Void Trip 2 Of 5

With their ship's AI now activated, our space hobos finally have the roadmap to the promised land of Euphoria. But what use is a roadmap to those who believe the point of a story is the journey, not the destination?

The villain descends, the hero ascends, and Ana finds freedom in a universe without it.

From writer RYAN O'SULLIVAN (Turncoat, The Evil Within, Warhammer 40,000) and illustrator PLAID KLAUS (Turncoat) comes the story of Ana and Gabe, the last two humans left alive in the galaxy. They're low on fuel, they're low on food, and they're low on psychedelic space froot, but they're still determined to make it to the promised land: hippy-paradise super-planet Euphoria. This is the story of their journey, the friends and enemies they made along the way, and how the universe responded to those who dared to live freely within it. ñBeautiful, drugged, and hilarious sci-fi from an alternate universe where the only Captain America anyone cares about is the one in Easy Rider.î„ KIERON GILLEN (THE WICKED + THE DIVINE, Star Wars: Darth Vader) Collects VOID TRIP #1-5

Having now discovered the hippy-paradise super-planet Euphoria, our space hobos finally learn that age-old truth: the worst thing that can happen to a person is having their dreams come true.

From writer RYAN O'SULLIVAN (Turncoat, The Evil Within, Warhammer 40,000) and illustrator PLAID KLAUS (Turncoat), comes the story of Ana and Gabe, the last two humans left alive in the galaxy. They're low on fuel, they're low on food, and they're low on psychedelic space froot, but they're still determined to make it to the promised land: hippy-paradise, super-planet Euphoria. This is the story of their journey, the friends and enemies they made along the way, and how the universe responded to those who dared to live freely within it.

Now, finally alone in the universe, Ana has to confront her past, her future, and an old friend returning. All the while, the Great White edges closer and closer, now with an ally of his own in tow.

If, as the literary theorists of postmodernism contend, "content" does not exist, then how can fiction continue to be written? Jerome Klinkowitz, himself a veteran practitioner and theorist of fiction, addresses this question in Structuring the Void, an account of what today's novelists and short story writers do when they produce a fictive work. Klinkowitz focuses on the ways in which writers, finding themselves in the same position as abstract painters and death-of-God theologians, have turned their inquiry itself into subject matter, and he shows how this approach has in recent years produced something more than mere metafictive self-questioning. With no subject to structure, the writers Klinkowitz discusses nonetheless persist in the act of structuring. For Kurt Vonnegut, this has meant finding a form for an otherwise unrepresentable world by organizing his autobiography as a narrative device. In the generation following Vonnegut, Max Apple makes a similar move in the ritualization of a national history and popular culture, while Gerald Rosen and Rob Swigart invent a style of literary comedy based on their comic response to a new imaginative state, the state of California. Klinkowitz also considers subjects that, though they cannot be represented, nevertheless exercise constraints on a writer's intention to structure. In recent decades, two of these pressing themes have been gender (as seen here in the works of Grace Paley) and war (the Vietnam conflict itself as well as the struggles of two generations to come to terms with it). Structuring the void left when content collapses, these writers have, as Klinkowitz demonstrates, developed an entirely new style of fiction, one that necessarily privileges space over time and self-invention over representation.

Vol. 174AX bound with Proceedings of the Ocean Drilling Program. Scientific results Vol. 174A.