THE SAVAGE DETECTIVES BY ROBERT BOLANO.
Yes, it's good that this great deceased Latin American author is receiving so much attention from U.S. book reviewers-- but why no attention for authentic American underground writers? Why are defenders of the status quo like Francine Prose given the assignment to blurb or review Bolano's book? Why are their remarks about it so phony? As if any of these conformists cared about underground literary rebellion! They're a universe away from Bolano's mindset. They adopt the pose of being open-minded. In truth, they're open-minded if the subject is thousands of miles away and doesn't touch them.
I look forward to someday reading all of Bolano's novel. So far, my perusal of it shows some interesting personalities and much literary gossip.
For a more compelling depiction of an underground personality, in a fuller context, read James Nowlan's Security, which has tougher, better writing and travels deeper societally and psychologically. (The underground now-- the future-- is available TODAY at www.literaryrevolution.com)
SECRET SOCIETY GIRL BY DIANA PETERFREUND.
This idiotic novel glories in the supposed powers and secrecies of a Yale-like secret society. Just what the American public wanted! (Justification for George W. Bush?) It's yet another example of the insularity of the publishing industry.
The book is sick, warped, in that it makes light of the class privilege of the writer and her friends-- privilege which allowed the publication of the book, which has no popular or literary value. (Beyond pandering to those who want to be bluebloods.)
The novel was written for an elite clique, and since the N.Y. publishing world is dominated by this same clique, they loved it.
JPOD BY DOUGLAS COUPLAND.
Another publication mystery. The cover and subject of this novel, ostensibly about the electronic game industry, by overhyped Canadian author Coupland, is reminiscent of Game Quest by underground Canadian novelist Leopold McGinnis. Except McGinnis's book is ten times better. Coupland's book is scarecely about the game business at all-- he shows little knowledge about it. The book is more a forum for showcasing the emptiness of his mind, filled with boring long ruminations about Ronald McDonald and other pseudo-cultural happenings which go beyond stupidity.
How does such garbage get published and hyped while the relevant writers of our society and time are ignored?
(I'll likely soon be posting a long-overdue review of the McGinnis book at the new ULA review blog, www.ulareview.blogspot.com; the book's narrative has some parallels, as far as I'm concerned, with the struggles of the ULA itself.)