Death in Vancouver e-bog

Garry Thomas Morse deploys his prodigious classical repertoire to compose the edgy new voices that reflect the cultural simultaneity of our everyday-a transnational, ahistoric cosmopolitanism: an idealized Helen is confounded by Molly Bloom's monologue from Joyce's Ulysses; a Dostoyevskian character parodies the libidinal excesses of William Burroughs with "e;the stone that drives men mad"e; from Pauline Johnson's Tales of Stanley Park; an incident from The Book of Judges answers one of Gogol's riddles; an acidic response to the recent fascination with "e;speculative fiction"e; introduces a punch card system from the year 2088 in which future language facilitates only business transactions in a completely monetized world; and F. Scott Fitzgerald's alcoholism hits rock bottom in the unfulfilled desires of a dry pub crawl.All of these stories seem to sketch the details of immediately recognizable places, but reveal a luminous interiority we never dreamed might be (re)discovered there. Transparently rooted in the work of other authors, including Garry Thomas Morse's contemporaries, they nevertheless defy critical terms such as "e;intertextuality"e; and "e;authenticity."e; Since his mother's people (the Kwakwaka'wakw) became disconnected from their traditions there has been a great deal of forgetfulness of the "e;dream-time"e; that used to exist in our everyday lives-this forgotten "e;theatrical madness"e; of the human condition is what Morse seeks to re-present.The title story of this brilliant collection of avant-garde fiction, loosely based on The Picture of Dorian Gray, Thomas Mann's Doctor Faustus, and the film Death in Venice inverts the post-modern textual convention that only the author's voice can be considered authentic. Its main character-the artist Padam, who is no more "e;fictional"e; than the author-constantly interrogates the accuracy of his representations, whereas we know almost nothing about the narrator, who exists merely as the "e;subject"e; of the Padam's portrait and an "e;object"e; of his reflection.