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In this striking novel-in-stories, a series of strange apocalypses have hit America. Entire neighborhoods drown in mud, glass rains from the sky, birds speak gibberish, and parents of young children disappear. Millions starve while others grow coats of mold. But a few are able to survive and find a light in the aftermath, illuminating what we've become. In ''the Disappeared,''a father is arrested for missing free throws, leaving his son to search alone for his lost mother. A boy swells to fill his parents' ransacked attic in ''the Ruined Child.'' Rendered in a variety of narrative forms, from a psychedelic fable to a skewed insurance claim questionnaire, Blake Butler's full-length fiction debut paints a gorgeously grotesque version of America, bringing to mind both Kelly Link and William H. Gass, yet imbued with Butler's own vision of the apocalyptic and bizarre.
Another disturber from the author of Nothing and There Is No Year.
"Archetypes of the cowboy story, tropes drawn from sci-fi, love letters, diaries, confessions all abound in this relentlessly engaging tale. Dodson has quite brilliantly exposed the gears and cogs whirring in the novelist’s imagination. It is a mad and beautiful thing.” --Keith Donohue, The Washington Post Winner of Best of Region for the Southwest in PRINT’s 2016 Regional Design Awards Bats of the Republic is an illuminated novel of adventure, featuring hand-drawn maps and natural history illustrations, subversive pamphlets and science-fictional diagrams, and even a nineteenth-century novel-within-a-novel—an intrigue wrapped in innovative design. In 1843, fragile naturalist Zadock Thomas must leave his beloved in Chicago to deliver a secret letter to an infamous general on the front lines of the war over Texas. The fate of the volatile republic, along with Zadock’s future, depends on his mission. When a cloud of bats leads him off the trail, he happens upon something impossible... Three hundred years later, the world has collapsed and the remnants of humanity cling to a strange society of paranoia. Zeke Thomas has inherited a sealed envelope from his grandfather, an esteemed senator. When that letter goes missing, Zeke engages a fomenting rebellion that could free him—if it doesn’t destroy his relationship, his family legacy, and the entire republic first. As their stories overlap and history itself begins to unravel, a war in time erupts between a lost civilization, a forgotten future, and the chaos of the wild. Bats of the Republic is a masterful novel of adventure and science fiction, of elliptical history and dystopian struggle, and, at its riveting core, of love.
PRAISE FOR BLAKE BUTLER "An endlessly surprising, funny, and subversive writer." -Publishers Weekly "If the distortion and feedback of Butler's intense riffing is too loud, you may very well be too boring." -Globe and Mail (Toronto) "Try Blake on. Lace him up. Wear him around your neck in wreaths." -Vice "If there's a more thoroughly brilliant and exciting new writer than Blake Butler . . . well, there just isn't." -Dennis Cooper PRAISE FOR SEAN KILPATRICK "This is a book you need. Language reset. Guidebook." -HTML GIANT on Sean Kilpatrick's "fuckscapes" "The violent, sexual zone of television and entertainment is made to saturate that safe-haven, the American Family. The result is a zone of violent ambience, a 'fuckscape': where every object or word can be made to do horrific acts. As when torturers use banal objects on their victims, it is the most banal objects that become the most horrific (and hilarious) in Sean Kilpatrick's brilliant first book." -Johannes Goransson on "fuckscapes" "Here is your I.V. drip of sphinx's blood." -CA Conrad
"Dear Incomprehension tackles a broad swath of contemporary literature currently labeled "speculative fiction." A blurring of genres that includes science fiction, modern fairy tales, and avant-garde experimental fiction, these works are extremely popular but also derive from highly sophisticated philosophical and aesthetic sensibilities, ones that call into question and uproot the very foundations of stories and storytelling. Because such fictions subvert most conventional narrative devices-plot, recognizable characters, verisimilitude, logic, legibility-they deliberately confound almost any kind of conventional reading and criticism. So, what do you do with a text that cannot be conventionally read or understood? To do such a literature justice, the traditional frameworks of literary criticism fail, and Dear Incomprehension is more of an extended philosophical essay than it is a traditional work of criticism, as oblique and unconventional in its voice, tone, and methods as the texts it illuminates"--
A novel-in-stories travels from suburbs to outer space and revolves around the tale "The Machine of Understanding Other People," in which a Chicago man is given a supernatural helmet that lets him experience the inner worlds of others.
The people of Pie Time are suffering from God’s Finger, a mysterious plague that leaves its victims dead with a big hole through their chests. In each hole is a random consumer product. Mano Medium, a sensitive, young cigarette-factory worker in love, does his part by quitting the factory to work double-time as Pie Time’s replacement barber and butcher, and by holding the things found in the holes of the newly dead. However, the more people die, the bigger Mano becomes. XO, the power-hungry corporation bent on overtaking Pie Time, and Father Mothers, the bumbling priest, have their own ideas about how to capitalize on God’s Finger. By contrast, and powered by honoring his own lost loves, Mano fights to resist this exploitation by teaching death to those who can’t afford to survive it. As Pie Time and Mano both grow irrevocably, Mano must make a decision about how he can best fit into his own life. With a large cast of unusual characters, each struggling with their own complex and tangled relationships to death, money, and love, Mammother is a fabulist's tale of how we hold on and how we let go in a rapidly growing world.
"Anyone who looks beyond the bestseller lists can see that the literary landscape outside its commercial walls is just as varied as that of visual art, just as wild, just as conceptual: novels in the form of dioramas, narratives read through virtual-reality glasses, or told as a series of tweets, stories told as recipes, poems in skywriting, genetic code, pixels, skin-as well as print and sound. The 100+ prose works and poems that make up Conceptualisms all have the strangeness authors have always given ordinary speech in order to transform it into literature. In fact, this strangeness, or unfamiliarity, may be the very core of what makes writing literature, and pushed to its boundaries, what makes literature conceptual. Experimental, conceptual, avant-garde, hybrid, surfiction, fusion, radical, slip-stream, avant-pop, postmodern, self-conscious, innovative, L=A=N=G=U=A=G=E writing, alternative, anti- or new literature.... Across the years, a variety of names have been used to describe fiction, poetry and hybrid writing that, like conceptual visual art, foregrounds its ideas, explores new forms, challenges mainstream writing traditions, strives for ways to speak to the present. Along with whatever else they do, they ask, Why isn't this also literature?-and keep the boundaries of literature flexible and unresolved. Now, for the first time, here is an anthology that offers an overview of this other tradition as it lives in the early decades of the 21st century. The first major anthology of this other tradition, Conceptualisms presents writing by over 90 authors, across three generations, representing a plethora of aesthetics and approaches to their subjects. Readers will recognize authors who have shaped the nature of contemporary writing, such Lydia Davis, Charles Bernstein, Nathaniel Mackey, David Foster Wallace, and Claudia Rankine. They'll also find authors, and responses to the canon, that they haven't yet encountered. Conceptualisms is a book of ideas for writers, teachers and scholars, as well as readers who wonder how many ways literature can live"--
This book surveys a broad range of contemporary texts to show how representations of human-animal relations challenge the anthropocentric nature of fiction. By looking at the relation between language and suffering in twenty-first-century fiction and drawing on a wide range of theoretical approaches, Baker suggests new opportunities for exploring the centrality of nonhuman animals in recent fiction: writing animal lives leads to new narrative structures and forms of expression. These novels destabilise assumptions about the nature of pain and vulnerability, the burden of literary inheritance, the challenge of writing the Anthropocene, and the relation between text and image. Including both well-known authors and emerging talents, from J.M. Coetzee and Karen Joy Fowler to Sarah Hall, Alexis Wright, and Max Porter, and texts from experimental fiction to work for children, Writing Animals offers an original perspective on both contemporary fiction and the field of literary animal studies.