Wednesday, August 3, 2011


All right, I got all the kinks worked out.  My first book Manifesto Destination is currently available here (password: burnhollywoodburn).  It will spread like a virus across the Internet, first at Amazon and then all the other usual places, over the next few months.

I've spent the last two months editing it.  Even though it was published before, it had a lot of the errors typical of my work around 2001, when it was written.  I've wrestled with the idea of publishing it again for some time and I decided to for several reasons.  First of all, I needed the experience of working with createspace in order to make sure I could put a decent product out when it came time to release Pulp Modern.  Secondly, I saw an interview with John Carpenter in which he defended the absurd fight between Roddy Piper and Keith David in They Live.  Carpenter, who is a hero of mine, said that you have to own your work, even if you've outgrown it.  There are some elements of Manifesto Destination I have certainly outgrown.  I no longer automatically hate cops.  I no longer harbor resentment against the ex-girlfriend I depict as a lunatic in the book (though I will always hate her father for damaging her when she was too young to fight back).  However, the book echoes my long-standing concerns about various factions in society hell-bent on dictating how everyone is supposed to think and behave.  The fact of the matter is, the last eleven years of my life were spent, for the most part, living in poverty in L.A. and making two feature films that suck so bad I can't own them.  The tampering of producers and other people left my films without coherent storylines.  I can forgive all the other trappings of low-budget filmmaking, but I can't stand having to explain the stories to my friends and family before showing them the movies.  I rarely watch them because it's just too painful.  Manifesto Destination is the only major work I produced in that time that is remotely coherent.

And that's saying a lot, because well-read folks will instantly recognize the hybrid of Raymond Chandler and Phil K. Dick that exists in Manifesto Destination.  Like The Big Sleep or even The Big Lebowski, Manifesto Destination is less concerned with plot and more concerned with characters.  You are basically going along for a ride.  It's hard to figure out how the ends tie together by the book's conclusion, but I know there's some sort of coherence because I remember making an outline and character graph when I wrote it.  The 'mystery' aspect of it gets resolved in a rather old-fashioned, cliched manner, but I think by the time the reader gets there he or she will have been entertained enough to dismiss it.

I think the book is an entertaining read with ambiguities that will invite multiple readings.  That makes it a great investment in these troubled times!

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