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Sunset with a Beard
A collection of fourteen stories that attempt to blend two opposing surreal fiction and science fiction. The resulting journey through dark and desperate futures of aliens, diseases, and humanity's own madness is brain-bending and utterly bizarre.
132 pages, Paperback
First published January 1, 2000
9 people are currently reading
216 people want to read
About the author
Carlton Mellick III
119 books2,169 followersCarlton Mellick III (July 2, 1977, Phoenix, Arizona) is an American author currently residing in Portland, Oregon. He calls his style of writing "avant-punk," and is currently one of the leading authors in the recent 'Bizarro' movement in underground literature[citation needed] with Steve Aylett, Chris Genoa and D. Harlan Wilson.
Mellick's work has been described as a combination of trashy schlock sci-fi/horror and postmodern literary art. His novels explore surreal versions of earth in contemporary society and imagined futures, commonly focusing on social absurdities and satire.
Carlton Mellick III started writing at the age of ten and completed twelve novels by the age of eighteen. Only one of these early novels, "Electric Jesus Corpse", ever made it to print.
He is best known for his first novel Satan Burger and its sequel Punk Land. Satan Burger was translated into Russian and published by Ultra Culture in 2005. It was part of a four book series called Brave New World, which also featured Virtual Light by William Gibson, City Come A Walkin by John Shirley, and Tea from an Empty Cup by Pat Cadigan.
In the late 90's, he formed a collective for offbeat authors which included D. Harlan Wilson, Kevin L. Donihe, Vincent Sakowski, among others, and the publishing company Eraserhead Press. This scene evolved into the Bizarro fiction movement in 2005.
In addition to writing, Mellick is an artist and musician.
Mellick's work has been described as a combination of trashy schlock sci-fi/horror and postmodern literary art. His novels explore surreal versions of earth in contemporary society and imagined futures, commonly focusing on social absurdities and satire.
Carlton Mellick III started writing at the age of ten and completed twelve novels by the age of eighteen. Only one of these early novels, "Electric Jesus Corpse", ever made it to print.
He is best known for his first novel Satan Burger and its sequel Punk Land. Satan Burger was translated into Russian and published by Ultra Culture in 2005. It was part of a four book series called Brave New World, which also featured Virtual Light by William Gibson, City Come A Walkin by John Shirley, and Tea from an Empty Cup by Pat Cadigan.
In the late 90's, he formed a collective for offbeat authors which included D. Harlan Wilson, Kevin L. Donihe, Vincent Sakowski, among others, and the publishing company Eraserhead Press. This scene evolved into the Bizarro fiction movement in 2005.
In addition to writing, Mellick is an artist and musician.
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Displaying 1 - 13 of 13 reviews
March 2, 2012
3.5 stars. Ehh, make that 3.6274. Final answer.
(slight spoiler alert)
Contained within this entertaining collection of short stories is an abundance of memorable sci-fi/surrealistic worlds, scenarios, happenings, and characters. The book starts off with “The Earwig Flesh Factory,” a sort of re-creation myth story in which an Eve-type character repopulates an earth decimated by “black toxic snot,” where many of her offspring must be harvested to produce the protective flesh-coating that people need to survive in the toxic atmosphere. From there on, readers are treated to stories concerning shadow-possessing aliens, New Yorkers turned into featureless balls of flesh and bone, humans who must carry their souls in jars, arm tattoos that double as actual two-dimensional worlds inhabited by living two-dimensional people, a planet where time moves so slowly that its denizens appear to be frozen in place, a half-alien girl who can animate inanimate objects with her tongue, multiple personalities arguing about what food their shared host body should eat for lunch, and various other manifestations of The Strange.
A good number of these tales are peopled with characters who fail to find romantic love or sex, their efforts usually thwarted by some external force, as well as characters who experience the loss of such companionship outright. It’s interesting to see these themes explored in the outlandish worlds/contexts of these stories. For example, the main character in “A Soulless Man” is just about to get himself some tail when his would-be female lover discovers he has no soul in his soul-jar; unfortunately for our antihero, no soul in your soul-jar equals no tail. The protag in “The City of New York” attempts to get back at a cold wife by cheating on her, only to be literally cock-blocked when his mistress’s vagina seals shut just prior to his entry. Then there’s the truck driver girl in the story “Fist World,” to whom the main character is attracted but who gets turned into a tentacled fish-thing long before he ever gets a chance to make a move on her. And although the love is there, the tattooed woman in “The Third Planet From My Shoulder” and the man she desires (a 2-D fellow who lives in one of her arm tattoos) find themselves unable to make things work in the end. And the theme of lost or hindered love/companionship at the hands of death and disease is seen in the stories “Plastic Storming,” “An Era of Liquid Streets,” “Venus’ Triangle,” and “Riverboat.” Yes, there's definitely some sadness mixed in with the weirdness here.
In crafting these tales, Mellick employs an imaginative, idiosyncratic, rebellious writing style that makes frequent use of fancifully conjoined, hyphenated compound nouns, verbs, and adjectives. At times, I found that the presence of these hyphenated constructions slowed down the flow of the narrative, at least in some of the stories, lending a distracting choppiness to the otherwise smooth-sluicing prose. Probably needless to say, this observation is not intended as an objective criticism (if there is such a thing) of Mellick’s use of said device. Rather, this observation is a completely subjective opinion based on my entirely subjective experience of reading the book, “me” being a subjective subject in a subjective universe subjectively comprised of other subjects, all of whom perceive subjective stimuli in a manner that is inherently subjective, and who, during our schooling years, are required to study many subjects.
As with any short story collection, I found some of the stories to be stronger and more memorable than others. My favorites include “Riverboat,” “An Era of Liquid Streets,” “City of New York,” “Plastic Storming,” and “The Third Planet From My Shoulder.” Recommended to anyone who's a fan of short form bizarro, surreal lit, and quirky sci-fi.
(slight spoiler alert)
Contained within this entertaining collection of short stories is an abundance of memorable sci-fi/surrealistic worlds, scenarios, happenings, and characters. The book starts off with “The Earwig Flesh Factory,” a sort of re-creation myth story in which an Eve-type character repopulates an earth decimated by “black toxic snot,” where many of her offspring must be harvested to produce the protective flesh-coating that people need to survive in the toxic atmosphere. From there on, readers are treated to stories concerning shadow-possessing aliens, New Yorkers turned into featureless balls of flesh and bone, humans who must carry their souls in jars, arm tattoos that double as actual two-dimensional worlds inhabited by living two-dimensional people, a planet where time moves so slowly that its denizens appear to be frozen in place, a half-alien girl who can animate inanimate objects with her tongue, multiple personalities arguing about what food their shared host body should eat for lunch, and various other manifestations of The Strange.
A good number of these tales are peopled with characters who fail to find romantic love or sex, their efforts usually thwarted by some external force, as well as characters who experience the loss of such companionship outright. It’s interesting to see these themes explored in the outlandish worlds/contexts of these stories. For example, the main character in “A Soulless Man” is just about to get himself some tail when his would-be female lover discovers he has no soul in his soul-jar; unfortunately for our antihero, no soul in your soul-jar equals no tail. The protag in “The City of New York” attempts to get back at a cold wife by cheating on her, only to be literally cock-blocked when his mistress’s vagina seals shut just prior to his entry. Then there’s the truck driver girl in the story “Fist World,” to whom the main character is attracted but who gets turned into a tentacled fish-thing long before he ever gets a chance to make a move on her. And although the love is there, the tattooed woman in “The Third Planet From My Shoulder” and the man she desires (a 2-D fellow who lives in one of her arm tattoos) find themselves unable to make things work in the end. And the theme of lost or hindered love/companionship at the hands of death and disease is seen in the stories “Plastic Storming,” “An Era of Liquid Streets,” “Venus’ Triangle,” and “Riverboat.” Yes, there's definitely some sadness mixed in with the weirdness here.
In crafting these tales, Mellick employs an imaginative, idiosyncratic, rebellious writing style that makes frequent use of fancifully conjoined, hyphenated compound nouns, verbs, and adjectives. At times, I found that the presence of these hyphenated constructions slowed down the flow of the narrative, at least in some of the stories, lending a distracting choppiness to the otherwise smooth-sluicing prose. Probably needless to say, this observation is not intended as an objective criticism (if there is such a thing) of Mellick’s use of said device. Rather, this observation is a completely subjective opinion based on my entirely subjective experience of reading the book, “me” being a subjective subject in a subjective universe subjectively comprised of other subjects, all of whom perceive subjective stimuli in a manner that is inherently subjective, and who, during our schooling years, are required to study many subjects.
As with any short story collection, I found some of the stories to be stronger and more memorable than others. My favorites include “Riverboat,” “An Era of Liquid Streets,” “City of New York,” “Plastic Storming,” and “The Third Planet From My Shoulder.” Recommended to anyone who's a fan of short form bizarro, surreal lit, and quirky sci-fi.
May 20, 2010
I was first exposed to Carlton Mellick III's writing around 2004 or 2005 whenever I read SATAN BURGER. I was really excited to read it because the plot description sounded amazing - it sounded original, thought-provoking, and a lot of fun. Well, it was original and some parts of it were really funny, but I found myself getting lost in the weird rants and thinking that the book would have benefited from being only half the length. BUT this isn't a review of SATAN BURGER. The reason I bring this up is because I wish that my first exposure to CM3's work was SUNSET WITH A BEARD instead. This is a very entertaining collection of stories and, after reading several of his books now, I feel it gives the readers a great idea of what to expect from this author's unique writing style.
The biggest reason why I really enjoyed these stories over some of the others of his that I have read is because these stories have heart. In other stories his female characters tend to be domineering and cold, while his male characters tend to be meek and fragile. These stories portray characters who are neither of the above - they have real feelings and raw emotion that bleeds through each of the pages. I found myself caring about the characters and sympathizing with their problems more than any other CM3 book that I've read. PLASTIC STORMING f***ing killed me.
I think Mr. Mellick is a fantastic writer with brillant thoughts - that's why I continue buying his books after 5 or 6 years - but I'd be lying if I didn't say that his works are hit and miss. SUNSET WITH A BEARD is a hit. And when Mellick hits, he hits hard.
The biggest reason why I really enjoyed these stories over some of the others of his that I have read is because these stories have heart. In other stories his female characters tend to be domineering and cold, while his male characters tend to be meek and fragile. These stories portray characters who are neither of the above - they have real feelings and raw emotion that bleeds through each of the pages. I found myself caring about the characters and sympathizing with their problems more than any other CM3 book that I've read. PLASTIC STORMING f***ing killed me.
I think Mr. Mellick is a fantastic writer with brillant thoughts - that's why I continue buying his books after 5 or 6 years - but I'd be lying if I didn't say that his works are hit and miss. SUNSET WITH A BEARD is a hit. And when Mellick hits, he hits hard.
October 22, 2020
I love Bizarro Fiction and CM3 is easily my favourite author in the genre. I've only read his novels before, but I must say that the poetic prose, and nightmarish visions are perfect fodder for the short story medium. This anthology is a mixed bag - for a start its a combination of sci-fi and surreal stories but it's also mixed in quality as well. My two favourites are the most horrific: Earwig Flesh Factory and Scrows which seared nightmare visions onto my brain never to be forgotten. Even the most ponderous stories are at least interesting however.
I don't know what else to say really, this is your brain on drugs, pure nightmare in written form: melting bodies, insects, post-apocalyptic wastelands, irradiated clouds, aliens, mutations, its all here in delirious, irreverent, semi-poetic glory.
Here are a couple of first lines just to give you a taster:
"The carpet consists of millions of tiny people"
"Jack Kerby had no idea that the people of New ~York didn't have any mouths."
"Jesus Christ finds the process of going to the toilet exhilarating"
"Last night I had sex with my goldfish"
Fiction doesn't get much weirder than this.
I don't know what else to say really, this is your brain on drugs, pure nightmare in written form: melting bodies, insects, post-apocalyptic wastelands, irradiated clouds, aliens, mutations, its all here in delirious, irreverent, semi-poetic glory.
Here are a couple of first lines just to give you a taster:
"The carpet consists of millions of tiny people"
"Jack Kerby had no idea that the people of New ~York didn't have any mouths."
"Jesus Christ finds the process of going to the toilet exhilarating"
"Last night I had sex with my goldfish"
Fiction doesn't get much weirder than this.
May 20, 2010
I was first exposed to Carlton Mellick III's writing around 2004 or 2005 whenever I read SATAN BURGER. I was really excited to read it because the plot description sounded amazing - it sounded original, thought-provoking, and a lot of fun. Well, it was original and some parts of it were really funny, but I found myself getting lost in the weird rants and thinking that the book would have benefited from being only half the length. BUT this isn't a review of SATAN BURGER. The reason I bring this up is because I wish that my first exposure to CM3's work was SUNSET WITH A BEARD instead. This is a very entertaining collection of stories and, after reading several of his books now, I feel it gives the readers a great idea of what to expect from this author's unique writing style.
The biggest reason why I really enjoyed these stories over some of the others of his that I have read is because these stories have heart. In other stories his female characters tend to be domineering and cold, while his male characters tend to be meek and fragile. These stories portray characters who are neither of the above - they have real feelings and raw emotion that bleeds through each of the pages. I found myself caring about the characters and sympathizing with their problems more than any other CM3 book that I've read. PLASTIC STORMING f***ing killed me.
I think Mr. Mellick is a fantastic writer with brillant thoughts - that's why I continue buying his books after 5 or 6 years - but I'd be lying if I didn't say that his works are hit and miss. SUNSET WITH A BEARD is a hit. And when Mellick hits, he hits hard.
The biggest reason why I really enjoyed these stories over some of the others of his that I have read is because these stories have heart. In other stories his female characters tend to be domineering and cold, while his male characters tend to be meek and fragile. These stories portray characters who are neither of the above - they have real feelings and raw emotion that bleeds through each of the pages. I found myself caring about the characters and sympathizing with their problems more than any other CM3 book that I've read. PLASTIC STORMING f***ing killed me.
I think Mr. Mellick is a fantastic writer with brillant thoughts - that's why I continue buying his books after 5 or 6 years - but I'd be lying if I didn't say that his works are hit and miss. SUNSET WITH A BEARD is a hit. And when Mellick hits, he hits hard.
July 21, 2011
this was a great collection. All of the stories are worth the read, though some take a little more effort to get into. The writing is overall very solid, though some of the stories read very much like an author testing the waters. In the introduction, Mellick explains that most of these stories were written with sci-fi in mind, and he labels some of them science fiction. Others, he labels surreal.
Actually, they are both a nice blend of both genres, if surrealism can be said to be a genre. Mellick utilizes unique writing techniques, as well as experimenting with a few literary tricks, to create worlds and situations that are unique, fun, sometimes scary, and often a bit sad.
I liked the book quite a bit. My only problem was Mellick's occasional overuse of linking descriptions with a hyphen: "skip-cute" "swirly-stuttering" "jerk-standing" and so on. This is not unusual. Mellick does this in most of his books. But here he does it more. A LOT more. And at times, I found it a bit irritating.
Don't get me wrong. It didn't really take away from my enjoyment of the story, but it did make me roll my eyes once or twice and say "c'mon, man! Just PICK one and stick-run with it!"
But still, this was a good collection. And anyway, all story collections are going to be hit or miss. Even Philip K. Dick wrote a few bad ones. Mellick really delivers some good, short bursts of bizarro strangeness, and he still has an imagination that I think was implanted in his brain by aliens. Or trolls.
That reminds me, I have "Troll 2" on my Netflix". I really should watch that again.
That movie sucks.
Actually, they are both a nice blend of both genres, if surrealism can be said to be a genre. Mellick utilizes unique writing techniques, as well as experimenting with a few literary tricks, to create worlds and situations that are unique, fun, sometimes scary, and often a bit sad.
I liked the book quite a bit. My only problem was Mellick's occasional overuse of linking descriptions with a hyphen: "skip-cute" "swirly-stuttering" "jerk-standing" and so on. This is not unusual. Mellick does this in most of his books. But here he does it more. A LOT more. And at times, I found it a bit irritating.
Don't get me wrong. It didn't really take away from my enjoyment of the story, but it did make me roll my eyes once or twice and say "c'mon, man! Just PICK one and stick-run with it!"
But still, this was a good collection. And anyway, all story collections are going to be hit or miss. Even Philip K. Dick wrote a few bad ones. Mellick really delivers some good, short bursts of bizarro strangeness, and he still has an imagination that I think was implanted in his brain by aliens. Or trolls.
That reminds me, I have "Troll 2" on my Netflix". I really should watch that again.
That movie sucks.
October 27, 2024
Some stories are great, some not that much. But there's a couple of outstanding ones. Majority of the outstanding ones bring out Mellick's emotional side I didn't expect him to show.
A Soulles Man. Oddly neat. Love the draining atmosphere. 4/5.
City of New York. Weirdly awesome. 3,5/5.
Plastic Storming. Oddly disturbing with great, emotional story. 4/5.
Venus' Triangle. Emotional and the plot twist fucks. 6/5.
Between Midnight And Tomorrow. I almost shat myself in fear. The ending kinda debunked the whole thing but still great. 4,5/5.
Creatures Of The Heavens. Emotional and still oddly disturbing. 4/5.
An Era of Liquid Streets. Emotional and flawless. 5/5.
A Soulles Man. Oddly neat. Love the draining atmosphere. 4/5.
City of New York. Weirdly awesome. 3,5/5.
Plastic Storming. Oddly disturbing with great, emotional story. 4/5.
Venus' Triangle. Emotional and the plot twist fucks. 6/5.
Between Midnight And Tomorrow. I almost shat myself in fear. The ending kinda debunked the whole thing but still great. 4,5/5.
Creatures Of The Heavens. Emotional and still oddly disturbing. 4/5.
An Era of Liquid Streets. Emotional and flawless. 5/5.
January 3, 2025
A great collection of CM3 short stories! Each one is concise and a great vignette of whatever world comes from his mind in the moment. And it’s fun to see the little details that pop up throughout his library of work.
July 11, 2008
This was my first exposure to Carlton Mellick III, so I don't know if I was to come at this from another angle, maybe after being familiar with other works of his, but what I found most unfortunate about this collection was its most basic mismanagement of its own genre.
After a rather basic intro that presents a rather short-minded distinction between science fiction and surrealism, Mellick poses a challenge to the reader to be able to distinguish surrealism from science fiction--whether Mellick offers this challenge in earnest or not notwithstanding, he then puts together fourteen tales that don't really smack much of science fiction at all, but surrealism that doesn't really challenge sensibilities or ultimately reveal much about human character, which is something that both genre seem to strive for.
Mellick also falls into a pretty typical trap of surrealistic writing that gets even the most naive newbie--the fault of letting his language get as vague as his settings. In surrealism, precision of language becomes key to dilineate and situate and establish in the work. Instead, Mellick stays vague with his language, hyphenating terms to make people 'almost-laugh,' for example, rather than offer a crisp and distinct hand through these turbulent images of civilizations that live in carpets and beards, and Jesus with a Chuck Berry fetish.
Perhaps one could counter and say that Mellick's language is meant to be as surreal and between worlds as the worlds of the stories themselves, but in the end his weak hand with language makes his moments of pathos rather thin and unidentifiable. Besides, Mellick seems more out to paint surrealistic strokes galore rather than allow his narrators and characters to accept their surroundings, to allow the real stories to take over. Instead, Mellick excuses his worlds by trying to explain them, and his characters become mere reporters than reactors to their situations, which would normally present the perfect opportunities to reveal how they appeal to us and why we might be intrigued to follow them to their (sometimes) sticky ends (see almost any Calvino and of course Donald Barthelme).
A collection of some occsional glimmers, but on the whole out to prove a point rather than breathe on its own.
After a rather basic intro that presents a rather short-minded distinction between science fiction and surrealism, Mellick poses a challenge to the reader to be able to distinguish surrealism from science fiction--whether Mellick offers this challenge in earnest or not notwithstanding, he then puts together fourteen tales that don't really smack much of science fiction at all, but surrealism that doesn't really challenge sensibilities or ultimately reveal much about human character, which is something that both genre seem to strive for.
Mellick also falls into a pretty typical trap of surrealistic writing that gets even the most naive newbie--the fault of letting his language get as vague as his settings. In surrealism, precision of language becomes key to dilineate and situate and establish in the work. Instead, Mellick stays vague with his language, hyphenating terms to make people 'almost-laugh,' for example, rather than offer a crisp and distinct hand through these turbulent images of civilizations that live in carpets and beards, and Jesus with a Chuck Berry fetish.
Perhaps one could counter and say that Mellick's language is meant to be as surreal and between worlds as the worlds of the stories themselves, but in the end his weak hand with language makes his moments of pathos rather thin and unidentifiable. Besides, Mellick seems more out to paint surrealistic strokes galore rather than allow his narrators and characters to accept their surroundings, to allow the real stories to take over. Instead, Mellick excuses his worlds by trying to explain them, and his characters become mere reporters than reactors to their situations, which would normally present the perfect opportunities to reveal how they appeal to us and why we might be intrigued to follow them to their (sometimes) sticky ends (see almost any Calvino and of course Donald Barthelme).
A collection of some occsional glimmers, but on the whole out to prove a point rather than breathe on its own.
September 27, 2012
Where do I begin with Sunset With a Beard? Well, for starters, it's nice to read some of CM3's short pieces. I've never had the pleasure or the opportunity to do so, but after being requested to help proofread the latest edition, I was extremely delighted to find that Mellick's creativity is seemingly-endless.
Many of the stories were bite-y, and I did stop and wonder after reading a short every now-and-then, but I felt that there were a lot of duds that just didn't jive with me as much as I'd hoped. Mellick states that some of his stories included in the upcoming release were taken out and even hints that they weren't that great... but I found myself loving his bonus pieces more than any others, save The Earwig Flesh Factory, which was my favorite of the original published works. There's something about a sinister grandmother that just reeks of morbid-grimdark gross-glee, if I may use a Mellickian/Bradburyian "trope".
I suppose what caused me the most displeasure, if I really had to state it, was that I was always wanting more from nearly every story. I felt that they could have been explored deeper, that those crazy human conditions would be dug into more extensively, that I would have sat back at one point and gone "Oh, fuck, this guy's delving into humanity is brilliant!", rather than "Huh, that's a really creative and mildly-strange setting/incident". I think that, overall, Mellick has certainly grown and developed his writing since these early stories, and it's kind of fun to see certain ideas poke out of the meshwork that can be found in his other novels -- I swear, more people melt in CM3's writing than any other author, ever.
Regardless of the short-comings, I really did have fun reading this book. There were moments that pulled strangely on my past memories and connected me in odd ways: God on Television, for example, reminded me of all the days I spent as a kid playing with hermit crabs, then reminded me of my college years where my girlfriend and I raised three crabbies that were kind of naughty and croaked all night. To say I was even mildly displeased would be wrong. I mean, come on, I finished this in less than a day on my day off from work. How sweet is that?
Many of the stories were bite-y, and I did stop and wonder after reading a short every now-and-then, but I felt that there were a lot of duds that just didn't jive with me as much as I'd hoped. Mellick states that some of his stories included in the upcoming release were taken out and even hints that they weren't that great... but I found myself loving his bonus pieces more than any others, save The Earwig Flesh Factory, which was my favorite of the original published works. There's something about a sinister grandmother that just reeks of morbid-grimdark gross-glee, if I may use a Mellickian/Bradburyian "trope".
I suppose what caused me the most displeasure, if I really had to state it, was that I was always wanting more from nearly every story. I felt that they could have been explored deeper, that those crazy human conditions would be dug into more extensively, that I would have sat back at one point and gone "Oh, fuck, this guy's delving into humanity is brilliant!", rather than "Huh, that's a really creative and mildly-strange setting/incident". I think that, overall, Mellick has certainly grown and developed his writing since these early stories, and it's kind of fun to see certain ideas poke out of the meshwork that can be found in his other novels -- I swear, more people melt in CM3's writing than any other author, ever.
Regardless of the short-comings, I really did have fun reading this book. There were moments that pulled strangely on my past memories and connected me in odd ways: God on Television, for example, reminded me of all the days I spent as a kid playing with hermit crabs, then reminded me of my college years where my girlfriend and I raised three crabbies that were kind of naughty and croaked all night. To say I was even mildly displeased would be wrong. I mean, come on, I finished this in less than a day on my day off from work. How sweet is that?
July 7, 2015
An early collection of bizarro short stories from the master of bizarro, Carlton Mellick III. While the stories are very imaginative and full to bursting with interesting ideas, surreal humor, and disgusting gore, their status as Mellick's first published stories really shows. At this early stage, he seems to have trouble finding his voice, and nearly every story is plagued with annoying hyphenated portmanteau words (greet-smiling, hate-walking, drizzle-sliding, etc.) in a ham-fisted attempt to be unique. And since nearly every story is written in this style, they become difficult to differentiate from one another and, consequently, feel a bit samey. I still recommend this collection, due to its sheer balls-to-the-wall insanity and its voracious imagination, but I know that Mellick has better stuff out there.
March 1, 2012
I LOVED this collection of short stories. Each one is so different from the other which is to be expected from Mr.Mellick as all of his stories are so unique. This book in specific holds one of my most favorite stories ever " Kiss The Sun" never have I felt emotional about a stoplight before haha! Definitely worth reading!!
October 25, 2007
Short stories, little weird stuffs.
October 31, 2009
This is the greatest Carlton Mellick book EVER
It is my all time favorite CM3 book.
I highly recommend it to all.
It is my all time favorite CM3 book.
I highly recommend it to all.
Displaying 1 - 13 of 13 reviews