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COMMERCIAL
FICTION An author writing Commercial Fiction while working for a government agency awakens in such a disoriented state that he can’t tell if he’s writing at work or at home. His attempts to regain his sense of reality whirl him through a wonderland of hilariously conceived characters and situations. The host of a morning television program commits suicide on the air, then becomes an omnipresent advertising spokesman in what may or may not be his afterlife. The professional Role Model who replaces the host in mid-program follows his own trite advice to achieve literal overnight success. A beautiful file clerk works her way to the top in one day—scrupulously or unscrupulously, only her conscience knows for sure. Meanwhile, the author teams up with Big Brother to keep the subliminal codes that control the American way of life from falling into the hands of an enemy gaining power and strength. Commercial Fiction’s supporting cast includes sex-addicted government officials, silicon-enhanced TV stars, gun-running charity workers, soap opera actors and other unforgettable characters driven to desperate acts in their pursuit of power, money, and love. " It's a great book, a book I've always felt
someone should write, thinking maybe I would do it at some point--and
now I don't have to. You've taken the shallow, mind-numbing world of
mass communication and used it against itself, appropriating its
techniques and making them work as fiction, as a text that can inspire
intelligent reflection rather than consumer idiocy. At the same time,
you've taken the possibility of media critique through fiction and shown
that it's already trapped in precisely what it intends to subvert. Yet
you make this work as an aspect of the critique, since your position as
meta-author is ultimately outside the pseudo-maelstrom of commodity
capitalism and its image system. Or is it? By spilling past the putative
closure implied by your meta-authorial perspective, you force us to
confront the possibility that any "victory" over mass imagery is
dubious. And you make it all so much fun. I loved the monster movie
references at the end. And the transformations, juxtapositions, the
shifts in levels of 'reality that occurred throughout." Instead of Confusion
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