Everything in this book, from the very title and name of the author, is playfully nihilistic, and not to be taken seriously. The author, it might be said, is carrying out the work of Shiva the destroyer, to bring down every preconception we might have about belief, art, the self, the novel, meaning, and existence itself. Yet like the wisdom of yoga, there is a redeeming wisdom here which can delight in the very spirit of playful dance, in which destruction and creation are two faces of the same art.

From the very beginning, the so-called Editor's Preface, by a Lydia Smyth, is suspect, along with the Foreword by a dubious Nebirk Yallip. Later in the text the author interjects conversation with said editor, hinting also at personal relationship issues with her (among other attractions). These digressions are par for the course in a narrative that follows no linear thread, but the sparking digressions of a brain wired to everything and nothing at once.

The approach is ironic, in the tradition of Tristam Shandy. It is Nietzchean, in its bold broad strokes of overturning every conventional assumption in favor of a revolutionary insistence on the power of truth in the momentary impulse of expression. It is post-modern, discursive, tangential, irreverent, profane, fearless. It is at once "not an easy read" and effortless.

--Alternative Culture Blog

Everything in this book, from the very title and name of the author, is playfully nihilistic, and not to be taken seriously. The author, it might be said, is carrying out the work of Shiva the destroyer, to bring down every preconception we might have about belief, art, the self, the novel, meaning, and existence itself. Yet like the wisdom of yoga, there is a redeeming wisdom here which can delight in the very spirit of playful dance, in which destruction and creation are two faces of the same art.

From the very beginning, the so-called Editor's Preface, by a Lydia Smyth, is suspect, along with the Foreword by a dubious Nebirk Yallip. Later in the text the author interjects conversation with said editor, hinting also at personal relationship issues with her (among other attractions). These digressions are par for the course in a narrative that follows no linear thread, but the sparking digressions of a brain wired to everything and nothing at once.

The approach is ironic, in the tradition of Tristam Shandy. It is Nietzchean, in its bold broad strokes of overturning every conventional assumption in favor of a revolutionary insistence on the power of truth in the momentary impulse of expression. It is post-modern, discursive, tangential, irreverent, profane, fearless. It is at once "not an easy read" and effortless.

--Alternative Culture Blog