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Fiction. Drama. Film. Sean Kilpatrick may be the P.G. Wodehouse of Hell. The blistering anger of his deliciously delirious rants delivers more cathartic mirth than provocation, and the ever-present poetic invention and subtly tidy thematic organization hiding in plain sight behind the ultra-violence inflicted on reader, characters, language and meaning suggest, in the end, a graceful and always musical accommodation to form. In this faux sequel to a Steven Seagal movie written in "80s Shakespeare," cultural icons Laurie Anderson, Michael Jackson, "Sir" William Forsythe, and assorted other henchmen and hemi-demi-semi- deities demean and demolish themselves and each other as they trace out, perhaps inadvertently but certainly hilariously, the delicate arc of a love story.
In Graham Guest's novel Henry's Chapel we watch a film by proxy, through the eyes of a narrator who offers a play-by-play account, complete with probing analysis, of Albarb Noella's Lawnmower of a Jealous God. Within this unusual frame we encounter the story of an isolated family in rural East Texas, a tragicomic tale of incest, abuse, mental illness and liberation. As meta-narrative and narrative merge into one another, the film's characters, its director, and implicitly the narrator and author themselves all become significant figures, while the film itself becomes both an immersive if ghostly medium and a distanced object of critical inquiry, its meaning and being inseparable from the metafictional organism that contains it. The final product is a kind of narratological incest heretofore unexplored.
America had a radically different relationship with drugs a century ago. Drug prohibitions were few, and while alcohol was considered a menace, the public regularly consumed substances that are widely demonized today. Heroin was marketed by Bayer Pharmaceuticals, and marijuana was available as a tincture of cannabis sold by Parke Davis and Company. Exploring how this rather benign relationship with psychoactive drugs was transformed into one of confusion and chaos, The Cult of Pharmacology tells the dramatic story of how, as one legal drug after another fell from grace, new pharmaceutical substances took their place. Whether Valium or OxyContin at the pharmacy, cocaine or meth purchased on the street, or alcohol and tobacco from the corner store, drugs and drug use proliferated in twentieth-century America despite an escalating war on “drugs.” Richard DeGrandpre, a past fellow of the National Institute on Drug Abuse and author of the best-selling book Ritalin Nation, delivers a remarkably original interpretation of drugs by examining the seductive but ill-fated belief that they are chemically predestined to be either good or evil. He argues that the determination to treat the medically sanctioned use of drugs such as Miltown or Seconal separately from the illicit use of substances like heroin or ecstasy has blinded America to how drugs are transformed by the manner in which a culture deals with them. Bringing forth a wealth of scientific research showing the powerful influence of social and psychological factors on how the brain is affected by drugs, DeGrandpre demonstrates that psychoactive substances are not angels or demons irrespective of why, how, or by whom they are used. The Cult of Pharmacology is a bold and necessary new account of America’s complex relationship with drugs.
PHILOSOPHY OF THE SKY is not a work of philosophy in an academic or traditional sense. It is, however, highly philosophical, totemic, and personal. In the book, Evan uses the sky as an abstract philosophical concept, like a cinematic backdrop, to explore conceptual associations between selfhood, objecthood, the body, apocalypticism, masculinity, masturbation, and self-destruction. The text, symbol, and glyph are partially augmented by chance cut-up processes such as language translators, Markov chain generators, and AI natural language generators for the purpose of eliminating narrative preconception, discovering subconscious visual realms, and spotlighting a point of tension between natural and artificial aesthetic forms. The formatting of text becomes an important cinematographic framing tool.
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
From Schism [2] Press A brilliant, serious and goof-rendered life cycle punctuated, constantly, with castration, abortions and suicide. Pageantry, clichés, cynicism and Catullus-like military exercises dedicated to and dragged over time's tender acne. A sordid and jaded love story ("we rubbed our anuses together in a field") garnished with bosses and workers who fuck everything, bubbling up shared panic and annihilation in "the urine of a girl who already forgot you." Rauan Klassnik
Abstract: This is the greatest experimental literary achievement in the history of humankind. It is a feat beyond measure and comparable to none. Genius is riddled with humor and drama and mystery and humanity and all other really important stuff. Future scholars will surely spend entire careers mining the depths of this breathtaking literary triumph. In a world where one man and his pen can make a difference, this novel proves everything and nothing simultaneously.