Cartoons

<p><b>One of<i> The Millions</i> Most Anticipated Books for Spring !</b></p><p><b>Set in the uncanny valley between Bugs Bunny and Franz Kafka, <i>Cartoons</i> is an explosive series of outrageous, absurdist tales.</b></p><p>“The true surrealist is unblinking, convulsive, and cheerfully open to the mysterious flow, into their texts, of mythic and archetypal elements operating beyond their conscious control. In <i>Cartoons</i>, Kit Schluter vaults into the zone of Julio Cortázar, Richard Brautigan, and late Giorgio di Chirico, where the reader breaths the air of pure freedom attained rattling inside the chains of self.”<span><b>—Jonathan Lethem, author of <i>Motherless Brooklyn</i></b></span></p> <p>More than simply a book, <i>Cartoons</i> proposes itself as a genre of imaginary writing in opposition to the realism of most contemporary U.S. fiction, aligning itself with the French symbolism and Latin American fabulism its author is known to

One of The Millions Most Anticipated Books for Spring !Set in the uncanny valley between Bugs Bunny and Franz Kafka, Cartoons is an explosive series of outrageous, absurdist tales.“The true surrealist is unblinking, convulsive, and cheerfully open to the mysterious flow, into their texts, of mythic and archetypal elements operating beyond their conscious control. In Cartoons, Kit Schluter vaults into the zone of Julio Cortázar, Richard Brautigan, and late Giorgio di Chirico, where the reader breaths the air of pure freedom attained rattling inside the chains of self.”—Jonathan Lethem, author of Motherless Brooklyn More than simply a book, Cartoons proposes itself as a genre of imaginary writing in opposition to the realism of most contemporary U.S. fiction, aligning itself with the French symbolism and Latin American fabulism its author is known to translate. A giant cricket with a tiny Kit Schluter in a jar, The Girl Who Is a Piece of Paper, an umbrella who confuses the words porpoise and purpose in its quest for self-fulfillment, these are just a few denizens of its pages, suffused with a fairy tale-like animism. A pair of slugs go on a bender. A microwave oven decries microaggressions. A beer bottle is filled with regret. An escalator mechanic’s shoe conceals a terrible secret. As befits its title, Cartoons defies the laws of physics and fiction alike, eschewing tonal consistency in favor of a simultaneity of joy and horror, ecstasy and disgust, wrapped in an extravagant layer of black humor. The stories blur the boundary between microfiction and poet’s prose, featuring impossible transformations and surrealistic events, even as they wrestle with urgent psychic and moral dilemmas. Heightening the atmosphere of pervasive unreality are a number of drawings by the author, which don’t so much illustrate as parallel the tales with their own fantastic scenarios.