It’s 2024, and Tobey Harlan—college dropout, temporary waiter, recently dumped—steals from the wall of his father’s house three paintings by the venerated and controversial artist Di Stiegl. Tobey’s just lost everything he owns to a Northern California wildfire, and if he can sell the paintings (albeit in a shady way to a notorious tech bro) he can start life anew in a place no one will ever find him, perhaps even Oregon.

A hundred years before, Klaus Aaronsohn—German-Jewish immigrant, resident of the Lower East Side—inveigled his way into a film studio in Astoria, Queens. In love with silent cinema, Klaus will restyle himself Klaus von Stiegl, a mysterious aristocratic German film director. In true Hollywood fashion, he will court fame, fortune, romance, and betrayal, and end his career directing Brackett: a radical, notorious 60s-era detective show.

Weaving between Tobey and Klaus is the story of Diane “Di” Stiegl: Klaus’s granddaughter, raised in Palm Springs, who claws out a career as an artist in gritty 1980s NYC. As America yields the presidency to a Hollywood cowboy, as Diane’s grifter father and free-spirited mother circle in and out of her life, Diane will reflect America’s most urgent and hypocritical years back to itself, uneasily finding critical adoration as well as great fame and wealth.

A dazzling novel for readers of Beautiful Ruins by Jess Walter and The Candy House by Jennifer Egan, The Californians is an ambitious and sweeping journey across a century.  Nuanced and textured, gloriously funny, a critical portrait of the collective American consciousness that has brought us to today, it showcases Brian Castleberry as an inventive, stylish storyteller and a sharp observer of the human condition.