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The three intertwined stories of wife, mistress, and husband take place in Hogtown on October 13 and 14, 2015, and for two days the readers watch Berlin Fearne, Clare Morgan, and River Fearne as their lives spin out of control. As unemployed River Fearne seeks work he spends his days indulging in self-destructive behaviors, including an affair with his former intern, Clare Morgan; while his wife’s abrasive personality and career success push everything and everyone in her life aside. Berlin, Morgan, and River indulge in self-destructive behaviors such as workaholism, shopaholism, sex addiction, self-harm, depression, drug abuse, and delusions of grandeur.
With elements of absurdist fiction, transgressional fiction, and tinges of magical realism, this naturalistic novel gives a skewed yet unflinching look at the dynamics of the 21st-century society and sub-torrents of social issues and inequities. Not quite fiction, not quite a cinema, and not quite poetry, the direct prose and machine gun-like dialogue provide a raw social commentary.
Publishing date: December 3, 2021
Paperback: 172 pages
Dimensions : 6 x 0.4 x 9 inches
Michal Majernik’s disposition is that of an irritated underdog, and it continues to punch above its weight in his literary endeavors. As an author, he sees existence as far too strange not to write about its best and worst, and he continues to travel long night’s journey to fulfill his literary passions and aspirations.
His love for literature sprouted in a library of a quaint European spa town hidden behind the Iron Curtain where he spent most of his early childhood—both the library and Curtain. Since that time, he’s been irretrievably captivated by the magic of books, literature, and writing across cultures, languages, and continents.
His writing style exhibits his professional passion for clarity, an affinity for bluntness, love of cinema, and general impatience with dawdling narratives, and that’s why he gives readers cinematic action, direct prose, and machine-gun dialogue that propels his swift stories. He understands writing being a craft. To him, cereal box copy counts for as much as does the highest prose, and only the best craft may become literature. All recorded culture – writing, music, and visual art – are mere shorthand time capsules for existence in any given moment, and left for future generations.
He has eclectic literary interests, and in writing, he draws on his deep affection for realism, magical realism, transgressional fiction, creative nonfiction, and postcolonial literature; and the selection of his favorite writers includes Tennessee Williams, F. Scott Fitzgerald, and Emile Zola, and he has been deeply afflicted by postcolonial literature the likes of Jean Rhys, and J.M. Coetzee, and forever marked by the timeless classics of Marry Shelley, and Alexander Solzhenitsyn.
His writing philosophy is that of the “click” in which authors seek to complete their designs as they build connections of the most implausible kinds. For him, an author can’t finish a story unless the click arrives. It is the click of the story coming together, the click of logic, the click that makes the author peaceful, and the click that brings the reader inside the narrative. And once the click arrives, the design becomes whole and true, and the narrative comes alive, and the phrases grow direct, clean, sharp, and out loud strong with their own voice, and the author is compelled to finish the design, and the reader is compelled by the story; and only then both writer and reader arrive at literary absolution. “It’s just a mechanical thing, / this click that I get in my head that makes me peaceful.” (Brick, Tennessee Williams, Cat on a Hot Tin Roof).