Bøger af Eugene K Garber

Introduces a writer of extraordinary skill and vision.- Joyce Carol Oates What Eugene Garber’s Metaphysical Tales remind us of is that we are all seekers.The heroes of Garber's stories sometimes look a lot like us, sometimes appear exotic. But under the skin they are us, even if that us is a buried us.Think of reading these stories as a process of unearthing our deepest desires. What do our heroes seek? Often familiar goals—admiration, love, divine favor. But whatever it is, the first lesson they have to learn is that it’s not to be found on the surface of things. It's not to be easily won.So it's not surprising that these seekers often resort to stratagems that will seem to the reader (but only for a while) bizarre. One seeker must peel away the skins of buried memories layer by layer until he reaches the archetypal woman of his inner life. An artist must paint a portrait of a lethal pair of lovers to save her soul. Another will look for truth in the adoration of a deformed child. Another will find his life's purpose at the end of the trajectory of a bullet, another in the mouths of cannibals.And there is inevitably Eros, whether the longing hero looks in the mirror of same gender or different gender, whether in tenderness or violence.

Vienna ØØ, the first of Eugene K. Garber's Eroica Trilogy, is populated by characters who closely resemble actual luminaries of fin de siècle Vienna -- Mahler, Schiele, Klimt, Freud. But the book features not only a shifting cast of characters whose personalities are artfully destabilized; it also deploys a syntactically innovative style that sometimes flows, sometimes plunges into the depths of the infamous and exotic capital of empire.But the real hero of the book is the city herself. And the inexorable movement of the book is one of disrobing, an exquisite striptease. Gorgeous garments fall away one by one fixing the eye of the reader for a great while on their swirl of gold-gilded paintings, music of lush strings and brazen horns, tales of travel to exotic lands. But soon, and more and more intensely, the reader begins to glimpse the ambiguous body beneath. Vienna is beautiful but sick. She laughs gaily and weeps secretly. She loves and fears death equally. She represses and luxuriates in the erotic. The soul of propriety, she is haunted by Doppelgangers and dybbuks.For every story, then, readers become equilibrists, walking the razor's edge of art and destruction, feeling beneath this glorious time of artistic triumph the splintering of the rotted timbers of the Austro-Hungarian empire. And yet in these cunningly constructed stories the reader's engagement never flags, for nothing ever seems quite predestined. At every twist and turn hope and fear hang suspended until the last word, and often beyond.

In The House of Nordquist, the final novel of The Eroica Trilogy, Eugene K. Garber creates his most demonic character of the series. Deep in the infernal regions of the bizarre house of his mad father, the Faustian Eric Nordquist conducts an atrocious experiment. He will extract from the body of a Holocaust victim sounds for a world-changing symphony.Day after day he stands at his synthesizer transforming the sounds of a maimed body into appalling skeins of lachrymose reverberations. But his theft of the life force of his subject is not his only transgression. He sucks everyone around him into the vortex of his mad dream of a cleansing cataclysm. His most devoted follower Paul Albright not only assists in the experiment but becomes infected with unholy powers.Now, years later, the House of Nordquist burned to the ground by an unknown arsonist, Eric is on the loose with the score of his abysmal symphony. Paul is in pursuit. Can Paul find Eric and the sinister score? If he does, what will he do?The novels of The Eroica Trilogy share the common strategy of "genre iconoclasm." In The House of Nordquist the conventions of Gothic fiction and mystery novels are radically skewed by the deflections of metafiction and indeterminacy.