As a writer, artist, and actor throughout my life, I’ve explored and enjoyed many artistic forms. While I appreciate books across many genres, I elevate to the highest level those works that manage to break conventional boundaries and create something original. In my own work, I have always challenged myself to create something unique with a medium that has never been done before. At the same time, I have sought to discover a process and resulting work that inspires readers’ own creativity and challenges them to expand their imagination.
A psychedelic fairytale for the modern age, A Greater Monster is a mind-bending poetic trip into a radically twisted alternate reality that reflects civilization like a funhouse mirror. A Greater Monster crosses boundaries with illustrations, graphic design, and hidden links to animation and original music. Throughout the experience, you'll encounter sphinxes, gods, living skeletons, witches, and quite possibly the strangest circus ever imagined. Innovative and astonishing, A Greater Monster breathes new life into the possibilities of fiction. Received a Gold Medal as Outstanding Book of the Year in the 2012 Independent Publisher Book Awards.
“I can't express how brilliant my favorite scenes in A Greater Monster are. In this extraordinary work, Katzman pushes language to do things, which are truly astounding.” Carra Stratton, Editor, Starcherone Press
First published in 1959, Naked Lunch was shocking then, and it still retains its power today. Both in content and structure, Naked Lunch is powerful and wholly original. In effect, it becomes more than a work of fiction, it becomes an experience. Burroughs invented a technique called the “cut-up method,” where he cut up his coherent storyline into paragraphs, scenes, and even sentences, then reordered them both randomly and editorially. The disorder thematically represents the chaos of existence and the universe, and it also disrupts the reader. Like the book or not, it shakes you into realizing that there are possibilities beyond the conventional.
Burrough’s language is honed to a razor’s edge, and I find that many of the sentences in Naked Lunch burn like fire. The meaning of the title as Burroughs explains it is to bare the naked truth of reality on the end of a fork. From the content to the form and style, he lives up to that intention. Historically, it’s also worth admiring his complete disregard for mainstream sensibility. Burroughs doesn’t bend to censorship to make the book more palatable for sales or for critical reviews. Naked Lunch is a groundbreaking achievement.
Since its original publication in Paris in 1959, Naked Lunch has become one of the most important novels of the twentieth century.
Exerting its influence on the relationship of art and obscenity, it is one of the books that redefined not just literature but American culture. For the Burroughs enthusiast and the neophyte, this volume—that contains final-draft typescripts, numerous unpublished contemporaneous writings by Burroughs, his own later introductions to the book, and his essay on psychoactive drugs—is a valuable and fresh experience of a novel that has lost none of its relevance or satirical bite.
Grossman achieves something remarkable in The Alphabet Man. The work manages to weave together visual, avant-garde graphic design, literary poetry, and a suspenseful thrilling plot. The book itself is gorgeous to look at it, and the text layout is designed as a work of art. Grossman seamlessly blends these disparate elements into a unified, unique creation that breaks the boundaries of what a novel can be.
"America loves a murder, and I am a murderous American," observes Clyde Wayne Franklin, who is considered by many to be the foremost poet in America. No ordinary killer, he is equal parts writer, obsessive lover, alcoholic, moralist, ex-con, clown, and butcher. The Alphabet Man is the story of his ruthless search for carnal love and spiritual redemption as he moves through the underworld of Washington, D.C., a sadistic landscape peopled by drug dealers, prostitutes, and assassins-for-hire. Part thriller, part psychological and linguistic masterpiece, Grossman's explosive fiction convinces us that if there is a pure poetry in the modern world,…
O’Brien was a brilliant, groundbreaking writer who blended humor with literary experimentation to create stories that were both original and highly pleasurable to read. At Swim-Two-Birds is his most epic creation, published in 1939. I would credit O’Brien with being the inventor of what became post-modernism. At Swim-Two-Birdsblends metafiction and literary fantasy with an onion layer of stories within stories in a way that no book ever had before. And yet O’Brien manages to exceed the common self-serious tone and disconnection from lived human emotion that can plague post-modernism. His writing balances experimentation with a sense of our shared humanity and thus avoids the cold abstraction so commonly found in post-modern literature.
A wildly comic send-up of Irish literature and culture, At Swim-Two-Birds is the story of a young, lazy, and frequently drunk Irish college student who lives with his curmudgeonly uncle in Dublin. When not in bed (where he seems to spend most of his time) or reading he is composing a mischief-filled novel about Dermot Trellis, a second-rate author whose characters ultimately rebel against him and seek vengeance. From drugging him as he sleeps to dropping the ceiling on his head, these figures of Irish myth make Trellis pay dearly for his bad writing. Hilariously funny and inventive, At Swim-Two-Birds…
I Hate the Internet is an uncompromising punch in the face that blends comedy with a didactic, experimental style. It names names and kicks ass. It’s vibrant and energizing. The majority of traditional literary fiction at its core finds its value in teaching empathy through believable characters. And while there’s nothing wrong with that, we still stand today with a world collapsing around us environmentally and politically. We need more books that just say fuck it, conservative forms have not saved us from global warming, political fascism, or dehumanizing capitalism so let’s try something different. At least here’s a unique attempt to rage against the machine. I call it a must-read.
In New York in the middle of the twentieth century, comic book companies figured out how to make millions from comics without paying their creators anything. In San Francisco at the start of the twenty-first century, tech companies figured out how to make millions from online abuse without paying its creators anything.
In the 1990s, Adeline drew a successful comic book series that ended up making her kind-of famous. In 2013, Adeline aired some unfashionable opinions that made their way onto the Internet. The reaction of the Internet, being a tool for making millions in advertising revenue from online abuse,…
Locos is charming and cruel, tragic and hilarious, ambiguous yet direct, and written with clear, poetic prose. The experimental style on display never overwhelms the narrative. Despite the fact that Alfau directly declares the fictive nature of his characters, he made me care about them. The book contains a series of interconnected short stories with characters reappearing throughout and even when they are not featured, a brief mention may act as a dramatic revelation that changes significantly what you read before. And further, some of the characters seem to metamorphosize and serve different roles in subsequent stories.
The entirety manages to hold together as more of a novel than a collection partly thanks to the overlapping characters, partly through the consistent tone and style, and partly because Alfau is always in the background or making appearances as "the author." Some of the stories are quite hilarious, while some are devastating. I take the overarching theme to be the absurdity of life. Locos is flat-out brilliant, and it's a book that can be read multiple times.
The interconnected stones that form Felipe Alfau's novel LOCOS take place in a Madrid as exotic as the Baghdad of the 1001 ARABIAN NIGHTS and feature unforgettable characters in revolt against their young 'author' "For them", he complains, "reality is what fiction is to real people; they simply love it and make for it against ray almost heroic opposition" Alfau's "comedy of gestures" -- a mercurial dreamscape of the eccentric, sometimes criminal, habitues of Toledo's Cafe of the Crazy -- was written in English and first published in 1936, favorably reviewed for The Nation by Mary McCarthy, as she recounts…
One summer night in a small prairie city, 18-year-old Gabriel Reece accidentally outs himself to his redneck brother Colin, flees on his motorcycle, and gets struck by lightning on his way out of town.
He’s strangely fine, walking away from his melted pile of bike without a scratch. There’s no time to consider his new inhuman durability before his brother disappears and his childhood home burns down. He’s become popular, too—local cops and a weird private eye are after him, wanting to know if his brother is behind a recent murder.
Answers might be in the ashes of the house where Gabe and Colin grew up, if Gabe and his friends can stay alive and out of jail long enough to find them.
On Friday, Gabriel Reece gets struck by lightning while riding his motorcycle.
It's not the worst thing that happens to him that week.
Gabe walks away from a smoldering pile of metal without a scratch-or any clothes, which seem to have been vaporized. And that's weird, but he's more worried about the sudden disappearance of his brother, Colin, who ditched town the second Gabe accidentally outed himself as gay.
Gabe tries to sift through fragmented memories of his crummy childhood for clues to his sudden invincibility, but he barely has time to think before people around town start turning up…
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