Surreal Absurdity

What is it about Charles Pierce that makes people want to kill him? He's retired from his law practice, does pro bono work for non-profits, and has turned all his attention to focus on his art. He even rented a studio, as part of a gallery where exhibitions are well attended and the wine flows freely. So why does a mysterious and hostile young man threaten him, while the woman who tried to poison him last year shows up at an exhibition to purchase one of his abstract paintings? Charles can't seem to avoid associating with criminals. Even Detective Gonzales believes he is somehow involved in a series of local murders because his business cards are found at the scene. No one, least of all Charles, can explain it, but the more he seeks clues and answers, the more he finds the whole situation to be a Surreal Absurdity.

Poetry. Fiction. Short Stories. These moribund miniatures take the boundary between life and death as their playground, capturing the triviality and quotidian horror of being human. "A darkly funny, wry, vivid set of poetic texts. This is doing the work poetry needs to be doing, it's about language itself as much as it's about the absurdity of our own physical lives and non-lives."--SJ Fowler

In this book, no serious philosophies can be found. This is simply a collection of some of my more surreal and absurd stories, whose sole purpose is to entertain the eye and ear of each and every individual. C.J. Cala is the author of numerous “schizonautic” texts that are centered on exploring the relativity of holistic reality.

'Absurd Ditties' is a collection of 65 humorous poems. G. E. Farrow takes readers on a rollicking journey through the absurdities of life, from the strange antics of judges and solicitors to the misadventures of a fairy godmother and a company promoter. Each poem is crafted with wit and irreverence, inviting readers to laugh out loud at the absurdity of it all. Here's an excerpt from one of the featured poems, 'That of the Converted Cannibals': "Upon an island, all alone / They lived, in the Pacific / Somewhere within the Torrid Zone / Where heat is quite terrific."

It's hard to describe a book that doesn't fit anywhere... a book that uncovers the most bizarre human desires and absurd aspects of our lives. In So Absurd It Must Be True, acclaimed Blåsbo Gatan satirist VICTORIA RAY offers her absolutely odd vision on the present situation in the world, relationships, and human emotions. The book is a collection of dark humor and surreal parodies, where the mix of satire and irony unveils the truth about our laughable existence called 'life'. But don't worry, Ray is here to help you make sense of it all. Each story exposes the tragedy of being an adult, the man-woman game, the kaleidoscope of human relationships, and the limitations of our sexual fantasies. Among the topics covered: 1) why Santa Claus had forgotten that you exist; 2) neighbors and how to deal with them - one by one; 3) Russian gang leader vs American CIA agent; 4) why Leo Tolstoy killed Anna Karenina; 5) cults, dreams and deaths; 6) the walls of wisdom in lifts; 7) famous five are hiding in Cuba... go figure! 8) enemies and their tears; 9) what happened in Kyrgyzstan with Jesus? 10) where to find a clue for NO CLUE? 11) new AI generation; 12) fairy tales and bored Queens; 13) ghosts and X files. Anyone who had ever spent time with another human being or, at least, been born... will love this collection. The book contains profanity, fun or gross erotica, and elements of violence. Only for adults. Genre: surreal humor, satire, parody, horror, dark comedy, absurdist fiction, comic strips.

This book is an experiment. Inspired by the bizarre and uncanny, it is an attempt to use science and rationality to lift the veil off the irrational. Its ways are unconventional: weaving along its path one finds UFOs and fairies, quantum mechanics, analytic philosophy, history, mathematics, and depth psychology. The enterprise of constructing a coherent story out of these incommensurable disciplines is exploratory. But if the experiment works, at the end these disparate threads will come together to unveil a startling scenario about the nature of reality. The payoff is handsome: a reason for hope, a boost for the imagination, and the promise of a meaningful future. Yet this book may confront some of your dearest notions about truth and reason. Its conclusions cannot be dismissed lightly, because the evidence this book compiles and the philosophy it leverages are solid in the orthodox, academic sense. ,

The Green Monk was written between London, Madrid, and Krakow, and engages thrillingly with various surrealist visions of artists and poets, including Leonora Carrington, Salvador Dali, Federico García Lorca, James Tate, and Chika Sagawa. It concerns, variously, queer erotics, animism & magic, food, death & sublime nature, fairy tales & alchemy, & the wonders of everyday life in Madrid. It is simultaneously contemporary and ancient, built on visual images and techniques of juxtaposition and collage, accompanied by entertainingly absurd narratives. These poems sit between worlds and take the reader on shamanistic journeys, healings, and transformations, through a language of migration and immigration, across various physical and imaginary, spatial and temporal, fields.

What is a suitable genre to describe the post-9/11 era mired in wars, violence, and unspeakable horror? What kind of literary expressions and techniques are appropriate to give voice to the prevalence of global anguish in the post-9/11 scenario? Is the Theatre of the Absurd a viable option for the expression of the incongruity of the unspeakable horror unleashed after 9/11? Is the term ‘absurd’ applicable to this era? If yes, in what terms is this applicable? This book tries to find answers to these questions and many more. It reflects on the epistemological shifts in the avant-garde tradition of the Theatre of the Absurd, its ongoing critical currency in contemporary history, and its changing contours in the post-9/11 plays of Rajiv Joseph, an emerging American dramatist. It establishes the continued relevance of the Theatre of the Absurd at the current juncture of human history.