DIVDIVThe course of a century is rewritten in this fabulously warped odyssey, named a best book of the year by the New York Times/divDIV Tours of the Black Clock is a wild dream of the twentieth century as told by the ghost of Banning Jainlight. After a disturbing family secret is unearthed, Jainlight throws his father out of a window and burns down the Pennsylvania ranch where he grew up. He escapes to Vienna where he is commissioned to write pornography for a single customer identified as “Client X,” which alters the trajectory of World War II. Eventually Jainlight is accompanied by an aged and senile Adolf Hitler back to America, where both men pursue the same lover. Tours of the Black Clock is a story in which history and the laws of space and time are unforgettably transformed. /div/div

DIVDIV“If you read one philosophical-doomsday kinky-sex road-trip novel this year, make it this one.” —Salon/divDIV It’s New Year’s Eve 1999, and the members of a powerful cult are about to commit ritual suicide. Fleeing their ranks at the final moment, teenager Kristin lands in Tokyo, where she gains employment listening to clients’ stories in a “memory hotel” designed to address the decay of Japanese collective memory after the Second World War. But Kristin herself has a startling odyssey: Among other things, it involves answering a personal ad only to wind up imprisoned, naked, in an empty house presided over by a man known as the Occupant, hard at work on a millennial calendar that has serious implications for the future. The Sea Came in at Midnight is a breathtaking fable of redemption and one of Erickson’s most impressive visions to date. /div/div

This study explores the literary representations of Adolf Hitler in American fiction and makes the case that his figure has slowly developed from a means of left-wing critique into a device of right-wing affirmation.

DIVDIVA washed-up novelist navigates the dreamscape of a cataclysm-ravaged Los Angeles /divDIV In the apocalyptic Los Angeles of Amnesiascope, time zones multiply freely, spectral figures roam the streets, and rings of fire separate the city from the rest of the country. The narrator, a former novelist, lives in a hotel and writes film criticism for a newspaper whose offices are located in a bombed-out theater. Viv, his girlfriend, is a sexually voracious artist, and together the two are collaborating on an avant-garde pornographic film. But in this world, what’s real and what’s merely the conjuring of the protagonist’s imagination—obsessed with dreams, movies, sex, and remembrance—is far from clear. At once outrageous and hypnotically lyrical, Amnesiascope enflames the reader’s memory. /div/div

For more than 50 years John Clute has been reviewing science fiction and fantasy. Look at the Evidence is a collection of reviews from a wide variety of sources - including Interzone, the New York Review of Science Fiction, and Science Fiction Weekly - about the most significant literatures of the twenty-first century: science fiction, fantasy and horror: the literatures Clute argues should be recognized as the central modes of fantastika in our times. It covers the period between 1987 and 1992.

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

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.

Gravity's Rainbow Illustrated: One Picture for Every Page features the work of an Ivy League-educated, punk-rock, porn-star visual artist who has created a drawing for every page of a novel that is widely considered to be the most difficult work of literature ever produced in English. Thomas Pynchon’s Gravity’s Rainbow (1973) has been called a modernFinnegans Wake for its challenging language, wild anachronisms, hallucinatory happenings, and fever-dream imagery. With Pictures Showing What Happens on Each Page of Thomas Pynchon's Novel Gravity's Rainbow, artist Zak Smith at once eases and expands readers’ experience of the twentieth-century classic. Smith has created more than 750 pages of drawings, paintings, and photos—each derived from a page of Pynchon’s novel. Extraordinary tableaux of the detritus of war—a burned-out Konigstiger tank, a melted machine gun—coexist alongside such fantasmagoric Pynchon inventions as the “stumbling bird” and “Grigori the octopus.” Smith has said he aimed to be “as literal as possible” in interpreting Gravity’s Rainbow, but his images are as imaginative and powerful as the prose they honor.

A fascinating 2005 study of the place of alternate histories of Nazism within Western popular culture.

This book examines the relationship between nihilism and postmodernism in relation to the sublime, and is divided into three parts: history, theory, and praxis. Arguing against the simplistic division in literary criticism between nihilism and the sublime, the book demonstrates that both are clearly implicated with the Enlightenment. Postmodernism, as a product of the Enlightenment, is therefore implicitly related to both nihilism and the sublime, despite the fact that it is often characterised as either nihilistic or sublime. Whereas prior forms of nihilism are 'modernist' because they seek to codify reality, postmodernism creates a new formulation of nihilism - 'postmodern nihilism' - that is itself sublime. This is explored in relation to a broad survey of postmodern literature in two chapters, the first on aesthetics and the second on ethics. It offers a coherent thesis for reappraising the relationship between nihilism and the sublime, and grounds this argument with frequent references to postmodern literature, making it a book suitable for both researchers and those more generally interested in postmodern literature.