When we are increasingly concerned about documentary technologies’ capacity for truth, it makes sense that the stories we tell might be concerned with the horror of too much truth, or of truth stripped bare.
Serious, grotesque absurdity: The Master and Margarita as written by William Burroughs, a politico-religious sci-fi thriller with talking dogs and immortal maggot people.
Shane Jones’ writing does not fit into any of the genres by which we sort the books on our shelves. Unless you have a bookshelf specifically for Weird, Delightful, and Sometimes Painful.
Scanlon implicates the reader in the same system that has produced these “promising young women,” “career patients” seen by their doctors as projects, fodder for academic papers, or books.
Only in San Francisco, a city living in perpetual danger of the power of the San Andreas Fault, could love be seen as a “territory all its own[,] prone to seismic trickery.”