Days Between Stations

DIVDIVIn what the Guardian recently named one of the best literary debuts ever, a love triangle intersects with a lost film masterpiece and weather as turbulent as the heart/divDIV Life stories converge and break away in Days Between Stations, Steve Erickson’s searing first novel. At the center is the tumultuous union between Jason and Lauren, who fall in love as youths in Kansas, and later relocate to San Francisco. A cyclist training for the Olympics, Jason is often abroad and unfaithful; Lauren, in turn, finds solace in Michel, a nightclub manager trying to reconnect with his past. Michel’s journey leads to The Death of Marat, a recovered lost masterwork of silent film directed by his grandfather, whose extraordinary life includes having grown up as an orphaned twin in a Parisian brothel. In a world shaped by sensuality and trauma, where sandstorms invade Los Angeles, the Seine freezes, bike racers vanish in Venice, and relationships are warped by amnesia, geological chaos and personal upheaval each wrenchingly reflect the other. /div/div

The novel that inspired the film starring James Franco and Seth Rogen: “One of a kind . . . a funny, unnervingly surreal page turner” (Newsweek). Named one of the Best Books of the Year by the Washington Post Book World, Newsweek, and the Los Angeles Times Book Review Zeroville centers on the story of Vikar, a young architecture student so enthralled with the movies that his friends call him “cinéautistic.” With an intensely religious childhood behind him, and tattoos of Elizabeth Taylor and Montgomery Clift on his head, he arrives in Hollywood—where he’s mistaken for a member of the Manson family and eventually scores a job as a film editor. Vikar discovers the frames of a secret film within the reels of every movie ever made, and sets about splicing them together—a task that takes on frightening theological dimensions. Electrifying and “darkly funny,” Zeroville dives into the renegade American cinema of the 1970s and ’80s and emerges into an era for which we have no name (Publishers Weekly). “Funny, disturbing, daring . . . dreamlike and sometimes nightmarish.” —The New York Times Book Review “Magnificent.” —The Believer “[A] writer who has been compared to Vladimir Nabokov, Don DeLillo, and Thomas Pynchon.” —Bookmarks Magazine “Erickson is as unique and vital and pure a voice as American fiction has produced.” —Jonathan Lethem

Echoing Rimbaud's "Je suis un autre", Swiss artist Ugo Rondinone uses the question of identity as a main theme in his multimedia creations. His works are a balancing act of ambiguities -- from art to commerce, the fashionably hip to melancholic withdrawal, seduction to rejection. Exemplifying these undercurrents are his photomontages, in which he superimposes his face onto the bodies of famous models in sometimes elegant, sometimes lascivious poses. This book documents Rondinone's activity over the past six years, presenting a variety of works -- diary entries in the style of underground comics; videos capturing the banality of everyday life; hypnotizing circle pictures; clowns; hermetic spatial installations; and monumental brush and ink landscape pictures.

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.

By extending Gilles Deleuze's philosophy through diverse literary tracts, this book develops an account of what it means to be different and enters important contemporary debates about identity and the nature of solitude. At the same time, the book elaborates a limited philosophy. From unusual writings and rare human experiences, James Brusseau forges compelling understandings that scrupulously preserve his subjects' irregularities. The resulting philosophic narrative remains strictly localized; it elucidates narrow bands of experience and refuses broadening generalizations. The book's first section rigorously elaborates Deleuze's pioneering notion of difference. The second part conceives certain individuals as embodying difference and then employs the conception to elude difficulties blocking recent work on subjectivity. Part three combines insights from the first two parts with Isabelle Eberhardt's North African travel journals. In Eberhardt, Brusseau finds sexualities and a solitude that only Deleuze's unique notion of difference can explain. An energetic interaction between philosophy and literature drives this book. Brusseau weaves back and forth between the genres, engaging diverse literatures not only to embody but also to refine his philosophic positions. The literary authors he discusses range from Shakespeare and Fitzgerald to Borges, Bataille, and Eberhardt.