Much like his novels, Steve Erickson (b. 1950) exists on the periphery of our perception, a shadow figure lurking on the margins, threatening to break through, but never fully emerging. Despite receiving prestigious honors, Erickson has remained a subterranean literary figure, receiving effusive praise from his fans, befuddled or cautious assessments from reviewers, and scant scholarly attention. Erickson's obscurity comes in part from the difficulty of categorizing his work within current trends in fiction, and in part from the wide variety of concerns that populate his writing: literature, music, film, politics, history, time, and his fascination with his home city of Los Angeles. His dream-fueled blend of European modernism, American pulp, and paranoid late-century postmodernism makes him essential to an appreciation of the last forty years of American fiction but difficult to classify neatly within that same realm. He is at once thoroughly of his time and distinctly outside it. In these twenty-four interviews Erickson clarifies how his aesthetic and political visions are inextricable from each other. He diagnoses the American condition since World War II, only to reveal that America's triumphs and failures have been consistent since its inception-and that he presciently described decades ago certain features of our present. Additionally, the interviews expose the remarkable consistency of Erickson's vision over time while simultaneously capturing the new threads that appear in his later fiction as they emerge in his thought. Conversations with Steve Erickson will deepen readers' understanding of how Erickson's books work-and why this utterly singular writer deserves greater attention.

Although nearly every other television form or genre has undergone a massive critical and popular reassessment or resurgence in the past twenty years, the game show's reputation has remained both remarkably stagnant and remarkably low. Scholarship on game shows concerns itself primarily with the history and aesthetics of the form, and few works assess the influence the format has had on American society or how the aesthetics and rhythms of contemporary life model themselves on the aesthetics and rhythms of game shows. In Truth and Consequences: Game Shows in Fiction and Film, author Mike Miley seeks to broaden the conversation about game shows by studying how they are represented in fiction and film. Writers and filmmakers find the game show to be the ideal metaphor for life in a media-saturated era, from selfhood to love to family to state power. The book is divided into "rounds," each chapter looking at different themes that books and movies explore via the game show. By studying over two dozen works of fiction and film-bestsellers, blockbusters, disasters, modern legends, forgotten gems, award winners, self-published curios, and everything in between-Truth and Consequences argues that game shows offer a deeper understanding of modern-day America, a land of high-stakes spectacle where a game-show host can become president of the United States.

Much like his novels, Steve Erickson (b. 1950) exists on the periphery of our perception, a shadow figure lurking on the margins, threatening to break through, but never fully emerging. Despite receiving prestigious honors, Erickson has remained a subterranean literary figure, receiving effusive praise from his fans, befuddled or cautious assessments from reviewers, and scant scholarly attention. Erickson's obscurity comes in part from the difficulty of categorizing his work within current trends in fiction, and in part from the wide variety of concerns that populate his writing: literature, music, film, politics, history, time, and his fascination with his home city of Los Angeles. His dream-fueled blend of European modernism, American pulp, and paranoid late-century postmodernism makes him essential to an appreciation of the last forty years of American fiction but difficult to classify neatly within that same realm. He is at once thoroughly of his time and distinctly outside it. In these twenty-four interviews Erickson clarifies how his aesthetic and political visions are inextricable from each other. He diagnoses the American condition since World War II, only to reveal that America's triumphs and failures have been consistent since its inception-and that he presciently described decades ago certain features of our present. Additionally, the interviews expose the remarkable consistency of Erickson's vision over time while simultaneously capturing the new threads that appear in his later fiction as they emerge in his thought. Conversations with Steve Erickson will deepen readers' understanding of how Erickson's books work-and why this utterly singular writer deserves greater attention.

Although nearly every other television form or genre has undergone a massive critical and popular reassessment or resurgence in the past twenty years, the game show's reputation has remained both remarkably stagnant and remarkably low. Scholarship on game shows concerns itself primarily with the history and aesthetics of the form, and few works assess the influence the format has had on American society or how the aesthetics and rhythms of contemporary life model themselves on the aesthetics and rhythms of game shows. In Truth and Consequences: Game Shows in Fiction and Film, author Mike Miley seeks to broaden the conversation about game shows by studying how they are represented in fiction and film. Writers and filmmakers find the game show to be the ideal metaphor for life in a media-saturated era, from selfhood to love to family to state power. The book is divided into "rounds," each chapter looking at different themes that books and movies explore via the game show. By studying over two dozen works of fiction and film-bestsellers, blockbusters, disasters, modern legends, forgotten gems, award winners, self-published curios, and everything in between-Truth and Consequences argues that game shows offer a deeper understanding of modern-day America, a land of high-stakes spectacle where a game-show host can become president of the United States.