With an introduction by Lynne Tillman Physically beautiful and strangely passive, George Miles attracts his fellow students with a mysterious promise, like a wallet lying on the street. Closer follows the links of desire that drag George into the arms of boys like John, an artist who deliberately drains his portraits of humanity; Alex, fascinated by splatter films and pornography; and Steve, an underground entrepreneur who turns his parents' garage into a nightclub. Two men in their forties, Tom and Philippe, think they can find reality in the sharp outlines of bones and the bright red of blood. Obsessed with the beauty of death, they see in George the perfect object for their passion. Still shocking after more than two decades, Closer is an unflinchingly provocative exploration of the limits of experience.

Set largely on the pages of a website where gay male escorts are reviewed by their clients, and told through the postings, emails, and conversations of several dozen unreliable narrators, The Sluts chronicles the evolution of one young escort's date with a satisfied client into a metafiction of pornography, lies, half-truths, and myth. Explicit, shocking, comical, and displaying the author's signature flair for blending structural complexity with direct, stylish, accessible language, The Sluts is Cooper's most transgressive novel since Frisk, and one of his most innovative works of fiction to date.

Simultaneously deadpan and queasily raw, Try is the story of Ziggy, the adopted teenaged son of two sexually abusive fathers whose failed experiment at nuclear-family domesticity has left him stranded with one and increasingly present in the fantasies of the other." He turns from both of these men to his uncle, who sells pornographic videos on the black market, and to his best friend, a junkie whose own vulnerability inspires in Ziggy a fierce and awkward devotion. Terminally insecure and yet inured to sexual brutality, Ziggy questions his two fathers, his uncle, his drug dealer, his friends, and himself in an attempt to isolate and define the vagaries and boundaries of sexuality, attraction, and abuse, compiling their responses into a magazine that he calls I Apologize. In prose that is taut, rhythmic, charged, chillingly precise, and beautifully controlled, Cooper examines his characters' motivations not as the product of cultural coercion but as the emanations of something hungry and amoral and essentially human. Try explores "that buried need to go all the way and really possess someone," that place where desire disintegrates into the irrational. He illuminates with utter clarity the need to claim the desirable, to possess wholly something that will fulfill the profound emptiness of the human soul. With Try, Cooper has produced a novel even more complex than his previous books, dangerously innovative and with the startling familiarity of truth in its examination of love, obsession, devotion, and the depths of human need.

Physically beautiful and strangely passive, George Miles attracts his fellow students with a mysterious promise, like a wallet lying on the street. One after another, his teenage friends rifle through George, ransacking him for love or anything else they could trust in the mindlessness of middle America. What they find is a vision of nightmare intensity, in a novel that assaults the senses as it engages the mind. Closer follows the links of desire and value that drag George into the arms of men like John, an artist who drains his portraits of humanity in order to find what lies beneath; Alex, fascinated by splatter films and pornography; and Steve, an underground entrepreneur who turns his parents' garage into a nightclub. These and others pass George from hand to hand, hoping to feel even one emotion clear and uncorrupted by society, but George remains a blurry ghost until he is picked up by two men in their forties. Tom and Philippe think they can find reality in the sharp outlines of bones and the bright red of blood; obsessed with the beauty of death, they find in George the perfect object for their passion. In brutally frank prose that exposes euphemism, cliche, and evasion, Dennis Cooper stares unflinchingly at the horror of a society without values, and his vision makes its enormity all too real. It is a world in which pain is an undeniable reality, the inevitable companion of truth, and a test of our commitment to life. Dennis Cooper explores the limits of experience, and while he sharpens our understanding of the life around us, he leaves no escape from what he finds.

Among The Village Voices 25 Favorite Books of 2006 Winner of the 2007 AAUP Book, Jacket, and Journal Show in the Trade Illustrated Book Design category. Sometime after Andy Warhol's heyday but before Soho became a tourist trap, a group of poets, punk rockers, guerilla journalists, graffiti artists, writers, and activists transformed lower Manhattan into an artistic scene so diverse it became known simply as "Downtown." Willfully unpolished and subversively intelligent, figures such as Spalding Gray, Kathy Acker, Richard Hell, David Wojnarowicz, Lynne Tillman, Miguel Pinero, and Eric Bogosian broke free from mainstream publishing to produce a flood of fiction, poetry, experimental theater, art, and music that breathed the life of the street. The first book to capture the spontaneity of the Downtown literary scene, Up Is Up, But So Is Down collects more than 125 images and over 80 texts that encompass the most vital work produced between 1974 and 1992. Reflecting the unconventional genres that marked this period, the book includes flyers, zines, newsprint weeklies, book covers, and photographs of people and the city, many of them here made available to readers outside the scene for the first time. The book's striking and quirky design-complete with 2-color interior-brings each of these unique documents and images to life. Brandon Stosuy arranges this hugely varied material chronologically to illustrate the dynamic views at play. He takes us from poetry readings in Alphabet City to happenings at Darinka, a Lower East Side apartment and performance space, to the St. Mark's Bookshop, unofficial crossroads of the counterculture, where home-printed copies of the latest zines were sold in Ziploc bags. Often attacking the bourgeois irony epitomized by the New Yorker's short fiction, Downtown writers played ebulliently with form and content, sex and language, producing work that depicted the underbelly of real life. With an afterword by Downtown icons Dennis Cooper and Eileen Myles, Up Is Up, But So Is Down gathers almost twenty years of New York City's smartest and most explosive-as well as hard to find-writing, providing an indispensable archive of one of the most exciting artistic scenes in U.S. history.

Narrated in a voice that at times may be construed as the author's own, Guide is the story of the conflict between a novelist's fantasy life and his inability to represent it in language. Remembering the clarity and omnipotence he felt during an LSD trip in his teens, "Dennis" drops acid and attempts to write a novel that will make sense of his life, his desires, his friends, and his art, and distinguish what is real from the distortions created by his overactive imagination. Dennis's sexual relationship with Chris - an addict who fantasizes about being killed - pushes him to the very edge of emotions he has only imagined. His platonic love for Luke, an imaginative, but far more innocent, friend, offers possible salvation from his otherwise crazy life. In episodic chapters that criss-cross through time, Guide weaves together Dennis's story with these and other characters, including Goof, a young and amazingly innocent porn star, Sniffles, a teenage runaway whose need for love outweighs his attachment to life, and Mason, whose lurid desires are rivaled only by Dennis's own.

Kathy Acker pushed literary boundaries with a vigor and creative fire that made her one of America's preeminent experimental writers and her books cult classics. Now Amy Scholder and Dennis Cooper have distilled the incredible variety of Acker's body of work into a single volume that reads like a communique from the front lines of late-twentieth-century America. Acker was a literary pirate whose prodigious output drew promiscuously from popular culture, the classics of Western civilization, current events, and the raw material of her own life. Her vision questions everything we take for granted -- the authority of parents, government, and the law; sexuality and the policing of desire -- and puts in its place a universe of polymorphous perversity and shameless, playful freakery. Spanning Acker's '70s punk interventions through more than a dozen major novels, Essential Acker is an indispensable overview of the work of this distinctive American writer and a reminder of her challenge to and influence on writers of the future. Scarified sensibility, subversive intellect, and predatory wit make her a writer like no other I know. -- Tom LeClair, The New York Times Book Review

For the last decade, Dennis Cooper has intrigued, shocked, and energized American writing. Whether described as the leading writer of the Blank Generation or the New Narrative or likened to Poe, Sade, and Genet, Cooper has consistently explored the boundaries of writing and the effect of literature on our imaginations and in our society. His stories have the shocking immediacy of newspaper headlines: grimy, splintered images illuminated by the city's neon bloom. By daring to use death to look at life, Cooper gives us a new perspective on our deepest fears and needs. This first collection of his work provides an overview of his evolution and, as William T. Vollmann wrote in the New York Times Book Review, a portrait of "our soulless and decaying society."

When Dennis is thirteen, he sees a series of photographs of a boy apparently unimaginably mutilated. Dennis is not shocked, but stunned by their mystery and their power; their glimpse at the reality of death. Some years later, Dennis meets the boy who posed for the photographs. He did it for love.
Surrounded by images of violence, the celebrity of horror, news of disease, a wasteland of sex, Dennis flies to Europe, having discovered some clues about the photographs: "I see these criminals on the news who've killed someone methodically, and they're free. They know something amazing. You can just tell." What they know may lie in bodies themselves. Bodies are unavoidably real; what's in them must have something to say, even in a society that lives on images and fantasies. An isolated windmill in Holland provides the perfect setting for Dennis to find out more about bodies--of which there are many--and what is inside them.
In Frisk, as in the award-winning Closer, Dennis Cooper explores the limits of our knowledge and the dividing line between the body and the spirit. Frisk is a novel about the power of fantasy and faith, about the ecstasy and horror of being human. The body's power extends to us all, but what power do we have over it, over its appetites and satisfactions? The answer to these questions is a work of imaginative courage and clarity: a murder mystery that implicates us all and a horror story in which the monster is love.

With each new novel, Dennis Cooper's reputation as the most daring and distinctive writer working in America today is cemented. To anyone familiar with this writer -- whom the New York Times calls taut, chillingly ironic, the Washington Post Book World terms brilliant, and the Village Voice deems capable of religious intensity -- it will come as no surprise that before he achieved success as a novelist, Dennis Cooper was best known as a poet. The Dream Police collects the best poems from five of his previous books and also includes a selection of new works. From his darkly erotic early verse to the more refined, post-punk poems that led critics to dub him the spokesman for the Blank Generation, to his later experimental pieces, Cooper's evolving study of the distances and dangers in romantic relationships has made him a singular voice in American poetry. The Dream Police is a vital addition to Dennis Cooper's riveting and disarming vision of life, love, obsession, and the depths of human need. There can be no doubt about the power and originality of Cooper's writing. -- The Washington Post Book World; Cooper's vision is at first intense, nearly minimal, then suddenly it ascends into vision. -- Kathy Acker; In another country or another era, Dennis Cooper's books would be circulated in secret, explosive samizdat editions that friends and fans would pass around and savor like forbidden absinthe. He would risk his life for them, or maybe he'd just be sent to a mental asylum, like the Marquis de Sade, to whom he has been compared. This is high risk literature. It takes enormous courage for a writer to explore, as Mr. Cooper does, the extreme boundaries of human behavior and amorality, right to the abyss where desire and lust topple to death. -- Catherine Texier, The New York Times Book Review.

Selected from the range of Cooper's essays and reportage in Artforum, Bookforum, Detour, Interview, LA Weekly, Spin, and the Village Voice, among other publications, Smothered in Hugs presents the best nonfiction of one of America's greatest writers. Cooper has written on grave social issues, producing touchstone pieces for a generation of readers. His obituaries for Kurt Cobain, River Phoenix, and William S. Burroughs offer portraits that are both crystallizing and appropriately indefinite. His reckonings of contemporary writers are astute and unsparing. And, of course, he serves as witness to the work and play of an illustrious roster of cultural personalities--and does so with an acuity and fairness missing from most pop culture criticism.

Acclaimed cult-writer Cooper continues to study the material he's always explored so honestly--pornography, violence, and mutilation--but with a satirical touch. This is high-risk literature.--"The New York Times Book Review."

These original essays develop themes implicit in Herbert Hart and the author's Causation in the Law. Why should we be held responsible for the harm we cause? Honore proposes a theory of responsibility - outcome responsibility - according to which, to be responsible, it is sufficient to have intervened in the world. To act and to be responsible is to assume certain risks, so that responsibility can be a matter of luck rather than fault or merit. Whether responsibility carries with it moral blame or legal liability is an important but secondary question. With the help of this theory he explains the moral basis of strict liability and of tort law in general; shows when there is a moral difference between positive acts and omissions; and indicates the extent to which the circumstances that cause a wrongdoer to do wrong should affect his responsibility.