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1 " All right. I am Brian Lettsin and here is my story. I was working for I & I Books. It began innocently, with a few novels featuring bemused writers: their affairs, drinking problems, failure to produce their works, and so on. Nothing too harmful. Then I received this novel, A Postmodern Postmortem. Set in an afterlife for bad characters, the book was riddled with the kind of intertextual knowingness that was to set me on the path to destruction. There followed an orgiastic spree of metafucking—writers stepping into their novels to slap and screw their characters, writers appearing in other writers’ novels to do the same, then writers slapping and screwing the other writers in their novels, and characters taking over the narration of the novels and so on. One book, I Am the Novel, pushed me over the edge. Over ten thousand unidentified voices, zigzagging along the page, or huddled into spirals or boxes, even printed overlapping one another, squabbled for authorship, offering nothing in the manner of plot or character, or a conceivable point to the whole thing—one voice even cried out in orgasm ‘Oh! This is so pointless ... so ... oh oh oh! ... meeeeeaaaningleeeeeesss!’ epitomising the masturbatory emptiness at the heart of this publisher’s project. I suppose there was some theoretical logic behind these novels—I recall some drear pamphlet penned by the editor riddled with Derrida/Barthes references, as if cribbing from those two was a sufficient apologia for their gummy deluge—but this was too late for me. I Am the Novel, running at over 1000 pages, no author name on the cover, sent me into a spasm of self-doubt. I woke up having no idea who I was, if I was a character in a novel, if I had written a novel ... I cracked up. I spent my days staring into mirrors in the hope I might recall a mere snippet of the previous ‘life’ I was supposed to have led ... a life that is ... I am Brian ... hang on, who I am again? "
― M.J. Nicholls , The House of Writers
2 " These were times when the sheer splendour of language and the boundless potential of the human imagination to transcend the inexorable, horrendous dullness of a consumerist society in its death throes mattered more to readers than accessible plots and well-drawn characters and TV spin-offs. "
3 " I opened the John Green and read the first five pages. At first, I mistook my stomach pain for the aftermath of a chilli garlic chicken curry I had eaten that night, and powered on past page one, wincing at the knots, until I arrived at page five and vomited blood over the e-reader in the shape of a fractured heart. I doubled over, howling in pain. I could not believe a book could be that appalling. I screamed out: ‘I called this book a daring take on a controversial topic! I said this was a brave and beautiful novel to be cherished for decades to come!’ I clutched my stomach and screamed. I ran out onto the street, shouting nonsense, assaulting people who tried to help, eventually passing out in a motorway layby, covered in slime and scum, having leapt into a polluted pond to cleanse myself of the foulness that had overtaken me. Then I entered the most horrific dreams, the content of which I am not prepared to speak about and that I will take to the grave. "