In Diegeses, acclaimed novelist and critic D. Harlan Wilson channels the "schiz-flows" of Ballard, Kierkegaard, Kafka, Burroughs, and Deleuze and Guattari in two interconnected novelettes. "The Bureau of Me" and "The Idaho Reality" follow a man who goes only by the name of Curd into the nightmarish prism of his own ego. In an ominous, darkly surreal near-future, Curd is visited by a group of mysterious strangers who claim to be representatives of the Bureau of Me. As he struggles to negotiate their weird aggression, he sinks deeper and deeper into alcoholism. The Bureau of Me suspects he is a becoming-god, but deification has its price. Inevitably he finds himself alone in a postapocalyptic wasteland, the last man, zombified physically and mentally. "The Idaho Reality" sees Curd rebooted from end-of-the-world subhuman to futuristic soap opera star. In a series of schizophrenic vignettes that mirror the condition of his psyche, he is turned inside-out. No longer the weak, insecure drunk he was in "The Bureau of Me," now he is an omnipotent television icon, although his penchant for hypermasculine assholery has shifted into high gear, rendering him more clown than becoming-god, degraded by the spectacle of simulation. Literary and grotesque, humorous and dismal, theoretical and streetwise, Diegeses is and avant-pop masterpiece that entertains as much as it enlightens, unstringing the complexities of the mind while tying them into new and undiscovered knots.

Diegeses

Literature & Fiction

Wilson, D. Harlan

Literary

Anti-Oedipus Press

SPECTRE

Ian Fleming whittled the effigy of James Bond out of his experiences with the British naval intelligence during World War II. After the publication of his first Bond novel, Casino Royale, in1952, 007 quickly became a cultural icon in the Cold War and a fixture in our collective consciousness. In SPECTRE, Laurence A. Rickels examines Fleming's novels and film adaptations like never before, looking awry at Bond through the sieve of psychoanalytic theory, history, and Kulturindustrie. Within the Bond universe, SPECTRE (Special Executive for Counter-intelligence, Terrorism, Revenge and Extortion) is the global terrorist organization run by supervillain Ernst Stavro Bloefeld. Fleming added SPECTRE late in the game for the crossover into the film medium. The ghostly amalgam of perpetrators and victims of the Nazi era, SPECTRE deconstructs and manipulates the opposition of the Cold War, its repression of the recent past, in order to promote the welfare of an organization that is in every sense an underworld. For Rickels, SPECTRE is a theoretical apparatus whereby he monitors and measures the flows, intensities and codings of the Bond universe while using it to read other texts, ranging from the writings of Goethe, Shakespeare and Derrida to the post-Freudian theories of Melanie Klein. This visionary, richly allusive study breaks new ground while extending ideas developed in such works as Aberrations of Mourning and Nazi Psychoanalysis. Rickels' approach is at once playful and pointed as he looms over Bond and lays him bare on the chaise.

Laurence A. Rickels

History & Criticism

British & Irish

Written during Olsen's five-month stay at the American Academy in Berlin, [[ there. ]] is part critifictional meditation and part trash diary exploring what happens at the confluence of curiosity, travel, and innovative writing practices. A collage of observations, facts, quotations, recollections, and theoretical reflections, it touches on a wide range of authors, genres, and places, from Beckett and Ben Marcus to David Bowie and Wayne Koestenbaum, film and architecture to avant-garde music and hypermedia, the Venezuelan jungle and Bhutanese mountains to New Jersey mall culture and the restlessness known as Berlin. [[ there. ]] is an always-already bracketed performance about how, by inhabiting unstable spaces, we continually unlearn and therefore relearn what thought, experience, and imagination feel like.

There

Biographies & Memoirs

Olsen, Lance

Arts & Literature

There is a spectre haunting the science fiction genre-the spectre of Barry N. Malzberg . . . In a genre that, with one hand, claimed to be the ultimate storehouse of innovation, and with the other, leveled strict rules for writing and codes of narrative conduct onto its authors, Malzberg stuck out like a forked tongue, composing works of bona fide literature that dwarfed the efforts of his contemporaries and established him as one of science fiction's most dynamic enfant terribles. Originally published in 1975, GALAXIES is a masterwork of the Malzberg canon, which includes over fifty novels and collections. Metafictional, absurdist and sardonic, the book mounts a concerted attack against the market forces that prescribed SF of the 1970s and continue to prescribe it today. At the same time, the book tells a story of technology and cyborgs, of bureaucracy and tachyons, of love and hate and sadness . . . Despite his deviant literary antics, Malzberg could not be ignored by the SF community. In 1973, he won the first annual John W. Campbell Memorial Award, which is presented to the best SF novel of the year by a distinguished committee of SF experts, authors and critics. Thereafter he received nominations for the Hugo, Nebula and Philip K. Dick Awards, among others. Nonetheless his writing has not received the attention it so profoundly deserves. GALAXIES is among the works listed in acclaimed SF editor David Pringle's SCIENCE FICTION: THE 100 BEST NOVELS, published in 1985. With an introduction by Jack Dann, this special paperback edition ushers Malzberg's genius into the twenty-first century.

Galaxies

MALZBERG, Barry N.

Humor & Satire

A nameless professor's methods of teaching and scholarship become toxic; he is sent back to college to redo his Ph.D. and redeem his authority. This is only the beginning of terror. Life at the University isn't what it used to be. Confronted by folly, redundancy and pornography at every turn, the professor must struggle to follow the rules and be a good student even as he terrorizes the roommates, faculty, staff and administrators that threaten to undermine his rancorous will to power. Narrated in D. Harlan Wilson's token "Hörnblower" prose, PRIMORDIAL: AN ABSTRACTION is an exercise in absurdity that rakes academia over the coals while plumbing the obscurities of existence and identity.

Primordial: An Abstraction

Known for his unique style of "docufiction" and "literary terrorism," Harold Jaffe has made a career out of exposing the latent realities embedded in our media-saturated consciousness. In INDUCED COMA, he furthers the project initiated in ANTI-TWITTER, a pastiche of 50-word stories based on "found" texts from mainstream news sources and other public sites. Jaffe sculpts them to reveal their inner core, all niceties stripped away so that the true motives, fears and sins of our age are on display. INDUCED COMA covers an extraordinary range of subjects-activist art, global warming, revolution, the entertainment industry, and the freakishly banal happenings of our day-to-day lives-all of which the author deconstructs to expose their ideological subtexts in uncanny ways. Satirical, critical, tragic and ruminative, Jaffe works every register and creates a bricolage that turns mass media inside-out.

Induced Coma

Harold Jaffe

Germany: A Science Fiction

Laurence a. Laurence

Two astronauts travel on the first manned expedition to the planet Venus. When the mission is mysteriously aborted and the ship returns to Earth, the Captain is missing and the First Officer, Harry M. Evans, can't explain what happened. Under psychiatric evaluation and interrogation, Evans provides conflicting accounts of the Captain's disappearance, incriminating both himself and lethal Venusian forces in the Captain's murder. As the explanations pyramid and the supervising psychiatrist's increasingly desperate efforts to get a straight story falter, Evans' condition and his inability to tell the "truth" present terrifying expressions of humanity's incompetence, the politics of space exploration, and the intricate dynamics of psycho-sexual relations . . . Originally published in 1972, BEYOND APOLLO incited controversy, polarizing critics and fans despite winning the first John W. Campbell Memorial Award for Best Science Fiction Novel. Always disinclined to sell out or compromise his vision, Malzberg became disillusioned with the SF genre, which purported to be THE genre of innovation. Paradoxically, many SF editors and publishers worried about unsettling readers' comfort zones and insisted that authors write in accordance with a set of rules, formulas and codes. Malzberg would neither heel nor kneel; disillusioned, he unofficially retired from the genre in the late seventies and hasn't looked back. What he produced as a science fiction writer, however, remains among the best published during the twentieth century-important in its historical context, but also entertaining and thought-provoking in its own right. Dark, acerbic, funny and smart, BEYOND APOLLO may be Malzberg's greatest accomplishment. This special anti-oedipal edition includes an introduction by novelist James Reich and a study guide that will prove especially useful in classroom settings.

Beyond Apollo

NOSTALGIA is the definitive biography of Mina Byrne, obscure avant-garde poet, painter, lamp-shade maker, and never-before-suspected muse of infamous Russian-American novelist, Vasili Novikov, and his son, Andrew Brennan, Pulitzer Prize-winning playwright. Over ten years in the making, the novel draws from unpublished manuscripts, letters, and poems, reconstructing hypothetical paintings and lost photographs, reinventing forgotten eras, crisscrossing continents, and following its own laws of space and time. This groundbreaking portrait of an unknown and possibly plagiarized life presents a metafictional map of literary obsession, sexual betrayal, and monstrous megalomania. Traversing the landscape of a derelict past, we encounter schizophrenic sons, repressed philosophers, pugilist film stars, vampiric fathers, spectral butterflies, eccentric aunts, flamboyant flâneurs, reclusive mothers, bawdy vaudevillians, tittering dilettantes, absurd futurists, and one of the most unromantic heroines imaginable.

Nostalgia

Hope Jennings

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Books by Anti-Oedipus Press

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Diegeses

SPECTRE

SPECTRE

There

Galaxies

Primordial: An Abstraction

Induced Coma

Germany: A Science Fiction

Beyond Apollo

Nostalgia