Rumpus

James Reich, author of Bombshell and I, Judas, has written an excellent review of Laurence A. Rickels' SPECTRE for The Rumpus, rightly referring to Rickels as "The Man with the Golden Pun." Here's a snippet:

"In Fleming’s fiction, the special executive of SPECTRE exists in an ambivalent, anachronistic and absurd position, parallel to the threats of Nazism and the Cold War, just as Rickels’ runs parallel to the auspices of the academy and the pop culture and genre sophistication he revels in. Blofeld’s SPECTRE plots, in their silliness, are demonic camp; so much so that Bond can barely believe that such an organization exists. Just as Rickels couples with Blofeld, so he couples his postmodern riffs on psychoanalysis to SPECTRE. Therefore, this brief new book can be read precisely as one of Blofeld’s moves against Bond: as Special Executive, Rickels gives us Counterintelligence, Terrorism, Revenge, and Extortion. Psychoanalysis is spectral.James Bond is caught, not dangling over a shark tank, but regressing on the couch. 'Cast out,' as he puts it, 'of U.S. academic publishing like an older no-longer-cute pet' and too delightfully devious for Hollywood, Laurence Arthur Rickels now comes to us from a fantastic secret lair. For this, much credit must go to Anti-Oedipus Press in bringing—to mix my thrillers—one of our foremost spies in from the cold."

Germany

We are happy to announce the upcoming publication of Laurence A. Rickels' Germany: A Science Fiction in 2014. Here is a preliminary description of the book:

In I Think I Am: Philip K. Dick, Laurence A. Rickels investigated the renowned science fiction author’s collected work by way of its relationship to schizophrenia (as concept and condition). In his new book, Germany: A Science Fiction, he focuses on psychopathy as the undeclared diagnosis implied in flunking the empathy test. The switch from psychosis to psychopathy as an organizing limit opens up the prospect of a genealogy of the Cold War era, which Rickels begins with a reading of Dick’s The Simulacra and follows out with readings of Simulacron 3, Fahrenheit 451, The Day of the Triffids, This Island EarthGravity’s Rainbow, and many other genealogical stations.

Nazi Germany hosted the first season of realization of science fantasy with the rocket at the top of this arc. After WWII, the genre had to delete the recent past and begin again within the new Cold War opposition. Certainly the ancestral prehistory was still intact (as seen in the works of, for instance, Jules Verne and H. G. Wells). But at the bulk rate of its generic line of production, SF would henceforth become native to the Cold War habitat.

This study addresses the syndications of the missing era in the SF mainstream, the phantasmagoria of its returns, and the extent of the integration of all the above since some point in the 1980s. Rickels works through the preliminaries of repair that must be met in a world devastated by psychopathic violence before mourning can be even a need. While I Think I Am was the endopsychic allegory of Dick’s corpus, Germany takes the corpus as a point of context for the endopsychic genealogy of the post-WWII containment and integration of psychopathy.

Diegeses

Throughout December, we are selling the Kindle edition of D. Harlan Wilson's Diegeses for 99 cents. Here is the book description:

In Diegeses, acclaimed novelist and critic D. Harlan Wilson channels the "schiz-flows" of Ballard, Kierkegaard, Kafka, Burroughs, and Deleuze and Guattari in two interconnected novelettes. "The Bureau of Me" and "The Idaho Reality" follow a man who goes only by the name of Curd into the nightmarish prism of his own ego. In an ominous, darkly surreal near-future, Curd is visited by a group of mysterious strangers who claim to be representatives of the Bureau of Me. As he struggles to negotiate their weird aggression, he sinks deeper and deeper into alcoholism. The Bureau of Me suspects he is a becoming-god, but deification has its price. Inevitably he finds himself alone in a postapocalyptic wasteland, the last man, zombified physically and mentally. "The Idaho Reality" sees Curd rebooted from end-of-the-world subhuman to futuristic soap opera star. In a series of schizophrenic vignettes that mirror the condition of his psyche, he is turned inside-out. No longer the weak, insecure drunk he was in "The Bureau of Me," now he is an omnipotent television icon, although his penchant for hypermasculine assholery has shifted into high gear, rendering him more clown than becoming-god, degraded by the spectacle of simulation. Literary and grotesque, humorous and dismal, theoretical and streetwise, Diegeses is and avant-pop masterpiece that entertains as much as it enlightens, unstringing the complexities of the mind while tying them into new and undiscovered knots.