Bøger af D. Harlan Wilson

In this remarkable exploration of Friedrich Wilhelm Nietzsche's Native American roots, D. Harlan Wilson explodes all former notions of the German philosopher, amoralist, and über-saint in the same vein that his Zarathustra exploded universal principles. Based upon extensive research in the Nietzsche Archives at the University of Arts-Gatlinburg, this so-called "autohagiography" reveals what it meant for Nietzsche to be a person of color and a "gay scientist" masquerading as one of the whitest, straightest, most entitled men in the history of Western civilization. Do not look to these pages for an exegesis of yet another archbishop of heteronormative patriarchy. Nietzsche was much more than an Anglo-Saxon descendent crying wolf from a Swiss mountaintop, and unlike most career-spanning monographs, Wilson completely ignores his insanity and preoccupation with Christian morality in favor of his Cherokee affect and early-American genealogy as much as his transgender proclivities. This is the unmanning that Nietzsche Studies has been waiting for-utterly absorbing, insufferably profound, and a testimony to the hammer of truth that forged an entire arsenal of modern thought."I have never been so unreservedly offended and confounded by a book. Nor have I enjoyed a book so much or recognized its scholarly valence. To some degree, Nietzsche: The Unmanned Autohagiography reads itself. It may have even written itself. One thing is clear: D. Harlan Wilson is not, as many critics have claimed, a ghost in the machine of history. He is the machine in the ghost of futurity." -NATHAN BEDFORD FORREST, Professor of Art History and Chair of the Department of Viticulture and Enology at Fostoria University

In this comprehensive study of The Stars My Destination, D. Harlan Wilson makes a case for the continued significance of Alfred Bester¿s SF masterwork, exploring its distinctive style, influences, intertextuality, affect, and innovation as well as its extensive metafictional properties. In Stars, Bester established himself as a son of the pulp-SF and high-modernist writers that preceded him and a forefather to the New Wave and cyberpunk movements that followed his lead. Wilson¿s study depicts Bester as an SF insider as much as an outlier, writing in the spirit of the genre but breaking with the fixation on hard science in favor of psychological interiority, literary experimentation, and adult themes. The book combines close-readings of the novel with broader concerns about contemporary media, technoculture, and the current state of SF itself. In Wilson¿s view, SF is a moribund artform, and Stars foresaw the inevitable science fictionalization of our benighted world. With scholarly lucidity and precision, Wilson shows us that Stars pointed the way to what we have (un)become.

Born out of the cultural flamboyance and anxiety of the 1980s, They Live (1988) is a hallmark of John Carpenter's singular canon, combining the aesthetics of multiple genres and leveling an attack against the politics of Reaganism and the Cold War. The decision to cast the professional wrestler "e;Rowdy"e; Roddy Piper as his protagonist gave Carpenter the additional means to comment on the hypermasculine attitudes and codes indicative of the era. This study traces the development of They Live from its comic book roots to its legacy as a cult masterpiece while evaluating the film in light of the paranoid/postmodern theory that matured in the decidedly "e;Big 80s."e; Directed by a reluctant auteur, the film is examined as a complex work of metafiction that calls attention to the nature of cinematic production and reception as well as the dynamics of the cult landscape.

In Pseudofoliculitis City nothing is as it seems and everything is as it should be. Today's forecast calls for extreme confrontation, with sandwich flurries and the threat of handlebar mustaches to the west. By turns absurd and surreal, dark and challenging, Pseudo-City exposes what waits in the bathroom stall, under the manhole cover and in the corporate boardroom, all in a way that can only be described as mind-bogglingly irreal.

In this collection of stories, D. Harlan Wilson deconditions the boundaries of reality with the same offbeat methodology that energized his first book The Kafka Effekt. Stranger on the Loose is an absurdist account of urban and suburban social dynamics, and of the effects that contemporary image-culture has on the (in)human condition. These stories operate on a plane of existence that resists, and in many cases breaks, the laws of causality. Parrots teach college courses. Fl?neurs impersonate bowling pins. Bodybuilders sneak into people's homes and strike poses at their leisure. Passive-aggressive glaciers and miniature elephant-humans antagonize the seedy streets of Suburbia. Apes disguised as scientists reincarnate Walt Disney, who discovers that he is a Chinese box full of disguised Walt Disneys . . . Wilson's imagination is a rare specimen. The acorns of his fiction are planted in the soil of normalcy, but what grows out of that soil is a dark, witty, otherworldly jungle.