Self-taught and working in isolation until his death in 1973, Henry Darger realized an elaborate fantasy world of remarkable beauty and strangeness through hundreds of paintings and an epic written narrative. Angel-like Blengins with butterfly wings, natural catastrophes, innocent girls, and murderous soldiers all appear in Darger's scenes, which are reproduced in this book in double-page and gatefold illustrations. In the volume's introductory essay, Klaus Biesenbach examines the radical originality of Darger's art, including his use of collage, incorporation of religious themes and iconography, and frequent juxtaposition of innocence with violence. An essay by Brooke Davis Anderson illuminates Darger's source materials and techniques, while another by Michael Bonesteel puts Darger's life in the context of his work. The book also includes Darger's autobiography, "A History of My Life," introduced by Carl Watson. The only book of its kind, Henry Darger offers an authoritative, balanced, and insightful look at an American master.

"Amongst the oil fumes and the briny dinge of the sea, greasy, tired, frustrated, I had a flash. Suddenly, I had it all figured out-the psychology of despots and CEOs. I figured that in order for civilization to exist, people have to stay in one place, and so it seems somehow natural that the evolution of society would be to create an illusion of motion where none exists. Faster cars. Faster editing. Increased sensory stimulation. But all the while we are actually sitting more and more still. The population is placated by the feeling of progress, when in reality they are imprisoned. Even if we feel or strive to be utterly irresponsible, we're still somehow doing ourjob."
Carl Watson evokes his desolation angels with great empathy and care, but also with ruthless candor. He writes like someone who pushed himself to the wall, then pushed through it to the void and came back with stories to tell. Here he reclaims the Seventies, one of the more desolate of recent epochs, with the clarity of Proust, the balefulness of Bodenheim, and the raw honesty of an Iggy song.
-John Strausbaugh, author of "Black Like You" and "Sissy Nation"
"CW writes like he put his thumb in the air on some two-lane American highway that used to be an Indian Trail, where he got picked up by God. Like he has come back to the fire in the woods we have gathered around at the end of the world with our loved ones to tell us what he saw.
-Andrew Huebner, author of "We Pierce," "American By Blood"and "East of Bowery"
With prose unfurling like cigarette smoke bleeding into that cloud of half-forgotten memories forever shadowing missed opportunities that hangs over a noonday dive somewhere during the twilight of the last blown century, heartbreak rock-n-roll on the radio crackling in exquisite precision between am stations and windswept interstates, Carl Watson daydreams before silent black-and-white televisions in SRO lobbies or as he drinks himself sober in crumbling Chicago tenements. "Backwards the Drowned Go Dreaming" explodes the bleary-eyed myth of the American road.
-Donald Breckenridge, author of "This Young Girl Passing"
Carl Watson's work is desolate poetry. He writes with sharp nostalgia for a past that really wasn't all that great. It feels like a stay in a down-and-out motel, but right on the other side of the paper-thin wall is transcendence. Watson never lets you forget that even in the most desperate situations, there is humor (even if it's mostly black) and greatness of the spirit. -Emily XYZ, "United States of Poetry"