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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
The clouds glow above the forest fi re like the holographic brains of mathematicians …
J. G. Ballard once confessed that his worst fear was an atrophy of the imagination brought on by anti-intellectualism and the dumbing down of culture. D. Harlan Wilson’s ferocious innovations remind us that the powers of the imagination remain very much alive. In the follow-up to his critically acclaimed fi ction collection, Wilson makes good on what Publishers Weekly called a lingering threat to do it all again. These stories of ennui, terror and jouissance foreground a raw existential absurdity that siphons energy from the specter of media culture. Dreamlike and satirical, theoretical and obscene, Wilson navigates the riverworlds of the cinematic unconscious, reminding us just how profoundly the real has become the reel.
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
The clouds glow above the forest fi re like the holographic brains of mathematicians …
J. G. Ballard once confessed that his worst fear was an atrophy of the imagination brought on by anti-intellectualism and the dumbing down of culture. D. Harlan Wilson’s ferocious innovations remind us that the powers of the imagination remain very much alive. In the follow-up to his critically acclaimed fi ction collection, Wilson makes good on what Publishers Weekly called a lingering threat to do it all again. These stories of ennui, terror and jouissance foreground a raw existential absurdity that siphons energy from the specter of media culture. Dreamlike and satirical, theoretical and obscene, Wilson navigates the riverworlds of the cinematic unconscious, reminding us just how profoundly the real has become the reel.