A “brilliant” novel about an alternate America that has been split in two (San Francisco Chronicle). In a dystopian Los Angeles, Cale is a newly released political prisoner under surveillance. Beset by dark visions and relegated to working in a desolate library, he’s told, without explanation, that he’s “the one everyone’s looking for.” For Catherine, a mysterious South American beauty, the crossing is no less extreme: Leaving her tribal life, she undergoes various confinements and escapes before winding up at the door of a Hollywood screenwriter. Finally Jack Mick Lake, possessed by numerology, must negotiate a river all his own. Stark and ethereal, Steve Erickson’s tales connect to form a luminous and passionate whole.
The novel that inspired the film starring James Franco and Seth Rogen: “One of a kind . . . a funny, unnervingly surreal page turner” (Newsweek). Named one of the Best Books of the Year by the Washington Post Book World, Newsweek, and the Los Angeles Times Book Review Zeroville centers on the story of Vikar, a young architecture student so enthralled with the movies that his friends call him “cinéautistic.” With an intensely religious childhood behind him, and tattoos of Elizabeth Taylor and Montgomery Clift on his head, he arrives in Hollywood—where he’s mistaken for a member of the Manson family and eventually scores a job as a film editor. Vikar discovers the frames of a secret film within the reels of every movie ever made, and sets about splicing them together—a task that takes on frightening theological dimensions. Electrifying and “darkly funny,” Zeroville dives into the renegade American cinema of the 1970s and ’80s and emerges into an era for which we have no name (Publishers Weekly). “Funny, disturbing, daring . . . dreamlike and sometimes nightmarish.” —The New York Times Book Review “Magnificent.” —The Believer “[A] writer who has been compared to Vladimir Nabokov, Don DeLillo, and Thomas Pynchon.” —Bookmarks Magazine “Erickson is as unique and vital and pure a voice as American fiction has produced.” —Jonathan Lethem
The idea of the "outside" as a space of freedom has always been central in the literature of the United States. This concept still remains active in contemporary American fiction; however, its function is being significantly changed. Outside, America argues that, among contemporary American novelists, a shift of focus to the temporal dimension is taking place. No longer a spatial movement, the quest for the outside now seeks to reach the idea of time as a force of difference, a la Deleuze, by which the current subjectivity is transformed. In other words, the concept is taking a "temporal turn." Discussing eight novelists, including Don DeLillo, Richard Powers, Paul Theroux, and Annie Proulx, each of whose works describe forces of given identities-masculine identity, historical temporality, and power, etc.-which block quests for the outside, Fujii shows how the outside in these texts ceases to be a spatial idea. With due attention to critical and social contexts, the book aims to reveal a profound shift in contemporary American fiction.
For more than 50 years John Clute has been reviewing science fiction and fantasy. Look at the Evidence is a collection of reviews from a wide variety of sources - including Interzone, the New York Review of Science Fiction, and Science Fiction Weekly - about the most significant literatures of the twenty-first century: science fiction, fantasy and horror: the literatures Clute argues should be recognized as the central modes of fantastika in our times. It covers the period between 1987 and 1992.
DIVDIVIn what the Guardian recently named one of the best literary debuts ever, a love triangle intersects with a lost film masterpiece and weather as turbulent as the heart/divDIV Life stories converge and break away in Days Between Stations, Steve Erickson’s searing first novel. At the center is the tumultuous union between Jason and Lauren, who fall in love as youths in Kansas, and later relocate to San Francisco. A cyclist training for the Olympics, Jason is often abroad and unfaithful; Lauren, in turn, finds solace in Michel, a nightclub manager trying to reconnect with his past. Michel’s journey leads to The Death of Marat, a recovered lost masterwork of silent film directed by his grandfather, whose extraordinary life includes having grown up as an orphaned twin in a Parisian brothel. In a world shaped by sensuality and trauma, where sandstorms invade Los Angeles, the Seine freezes, bike racers vanish in Venice, and relationships are warped by amnesia, geological chaos and personal upheaval each wrenchingly reflect the other. /div/div
DIVDIVA washed-up novelist navigates the dreamscape of a cataclysm-ravaged Los Angeles /divDIV In the apocalyptic Los Angeles of Amnesiascope, time zones multiply freely, spectral figures roam the streets, and rings of fire separate the city from the rest of the country. The narrator, a former novelist, lives in a hotel and writes film criticism for a newspaper whose offices are located in a bombed-out theater. Viv, his girlfriend, is a sexually voracious artist, and together the two are collaborating on an avant-garde pornographic film. But in this world, what’s real and what’s merely the conjuring of the protagonist’s imagination—obsessed with dreams, movies, sex, and remembrance—is far from clear. At once outrageous and hypnotically lyrical, Amnesiascope enflames the reader’s memory. /div/div
Our Ecstatic Days begins as the memoir of a young mother desperate to forget a single act, committed out of love and fear, that has changed forever the world around her. In the waning days of summer, a lake appears, almost overnight, in the middle of Los Angeles. In an instant of either madness or revelation, convinced that the lake means to take her small son from her, Kristin becomes determined to stop it. Three thousand miles away, on the eve of a momentous event, another young woman -- with a bond to Kristin that she can't even know -- meets a mysterious figure who announces in the dark, "The Age of Chaos is here." Against a forbidden landscape that shimmers with destiny and yearning, Our Ecstatic Days finally takes place on the terrain of a defiant heart. Human connections multiply into astonishing twists of fate -- by which the wrongs of an obsolete century may be set right -- and parallel lives spin faster toward the possibility that they will once again unite, electrifying a vision of the century to come.
This true story of two decorated combat veterans who find a new way to save their comrades and heal their country is “a great look at two of the best veteran organizations going and the incredible humans who make the effort work” (Jon Stewart). In Charlie Mike, a true account that “reads like a novel” (Publishers Weekly) and “explodes like a thriller” (The Huffington Post), Klein tells the dramatic story of Eric Greitens and Jake Wood, larger-than-life war heroes who come home and use their military values to help others. Wounded in Iraq, Navy SEAL Eric Greitens returns home to find that his fellow veterans all want the same thing: to continue to serve their country. He founds The Mission Continues to provide paid public service fellowships for wounded veterans. One of the first fellows is former Marine sergeant Jake Wood, a natural leader who begins Team Rubicon, organizing 9/11 veterans for dangerous disaster relief projects around the world. “We do chaos,” he says. “A deep and compelling exploration of a group of young veterans determined to continue serving after leaving the military” (The Washington Post), this is a story that hasn’t been told before—a saga of lives saved, not wasted. The chaos these soldiers face isn’t only in the streets of Haiti after the 2010 earthquake or in New York City after Hurricane Sandy—it’s also in the lives of their fellow veterans. Charlie Mike shows how Greitens and Wood draw on the military virtues of discipline and selflessness to guide others towards inner peace and, ultimately, to help build a more vigorous nation.
The main aim of the book has been to include writers, movements, forms of writing and textual strategies, critical ideas, and texts that are significant in relation to postmodernist literature. In addition, important scholars, journals, and cultural processes have been included where these are felt to be relevant to an understanding of postmodernist writing. This second edition of Historical Dictionary of Postmodernist Literature and Theater contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 400 cross-referenced entries on postmodernist writers, the important postmodernist aesthetic practices, significant texts produced throughout the history of postmodernist writing, and important movements and ideas that have created a variety of literary approaches within the form. This book is an excellent access point for students, researchers, and anyone wanting to know more about the postmodernist literature and theater.
Much like his novels, Steve Erickson (b. 1950) exists on the periphery of our perception, a shadow figure lurking on the margins, threatening to break through, but never fully emerging. Despite receiving prestigious honors, Erickson has remained a subterranean literary figure, receiving effusive praise from his fans, befuddled or cautious assessments from reviewers, and scant scholarly attention. Erickson’s obscurity comes in part from the difficulty of categorizing his work within current trends in fiction, and in part from the wide variety of concerns that populate his writing: literature, music, film, politics, history, time, and his fascination with his home city of Los Angeles. His dream-fueled blend of European modernism, American pulp, and paranoid late-century postmodernism makes him essential to an appreciation of the last forty years of American fiction but difficult to classify neatly within that same realm. He is at once thoroughly of his time and distinctly outside it. In these twenty-four interviews Erickson clarifies how his aesthetic and political visions are inextricable from each other. He diagnoses the American condition since World War II, only to reveal that America’s triumphs and failures have been consistent since its inception—and that he presciently described decades ago certain features of our present. Additionally, the interviews expose the remarkable consistency of Erickson’s vision over time while simultaneously capturing the new threads that appear in his later fiction as they emerge in his thought. Conversations with Steve Erickson will deepen readers’ understanding of how Erickson’s books work—and why this utterly singular writer deserves greater attention.
