Schneiderman continuedfrom previous page can't help but be taken in, not by the relative reality of the events, but by the seamlessness of the morethan -obvious threads. Olsen's novel announces its hyper-constructedness on every page, in every crevice, and yet, well, we've seen this movie so many times before that there is a certain satisfaction in seeing it again in this highly-stylized fashion: springs and wires flail prominently away from an inside that is no more real than the most twentieth-century moments of Proust. Marcel's voyage may be a story with no punchline (only more story), but Olsen's set-up is a punch line with no joke—scaled to an über-mall that feeds on the propagation ofpunch lines. At the end of several thousand pages, Marcel, for all his troubles, may quarry a small measure of recaptured time, but Olsen (with his final line: "[t]he film begins"), graces us with a project even more ambitious: a series of (im)precisely timed captures. Davis Schneiderman, chair ofAmerican Studies at Lake Forest College, is a writer and critic. He is coeditor ofRetaking the Universe: William S. Burroughs in the Age of Globalization (Pluto); and his project, Multifesto: A Henri d'Mescan Reader, is forthcomingfrom Spuyten Duyvil. Narrative Terrorism Jeffrey R. Di Leo Terror-Dot-Gov Harold Jaffe Raw Dog Screaming Press http://www.rawdogscreaming.com 154 pages; paper, $13.95 The Literary Terrorism of Harold Jaffe: The Journal of Experimental Fiction, no. 29 Edited by Eckhard Gerdes iUniverse http://www.iUniverse.com 169 pages; paper, $12.95 Terror-Dot-Gov is a tour-de-force rumination on the psychical damage and physical carnage resulting from present day terrorism and war. In his distinctively sparse and cool prose, Harold Jaffe takes on the contemporary cultural and political climate with narrative bravado and ideological courage. At heart, Terror-Dot-Gov is a work of political activism and deep humanity with a sense of outrage at the state of national and international affairs. Terror-Dot-Gov is not a simple straightforward assault on the Bush administration, Western culture and policy, or the nationalistic and xenophobic proclivities oftheAmerican public, but rather a complex mosaic of poignant vignettes that together amount to devastating critique. Jaffe criticizes government policies and the responses of the American public by highlighting the more local effects of them, and only suggests their global flows. His docufiction "Terrorchildren" is a good example ofJaffe's critical technique. "Terrorchildren" begins by recounting Heather Gosling's idea of using weeds as weapons in the war against terror. In Houseplants against Terror, Gosling showsAmericans how to use plants to signal the presence ofbiological and chemical agents in the environment . Writes Jaffe, "IfDr. Gosling's plan works, the technology could be used to turn forest oaks, backyard shrubs, pond algae, even festooned Christmas trees into sentinels in the war against terrorism." Then comes the punchline: "But ifherplant signals anthrax, smallpox or plague, most non-moronic Americans would know they were exposed before displaying symptoms." Jaffe continues, "Which would allow them ample time to ingest potent FDA-approved antibiotics and duct-tape themselves into their condos with their significant other, low-carb snacks, bible, cellphone, TV and Internet." Jaffe satirizes government -instigated paranoia, but also cuts into the culture of fear and consumption. Rather than assailing the Department ofDefense, the Department ofHomeland Security, and the early-warning alert system directly, Jaffe approaches his target through an absurd "human interest" story. And Jaffe is a master of manipulating the inane or absurd story to potent political effect. In "White Terror," Jaffe uses absurd news items to satirize the culture of violence and indiscriminate retaliation. Two interlocutors discuss who should be bombed in response to a list of unusual crimes or tragedies. Following an absurd story about South African beauty queens mauled in Botswana by a hippopotamus , characters respond to the question "Who would you bomb?": Can we bomb the colonizing British retroactively? Regrets, that isn'tpermitted. I'd bomb blonde beauty contest winners who live and thrive in Africa with hyphenated surnames. Me? I'd bomb the safari tourist trade. From an inane if vivid beauty-meets-beast story, Jaffe...
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