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.

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, Kathe 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.

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.

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.

"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.