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 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.

A tour-de-force avant-pop anti-spectacle Sewing Shut My Eyes is a tour-de-force avant-pop anti-spectacle--nine darkly satiric out-takes of America tubing. Visions of mid-air synchronicities, robotic cockroaches, cyborg poets and one monstrous HDTV, all rendered in a hypo-manic style of electrified clauses and full-throttle patter. Here's Mona Sausalito, self-proclaimed "fricking gorgeous" bad-little-girl for Escort a la Mode and, on the side, Neogoth lyricist in the band of her boyfriend Mosh ("His real name is Marvin Goldstein"). Mona wants to be a poet. "I write about human sacrifices, cannibalism, vampires, and stuff. Mosh loves my work. He says we're all going to be famous some day. Only right now we're not, which bites, cuz I've been writing for like almost ten months. These things take time, I guess." Olsen hallucinates a turned-on, channel-surfing nation where pain has become home theater and given enough channels, watching would beat sex. A nameless agent of the ultimate phantom bureaucracy holds his Yeltsin-70 at the ready and recalls O.J. on trial, supermodels and styrofoam landscapes, America screening fast and addictive. In the title story, Kerwin Penumbro wakes on his birthday to the ultimate tv, the renowned Mitsubishi Stealth, and at a point thirty-three thousand feet above the triangulation of Iron Lightning, Faith, and Thunder Butte, SD, Itty Snibb, supremely confident dwarf and prosperous entrepreneur, prepares to meet God. These are fictions for minds lit with cathode-ray tubes, hands pixilated with static, for bodies that have become switching stations for the Society of the Spectacle. The only thing left to do is start sewing shut our eyes.

Praise for Lance Olsen's Fiction: ""In the world of contemporary fiction, Lance Olsen is a rock star."" -Brooklyn Rail

Ideal for individual or classroom use, ARCHITECTURES OF POSSIBILITY theorizes and questions the often unconscious assumptions behind such traditional writing gestures as temporality, scene, and characterization; offers various suggestions for generating writing that resists, rethinks, and/or expands the very notion of narrativity; visits a number of important concerns/trends/obsessions in current writing (both on the page and off); discusses marketplace (ir)realities; hones critical reading and manuscript editing capabilities; and strengthens problem-solving muscles from brainstorming to literary activism. Exercises and supplemental reading lists challenge authors to push their work into self-aware and surprising territory. In addition, ARCHITECTURES OF POSSIBILITY features something entirely lacking in most books about creative writing: more than 40 interviews with contemporary innovative authors, editors, and publishers (including Robert Coover, Lydia Davis, Brian Evenson, Shelley Jackson, Ben Marcus, Carole Maso, Scott McCloud, Steve Tomasula, Deb Olin Unferth, Joe Wenderoth, and Lidia Yuknavitch) working in diverse media, providing significant insights into the multifaceted worlds of experimental writers' writing.

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.

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.