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Set in an AMC theater in the iconic Mall of America, 10:01 drops into and out of the various minds of the audience members during the few minutes before the feature rolls, sampling various filmic genres (horror, magical realism, SF, the love story, porn, and much more) as it speeds toward an apocalyptic conclusion called our society of the spectacle.

Head in Flames is an astonishing collage novel composed of chips of sensation, observation, memory, and quotation shaped into a series of narraticules told by three alternating voices, each inhabiting a different font and aesthetic / political / existential space.

The first belongs to Vincent van Gogh on the day he shot himself in Auverssur-Oise in July 1890. The second to Theo van Gogh (Vincent’s brother’s great grandson) on the day he was assassinated in Amsterdam in November 2004. The third to Mohammed Bouyeri, Theo’s murderer, outraged by the...

There s No Place Like Time is a strange beast: a fictional catalogue of a real retrospective of experimental films by a videographer who never existed.

A collection of critical and biographical essays, stills, and reminiscences about Alana Olsen s (a character who first appeared in Lance Olsen s novel Theories of Forgetting) powerful body of work produced in relative anonymity, There s No Place Like Time remembers an oeuvre of fewer than 30 videos that span roughly four decades and have influenced artists as varied as Lars von Trier, Douglas Gordon, and Martin...

This fascinating study of literary theory is the first work of its kind to examine the intersection of fantasy and postmodernism, and to analyze contemporary fantasy writers comparatively. After carefully developing working definitions of postmodernism and fantasy, the author goes on to analyze works by various postmodernist fantasy writers. Olsen's approach is eclectic, bringing to each text or textual complex those forces he feels most interestingly stir up its sediment--be they biographical, structural, psychoanalytic, philosophical, reader-response, or otherwise. Finally he argues that...