Hailed by the New York Times as "wildly ambitious" and "the sort of book that a young Herman Melville might have written had he lived today and studied such disparate works as the Bible, 'The Wasteland,' Fahrenheit 451, and Dog Soldiers, screened Star Wars and Apocalypse Now several times, dropped a lot of acid and listened to hours of Jimi Hendrix and the Rolling Stones," Fiskadoro is a stunning novel of an all-too-possible tomorrow. Deeply moving and provacative, Fiskadoro brilliantly presents the sweeping and heartbreaking tale of the survivors of a devastating nuclear war and their attempts to breaking tale of the survivors of a devastating nuclear war and their attempts to salvage remnants of the old world and rebuild their culture.

These essays assess the nature of nuclear war literature from a variety of perspectives. Scholars, activists, novelists, poets, and teachers challenge nuclear ideologies and traditional readings of apocalyptic texts. Included: Holocaust literature of the 1950s, Michael Dorris and Louise Erdrich, poetry and nuclear war, Riddley Walker, Fiskadoro, haiku and Hiroshima, Kopit's End of the World, O'Brien's The Nuclear Age, and Vonnegut's cataclysmic novels.

Once upon a time there was a war . . . and a young American who thought of himself as the Quiet American and the Ugly American, and who wished to be neither, who wanted instead to be the Wise American, or the Good American, but who eventually came to witness himself as the Real American and finally as simply the Fucking American. That’s me. This is the story of Skip Sands—spy-in-training, engaged in Psychological Operations against the Vietcong—and the disasters that befall him thanks to his famous uncle, a war hero known in intelligence circles simply as the Colonel. This is also the story of the Houston brothers, Bill and James, young men who drift out of the Arizona desert into a war in which the line between disinformation and delusion has blurred away. In its vision of human folly, and its gritty, sympathetic portraits of men and women desperate for an end to their loneliness, whether in sex or death or by the grace of God, this is a story like nothing in our literature. Tree of Smoke is Denis Johnson’s first full-length novel in nine years, and his most gripping, beautiful, and powerful work to date. Tree of Smoke is the 2007 National Book Award Winner for Fiction.

This volume contains a variety of essays about Florida literature and history by scholars from across the state representing every kind of institution of higher learning, from community colleges to small liberal arts institutions to large universities. The essays in the first section, ‘Pedagogy’, focus on the college classroom and the challenges facing institutions of higher learning in Florida. The essays in ‘Old Florida’ explore the state’s varied and unique geographies. The final section, ‘Contemporary Florida’, continues to point to the state’s distinctive sense of place while also locating Florida within larger literary, cultural, and political traditions.

Will novels and stories be relevant in the next millennium, when the boundaries between illusion and reality, and observer and observed, may dissipate in a whirl of images, signals and data? This essay collection divines the prospects of fiction in the information age by examining cyberpunk literature. A movement less than a decade old, cyberpunk is driven by deep concerns about society, ethics, and new technology and has been defined as the literature of the first generation of science-fiction writers actually to live in a science-fiction world. These essays were first presented at the 1989 annual J. Lloyd Eaton Conference on Science Fiction and Fantasy Literature, the field's most prestigious international gathering. They address concerns common not only to cyberpunk and traditional science-fiction scholars, critics, and writers but to their counterparts outside the genre as well. Interdisciplinary in perspective, the essays consider the origins of cyberpunk, the appropriation of its conventions by the mass media, the literature's paradoxical retrogressive/iconoclastic nature, cyberpunk's affinities to and deviations from both traditional science fiction and postmodernist literature, the parameters and components of the cyberpunk canon, and the movement's future course. Some essays are theoretical, but all are grounded in works familiar to serious science-fiction readers: Neuromancer, Frontera, Deserted Cities of the Heart, Islands in the Net, Great Sky River, the Mirrorshades anthology, and others; cyberpunk TV and cinema like the Max Headroom programs, Blade Runner, and Tron; and precursory literature, including Frankenstein, Le Roman de l'avenir, Ralph I24C 41 +, and A Clockwork Orange. Useful for its views on a volatile science-fiction subgenre, Fiction 2000 is also valuable for what it tells us about the fate of mainstream literature.

Set in an alternate present that is a slightly, if dangerously, skewed version of our own, Keyhole Factory tracks the interwoven destinies of disparate characters up to and beyond the end of the world-as-we-know-it, brought on by a global super-virus. Beginning with a biting satire of an academic poetry conference, the novel moves on to encompass the stories of a poet-astronaut, a microbiologist contemplating an exit strategy from her high-level job designing biological weapons, a sports-car-driving killer who stages the aesthetic murders of utopian commune-dwellers, and a lone pirate radio disc jockey who may be the last person left alive broadcasting her story to nobody. Allowing form and content to shape each other, William Gillespie pries open the confusion in a moment of total crisis through a narrative web-work technique derived from deranged fiction pioneer Harry Stephen Keeler. Part imaginative free-for-all and part deeply felt examination of isolation and survival, the individual lives in Keyhole Factory shine through the chaos in all their beauty and tragedy. With his signature wit and originality, Gillespie spins a glittering fever-dream that questions our assumptions about the way we interpret events and our relation to the planet, without ever losing sight of the underlying experience of what it feels like to be a human being in the world we live in today.

Denis Johnson's New York Times bestseller, The Laughing Monsters, is a high-suspense tale of kaleidoscoping loyalties in the post-9/11 world that shows one of our great novelists at the top of his game. Roland Nair calls himself Scandinavian but travels on a U.S. passport. After ten years' absence, he returns to Freetown, Sierra Leone, to reunite with his friend Michael Adriko. They once made a lot of money here during the country's civil war, and, curious to see whether good luck will strike twice in the same place, Nair has allowed himself to be drawn back to a region he considers hopeless. Adriko is an African who styles himself a soldier of fortune and who claims to have served, at various times, the Ghanaian army, the Kuwaiti Emiri Guard, and the American Green Berets. He's probably broke now, but he remains, at thirty-six, as stirred by his own doubtful schemes as he was a decade ago. Although Nair believes some kind of money-making plan lies at the back of it all, Adriko's stated reason for inviting his friend to Freetown is for Nair to meet Adriko's fiancée, a grad student from Colorado named Davidia. Together the three set out to visit Adriko's clan in the Uganda-Congo borderland—but each of these travelers is keeping secrets from the others. Their journey through a land abandoned by the future leads Nair, Adriko, and Davidia to meet themselves not in a new light, but rather in a new darkness.