and largely in and around the cloth shop on the market square that his parents owned, but in a version of these places where time and space have become molten and malleable. They take place in “years which – like a sixth, smallest toe – grow a 13th freak month” in “an illegal time… liable to all kinds of excesses and crazes”. The narrator’s father – a looming, manic, tragicomic version of Schulz’s own – at one point wastes away to nothing, leaving only “the small shroud of his body” and “a handful of nonsensical oddities”; at another he morphs into “a monstrous, hairy, steel blue horsefly”, a development that the narrator takes in his stride as just one of many “summer aberrations”. The stories read like the quintessence of the human imagination in its densest, strangest form, as if his language were a thick, sweet concentrate of the creativity that other writers dilute to a sippable weakness.