Kirjahaku

This fascinating study of literary theory is the first work of its kind to examine the intersection of fantasy and postmodernism, and to analyze contemporary fantasy writers comparatively. After carefully developing working definitions of postmodernism and fantasy, the author goes on to analyze works by various postmodernist fantasy writers. Olsen's approach is eclectic, bringing to each text or textual complex those forces he feels most interestingly stir up its sediment--be they biographical, structural, psychoanalytic, philosophical, reader-response, or otherwise. Finally he argues that postmodern fantasy is the literary equivalent of deconstructionism, for it interrogates all we take for granted about language and experience, giving these no more than shifting and provisional status. It may be seen as a mode of radical skepticism that believes only in the possiblilty of total intelligibility.

A selection of short stories set in a future where America has become a channel-surfing nation, where pain has become home theatre and, with so many channels, watching TV beats sex.

Lance Olsen's sixth novel, Girl Imagined by Chance, is a formally innovative, intensely lyrical novel about the way fictions can take over our lives. It tells the story of an unnamed cyber-journalist and his photographer-wife, Reyla, who, childless and approaching middle age, abruptly move to a small Idaho town, abandoning Reyla's eighty-nine year old grandmother. Thus, Genia enters the world, a baby girl conceived only in imagination. However, to her creators' surprise, Genia proves as needy as every child. Soon they are scrambling to nurture and feed and protect their fiction and facing serious questions about the existential anxieties that compelled them to flee to Idaho in the first place. At its heart, Girl Imagined by Chance investigates the mystery of self-knowledge. Its prevailing metaphor and structural device, the photograph, examines the way images, in their magical ability to mimic memory, ultimately mock and eradicate it. The individual past, seemingly stable and fixed, turns out to be as protean and unknowable as the future, and the body becomes strangely dispensable, perpetually adrift in a cybernetic world of hyperlinks and interfaces. If Jean Baudrilard, Helene Cixous, and Clarice Lispector had collaborated on a novel, Girl Imagined by Chance would be the result.

Locked in a small room on the top floor of a house in Weimar, the most radical and influential of nineteenth-century German philosophers hovers between dream and wakefulness, memory and hallucination, the first person, second, and third, past and present, reliving his brief love affair with feminist Lou Salome, his stormy association with Richard Wagner's musical genius, and his conflicted relationship with Lisbeth, his rabidly anti-Semitic sister dedicated to assuring her brother's legacy by distorting his philosophy into a cult attractive to the rising proto- Nazi movement. Here is a portrait of the Nietzsches we know and the Nietzsches we don't, the one who killed off God, unmoored language from the things to which it refers, and invented the notions of the Ubermensch and Eternal Recurrence, as well as the one evincing a fragile and hyper-sensitive intensity that contrasts eerily with the celebration of strength and the disparagement of consciousness in his own writings. His titanic ego, suppressed, squelched, and sealed up within him, all but unknown to his acquaintances, creates a maniacal and raging giant inside his own skull that is mysterious and unnerving, when it is not simply scary, sad, and haunting. Both stylistically and formally innovative, the prose in ""Nietzsche's Kisses"" is surprising and rich. The result is a vivid, complex experience of Nietzsche's criti-fictional imagination, internal dividedness, and existential alienation. Yet, for all its technical and philosophical play, this book never relinquishes its profound empathy for what it means to be human during our final hours.

Calendar of Regrets is a wildly inventive and visually rich collage of twelve interconnected narratives, one for each month of the year, all pertaining to notions of travel - through time, space, narrative, and death. The poisoning of the painter Hieronymus Bosch; anchorman Dan Rather's mysterious mugging on Park Avenue as he strolls home alone one October evening; a series of postcard meditations on the idea of travel from a young American journalist visiting Burma; a husband-and-wife team of fundamentalist Christian suicide bombers; the myth of Iphigenia from Agamemnon's daughter's point of view - these and other stories form a mosaic, connected through a pattern of musical motifs, transposed scenes, and recurring characters. It is a narrative about narrativity itself, the human obsession with telling ourselves and our worlds over and over again in an attempt to stabilize a truth that, as Nabokov once said, should only exist within quotation marks. View a trailer for the book here: www.youtube.com/watch?v=hZvaLi91Blk

Theories of Forgetting is concerned with how words matter, the materiality of the page, and how a literary work might react against mass reproduction and textual disembodiment in the digital age.Theories of Forgetting is a narrative in three parts. The first is the story of Alana, a filmmaker struggling to complete a short documentary about Robert Smithson’s famous earthwork, The Spiral Jetty, located where the Great Salt Lake meets the desert. Alana falls victim to a pandemic called The Frost, whose symptoms include an increasing sensation of coldness and growing amnesia. The second involves Alana’s husband, Hugh, owner of a rare-and-used bookstore in Salt Lake City, and his slow disappearance across Jordan while on a trip both to remember and to forget Alana’s death. The third involves marginalia added to Hugh’s section by his daughter, Aila, an art critic living in Berlin. Aila discovers a manuscript by her father after his disappearance and tries to make sense of it by means of a one-sided “dialogue” with her brother, Lance.Each page of the novel is divided in half. Alana’s narrative runs across the top of the page, from back to front, while Hugh’s and his daughter’s tale runs “upside down” across the bottom of the page, from front to back. How a reader initially happens to pick up Theories of Forgetting determines which narrative is read first, and thereby establishing the reader’s meaning-making of the novel.

A prismatic, imaginative exploration of David Bowie’s last daysAn intricate collage-novel fusing and confusing fact and imagination, Always Crashing in the Same Car is a prismatic exploration of David Bowie through multiple voices and perspectives—the protean musician himself, an academic trying to compose a critical monograph about him, friends, lovers, musicologists, and others in Bowie’s orbit.At its core beat questions about how we read others, how we are read by them, how (if at all) we can tell the past with something even close to accuracy, what it feels like being the opposite of young and still committed to bracing, volatile innovation.Set during Bowie’s last months—those during which he worked on his acclaimed final album Black Star while battling liver cancer and the consequences of a sixth heart attack—yet washing back and forth across his exhilarating, kaleidoscopically costumed life, Always Crashing in the Same Car enacts a poetics of impermanence, of art, of love, of truth, even of death, that apparently most permanent of conditions.

Anxious Pleasures takes Franz Kafka's profoundly haunting and sad comic novella, The Metamorphosis, and reanimates it through the vantage points of those who surrounded Gregor Samsa during his plight. All the familiar characters are here, including the hysterical mother, stern father, faithless sister, and the pragmatic household cook. But we are also introduced to, among others, the would-be author downstairs who daydreams of the narrative he may someday compose and a young woman in contemporary London reading Kafka's slim book for the first time.Or do they all comprise a few of the disturbing dreams from which Gregor is about to snap awake one morning to find himself transformed into a monstrous vermin? In the tradition of Michael Cunningham's The Hours and John Gardner's Grendel, Olsen's novel not only represents a collaboration with a ghost, but, too, a celebration, augmentation, complication, and devoted unwriting of a momentously influential text.

Leaving Macquarie Island and the 1979 expeditioners was a mixed bag ofemotions. I witnessed the grieving of some of the expeditioners from the loss oneof their mates, a biologist. I felt for them and wondered what wintering on theIsland was going to be like for them. I was pleased to finally go home Aboard theDanish ice breaker, Thala Dan. 15 Months was a long time away from home on anisolated Australian Scientific Research Station. I boarded the ship after sheserviced the other Australian Stations in Antarctica.Seeing Australia for the first time in 15 months was going to be an unknown, as Ihad changed and wondered where life takes me now. Approaching the Australianmainland, I could smell the burnt summer air which I no longer take for granted.In 1980, I reapplied to go south again to Antarctica with 1981 Expedition, this timeto Casey, Another story unfolds and is told in this book, along with the MacquarieIsland story.

Leaving Macquarie Island and the 1979 expeditioners was a mixed bag ofemotions. I witnessed the grieving of some of the expeditioners from the loss oneof their mates, a biologist. I felt for them and wondered what wintering on theIsland was going to be like for them. I was pleased to finally go home Aboard theDanish ice breaker, Thala Dan. 15 Months was a long time away from home on anisolated Australian Scientific Research Station. I boarded the ship after sheserviced the other Australian Stations in Antarctica.Seeing Australia for the first time in 15 months was going to be an unknown, as Ihad changed and wondered where life takes me now. Approaching the Australianmainland, I could smell the burnt summer air which I no longer take for granted.In 1980, I reapplied to go south again to Antarctica with 1981 Expedition, this timeto Casey, Another story unfolds and is told in this book, along with the MacquarieIsland story.

Set on a single day in 1927, My Red Heaven imagines a host of characters—some historic, some invented—crossing paths on the streets of Berlin. The subjects include Robert Musil, Otto Dix, Werner Heisenberg, Anita Berber, Vladimir Nabokov, Käthe Kollwitz, Ludwig Mies van der Rohe, and Rosa Luxemburg—as well as others history has forgotten: a sommelier, a murderer, a prostitute, a pickpocket, and several ghosts. Drawing inspiration from Otto Freundlich’s painting by the same name, My Red Heaven explores a complex moment in history: the rise of deadly populism at a time when everything seemed possible and the future unimaginable. A terrific read for fans of Richard Powers' The Overstory and Colum McCann's Let the Great World Spin.

"Olsen’s fascinating experiment achieves heft by the accumulation of personal and collective loss, which makes the nightmarish coda feel eerily plausible. Together, the elegant and heartbreaking set pieces prompt deep reflection on the connections between minds and bodies, and on where both are ultimately headed.” —Publishers Weekly (starred) Skin Elegies uses the metaphor of mind-upload technologies to explore questions about the relationship of the cellular brain to the bytes-entity to which it gives rise; memory and our connection to the idea of pastness; refugeeism (geographical, somatic, temporal, aesthetic); and where the human might end and something else begin. At the center stands an American couple who have fled their increasingly repressive country, now under the authoritarian rule of the Reformation Government, by transferring to a quantum computer housed in North Africa. The novel’s structure mimics a constellation of firing neurons—a sparking collage of many tiny narraticules flickering through the brain of one of the refugees as it is digitized. Those narraticules comprise nine larger stories over the course of the novel: the Fukushima disaster; the day the Internet was turned on; the final hours of the Battle of Berlin; John Lennon’s murder; an assisted suicide in Switzerland; the Columbine massacre; a woman killed by a domestic abuser; a Syrian boy making his way to Berlin; and the Challenger disaster. With his characteristic brilliance and unrivaled uniqueness, Lance Olsen delivers an innovative, speculative, literary novel in the key of Margaret Atwood, Stanislaw Lem, and J.G. Ballard.

With Lance Olsen’s signature flair, Absolute Away is an innovative narrative triptych, a story of one life reimagined. The first movement tells the story of Edie Metzger, a little Jewish girl who bit Hermann Göring’s lip so hard it bled at a Nazi book-burning rally in 1933. In the second, in 1956, grown Edie is the passenger clinging to the backseat of the Oldsmobile 88 convertible driven by Jackson Pollock, moments before it plunges off the road. In the third, the narrative embarks into an ever-unspooling universe of Edies that might have lived—Edie’s gender, past, and consciousness flying forever farther apart.Absolute Away is a novel about travel in its largest sense—about the self, the past, the future, aging, ideas, relationships, our own mortal being(s) as transitive verbs, and how what and who we are connects to everything else.