The Revolution Will Not Be Published

The Long, Slow Death of Avant-Garde Fiction
Daulton Dickey.

imagesThe state of popular fiction, especially mainstream “literary fiction,” in the second decade of the twentieth century is one of complacency and uniformity. It’s as though someone filtered the concept of fiction and literary fiction through a sieve, and homogeneity is all that largely remains.

Literature has struggled since the advent of movies and television, with the introduction of interactive entertainment—what some people still call videos games—and the internet. In a culture marginalizing fiction and literature, the industry is rapidly transforming into a game of monkey-see-monkey-do. In this world, the avant-garde, historically on the margins, is being further marginalized—to the detriment of our culture.

Fiction and literary fiction in this hyper-real, digital age, an age in which the line between “reality” and “simulacrum” is vanishing, suffers the same existential crisis that visual art—paintings and sculptures—suffered with the advent of the camera.

Over the past two decades, films and television, interactive entertainment and the internet have collided with the nuances of everyday life. As a culture, we’ve moved from the digital age into a sort of hyper-digital age, a period in which we’re experiencing the merger of the digital realm and the physical realm. This new period is revolutionizing the way we communicate, and consume entertainment, even more so than it did a decade or two ago. (more…)

Book Review: Zero Saints by Gabino Iglesias

Daulton Dickey.

Setting aside debates about whether or not we as a species are hardwired with a predilection toward violence, we can at least agree that our species displays a knack for it. Point to any period in human history and you’ll highlight an age rife with violence. From the Sumerians to the Romans, from Christendom to America, our stories and cultures reflect, and even glorify, violence. As foundation myths—Romulus murdering Remus; Washington crossing the Delaware to slaughter sleeping enemies—entire cultures are predicated on romanticized violence. Yet violence is never romantic. Or noble. Imagine it not as an abstraction, as something others engage in, and imagine it as a thing-in-itself, as an action or activity injuring or ending the lives of living, breathing human beings, as a carnal act committed against sentient meat, and you’ll find nothing amusing or romantic about it.

Popular entertainment treats violence in a variety of ways, from the absurdity of cartoons such as Looney Tunes or B-movies to the unflinching realism of Cormac McCarthy novels, and our society seems to view it in its many varieties, not always as acts of brutality. As such, we Americans tend to treat violence with a sort of flippancy, occasionally calling for appalling acts against people or countries as politics by other means.

Bracketing causal speculation, somezerosaints people live and dwell in violence—directly or indirectly, intentionally or inadvertently. Human civilization is a series of Möbius strips, sets within sets within sets. Some subcultures navigate broader social rules and norms while playing by different sets of rules altogether. These subcultures tend to epitomize violence as means to ends. The violence perpetrated by drug cartels is a prime example of this Möbius strip strip within a Möbius strip, where shadow laws and governments, of sorts, operate within broader society. These cartels reap violence on such massive scales that it’s hard to wrap our heads around. So many tens of thousands of people have been slaughtered that we’ve abstracted the violence—and we view these deaths as nothing more than numbers and statistics.

And we’re rarely afforded opportunities to humanize those caught in these traps. But by creating situations with seemingly-living characters, fiction can and does serve a purpose: it transforms statistics into shared experiences, allowing empathy to replace apathy or antipathy.

Zero Saints (Broken River Books), Gabino Iglesias’s unflinching portrayal of violence, revenge, and redemption is the kind of fiction that can illuminate the toll violence takes in the real world.

Fernando is a small-time drug dealer in Texas. Having fled the chaos of the Mexican cartel wars, and entered the states illegally, limiting his opportunities, he’s taken a job as a pusher for a dealer who’s carved out a decent territory in Austin. And he’s about to have a bad week. (more…)

Book Review: Berzerkoids by M.P. Johnson

Daulton Dickey.

Berzerkoids are here! And this book is here to stay. If you love weird, intelligent, and entertaining short fiction, than this book should feature prominently on your bookshelf.

Loosely centered around the antics of toys–as a sort of anti-Toy Story–this collection also features several stories only tangentially connected to its titular themes. It’s thematic in the way Sgt. Pepper’s Lonely Hearts Club Band is conceptual: some stories follow the 51ypuzfhl-_sy344_bo1204203200_overall theme and some could fit into any collection. But one thing is certain: every story in this collection is entertaining.

Say what you want about MP Johnson–and why the hell would you say anything negative, you prick?–but he has a wicked, pop-culture-infused, and, at times, minimalist imagination and sense of humor. His approach to the short form reminded me–as improbable as some readers might find this–of the best short works of Hemingway, as well as Joyce’s stories in Dubliners. Some are only a couple pages long; some build slowly, then hit you like a freight train; but none overstay their welcome, which is, to my mind, the strength of this collection.

The stories hit hard and fast. Realized worlds are developed within the matter of a few pages, characters are presented and developed well, situations go from weird to weirder, and the stories end, often without resolution, often without explanation–a sign of a confident writer.

Johnson doesn’t waste paragraphs or pages justifying the worlds he’s creating; instead, he drops you into them, creates weird or funny or intense situations, and leaves you wanting more. But there’s little confusion. You’re never dropped into a world in which you are confused or lost. You’re always viewing the worlds through the eyes of characters you care about, or through characters or high concepts so weird or funny or clever that you assent to take the trip, and oftentimes you can’t anticipate where you’re headed.

This is a great collection of stories by a strong and confident writer.

Book Review: The Green Kangaroos by Jessica McHugh

Daulton Dickey.
When you’re trapped in the cycle of addiction, where drugs transcend a good time and dominate your life, your existence, where every action you takes is predicated on scoring the next bag, the next hit, the next taste, everything in your life–indeed your life itself transforms, in a sense, into your periphery, there’s nothing you won’t do to score. In chasing his drug of choice, the fictional atlys, Perry Samson does the unthinkable: he sells chunks of his flesh. It’s a desperate move, one frowned on by even the lowliest of drug addicts. In the world of The Green Kangaroos by Jessica McHugh, those who sell their meat–to an upscale restaurant of all places–are viewed as the lowliest of lows, even by those in the grip of atlys addiction. Set in the waning years of the 21st century, The Green Kangaroos starts as a classic drug novel. But it quickly descends into a Philip K. Dicksian landscape of questionable or ambiguous reality.

On reading the opening chapter, one thing strikes you: the voice. This is a narrator so fully realized that you, at times, forget it’s a work of fiction. His attitude, his drive, his personal lexicon, his overwhelming desire to court, and succumb to, his addiction, feels plucked from the pages of a memoir. Nothing is off limits here; no taboos are too sacred to avoid. Drugs and violence, sex and desire–all consume the Perry, who alternates between these desires and his drive to score the next hit. It’s an unflinching look at the depths and depravities concomitant to drug addiction. 22043543

But this isn’t simply a Fear & Loathing-esque tale of excess; instead, it’s a morality play, an existential dirge, and, most importantly, a family drama. Perry’s relationship to his ex-wife and, crucially, his sister, grounds the novel in a pathos missing from some drug novels.

Then there are the dicksian elements. Without giving too much away, or spoiling several big reveals, I’ll just say that this is, in part a science fiction novel dealing with questions of reality and the ethics of advanced medical and scientific technology.

Equal parts drug novel, dystopian fiction, science fiction, and meditations on family and reality, The Green Kangaroos is a novel that grabs you from the opening paragraph and doesn’t let go until it races toward the climax. It’s a masterful novel that isn’t without it’s flaws: for me, the denouement was a little too protracted, and the epilogue inspired mixed feelings. On reading it, I felt misgivings, as if it was tacked on simply for the sake of creating a twist ending; but the more I thought about it, the more it occurred to me that it was a commentary on the nature of drug addiction and the personality types susceptible to slipping into that spiral.

Jessica McHugh is one of the more exciting writers working today. Her confidence, her voice, her ability to create compelling characters and worlds, and her embrace of the offensive, grotesque, and obscene makes her a rare writer these days, one willing to tackle any subject as honestly as possible.

Overall, it’s a fantastic novel.

New Release! Petroleum Precinct: Grudge Punk 2

Rooster Republic Press


Rooster Republic Press proudly presents the highly-anticipated sequel to Grudge Punk… 

The King of Eyes is dead. Long live the King.

The Grudge just ain’t what she used to be. In the aftermath of a bloody mob war, the city is without a kingpin, but not short of hoods spoiling to claim the title. Into the fray steps Lieutenant Sternhammer, of the reviled and corrupt Grudgehaven Police Department.

His mission: rebuild the reputation of his fellow cops and re-establish their dominance in the eyes of the public. His target: the cunning and ruthless gangster, Chupa Junior. His battleground: Chupatown, the worst slum in the city.

No easy task, even without all those other little complications, like headless jazz musicians, duplicitous pimps, a serial killer targeting gold-hearted women and whatever strange, powerful mystery lurks within the bowels of…


gp2WEB FJ Click picture to order directly from Amazon.

New to Grudge Punk?…

View original post 124 more words

Still Life with Chattering Teeth and People-Shaped Things: and Other Stories–Out Now!

Violent and surreal, twisted and macabre—these stories wstilllifedaultondickeyill challenge your idea of normality and asceticism. From a psychopathic serial killer who meets her match in a family of serial killers to men and women lost and tormented by their minds, Still Life with Chattering Teeth and People-Shaped Things and Other Stories will burrow into your skull, and mind f**k you.

Warning: This collection contains stories not suitable for children or the faint of heart.

Click here to buy the ebook on Amazon

Printers Row, or Being Weird in Broad Daylight

Rooster Republic Press

P1100025 From left to right: John Bruni, D.F. Noble, MP Johnson, Michael Allen Rose, and Sauda Namir.

It was a last minute kind of gig for us. Michael Allen Rose (we met in a bathroom at BizarroCon and quickly became friends shortly after) invited us up to this show in Chicago. Last year, several of the presses in the Bizarro community had teamed up to showcase their books at Printers Row, and since Nick and I were now carrying the torch for Rooster Republic Press, we figured it’d be a good idea to represent. Right there on the street. In broad daylight.

We gathered up some of the new releases, took a four hour road trip to Chicago, bought a goofy Batman cowboy hat, and stopped at Michael’s apartment (who was putting up us for the weekend). Mr. Rose and the lovely Sauda Namir welcomed us in to meet with…

View original post 686 more words

An Excerpt from Bastard Virtues

Daulton Dickey.

Click here to pre-order the paperback edition of Bastard Virtues
Click here to pre-order the Kindle edition of Bastard Virtues

Imagine sleeping.

Or trying to sleep.

Or lying in that state between sleeping and awake, a sort of light REM sleep.

Then imagine your phone rings.

Or someone pounds on the door.

You lie in bed for a moment, wondering who the hell’s bothering you.

Or maybe you know who it is.

Maybe you don’t want to answer the phone—or the door—and so you lie in bed.

Then, perhaps out of curiosity, you leap out of bed and grab the phone, or open the door.

Now imagine your cousin Rodney.

He wants your help.

Go into town with him and bail out his son, your second cousin.

Was it even possible to bail someone out at three in the morning?

Imagine thinking it over.

Or acquiescing and throwing on your clothes and shoes, grabbing your keys and wallet. Half asleep, maybe, you say you’ll go, but you don’t feel like driving.

You’re in the passenger seat now.

Racing down a county road.

No streetlights.

It’s dark.

You’re still trying to wake up, maybe. Rodney talks, spews the type of bullshit he’s known for spewing.

Maybe you listen, maybe you don’t.

Maybe you regret agreeing to this, maybe you’re happy to help.

But why’d you agree to do it?

At three o’clock in the fucking morning.

Rodney’s racing to town.

To bail out his son, his worthless son.

You’re going faster, faster. (more…)

Guest Blog: Emergence: An Excerpt from In Defense of the Mind


There is an idea in the philosophy of emergence that states that systems become more and more complex, and more and more properties “emerge” as a consequence. The driving force behind this growth and growing complexity is essentially, creativity.

I think there is a strong link between this conception and that of the mind.

I argue that our minds, which are subjectively creative, are contributing to an overall system (or systems) that is becoming more and more complex as subjective realities interact more and more with reality in general.

In other words: The more that people think and feel and be, and the more their minds connect with the world, the more complex that the overall system of existence increases in complexity, due to the creative potential of the mind.

Again, I want to come back to my idea of potentialities, and infinite potentialities. Our subjective minds are capable of coming up with many novel ideas and possibilities, and this process seems to be becoming more and more complex, as more books of literature and philosophy hit the market, as culture as an organism continues to evolve and continues to grow. Knowledge itself and the discovery of new knowledge also leads to this complexity. We can’t take for granted that even if there is only one objective reality, there are many subjective realities, and those subjective realities are contributing to the creatively growing organism that is humanity. Creative properties are “emerging” in this complex system of humanity, and it’s a remarkable process.

So, as an example: We started off in Western culture with myth, the myths of the Greek Gods. That slowly became more complex as the Pre-Socratics started philosophizing, and then knowledge continued to expand with the knowledge of Plato, and then Aristotle, and then all of the philosophers from the Roman period, and so on, down to the Medieval scholastics, and it goes on and on. There is a classic argument that a person must become a specialist in a field of literature, because there is simply too much literature now. This is a sign of an increasing complexity. (more…)