Rosalyn Drexler, a painter, playwright, and novelist, has been on the scene in several arts for many years. She is well known in Soho art galleries, infamous off-Broadway, and highly regarded as a fiction writer.
Another sex=drugs and rock;n;roll story. This one adds UFO’s.
And a neatly fucked up family.
This time around, the (alleged) murderer actually comes to trial.
The Great Mother Goddess Cult plays feminist punk/funk.
The guy that edited this book is as creepy as H.H. ; his name is Jake Brackenwold. Don’t let him near your children.
That’s right, it’s a clear-my=name kind of narrative in a found manuscript-type way like you know which.
And Drexler too gives me that extra little zazz, those few bits just over the precipice, the almost=cracked, which Carson oddly enough failed to provide.
So let’s coin this predictable phrase :: “BURIED-Lite”. A nice little romp ; reasonable talent ; neither exactly middle-nor-low brow (?) ; but nothing great. Still.
Despite N.R.’s pronouncement of RD as “BURIED-lite,” I rate her chops as a comedic writer and find her sequence of mild postmodern romps to my liking. This one’s mild postmodernism is derived from the form presented—a sham memoir with two editors commenting on the work being composed. I find RD’s antics to be a pleasing composite of the surreal wonder of Barthelme and the concision of Vonnegut (minus the weight of their works), and this rock-and-roll novel contains a femme punk à la Siouxsie Sioux fronting an appalling hair metal band à la The Pandoras and her subsequent murder rap. This last month for me has been a celebration of fine femme punks and offbeat singers—spanning Kristin Hersh to Suzanne Vega to Lisa Germano to the High Priestess, Patti—and this novel was additional cream on the fretboards. Time for Patti’s Blakean Year.