D. Harlan Wilson

The Kyoto Man (The Scikungfi Trilogy) D. Harlan Wilson

In the wake of the Stick Figure War, civilization lapsed into obscurity. Fallout ravaged the fabric of space and time. History digested reality and reality exhumed the future as survivors tried and failed to create a new beginning . . . Amid the chaos, one man experiences a terminal affliction, a revolution of the self: the chronic transformation into the city of Kyoto, Japan. Each transformation further plunges the world into darkness, but he's helpless against the lethal clockwork of his body, his psyche, his mindscreens-and nothing, not even Fate itself, can stop him from becoming God . . . In the third and final installment of the Scikungfi trilogy after Dr. Identity and Codename Prague, acclaimed author D. Harlan Wilson composes a narrative grindhouse that combines elements of science fiction and horror with pop culture and literary theory. Erudite, ultraviolent, and riotously satirical, The Kyoto Man reminds us how, at every turn, reality is shaped by the forces that destroy it.

"D. Harlan Wilson writes with the crazed precision of a futuristic war machine gone rogue. He is devastatingly good." Lavie Tidhar, author of The Bookman Trilogy and Osama

"A dark, trippy tale that pays homage to the past masters." Fred Olen Ray, cult writer/director of Alien Dead, Hollywood Chainsaw Hookers, Bikini Frankenstein and Buck Rogers Begins

"Believe the hype this time. D. Harlan Wilson has more talent than you can throw an axe at." Will Elliott, award-winning author of The Pilo Family Circus

"D. Harlan Wilson's Scikungfi Trilogy explodes pulp science fiction into new galaxies of frenzied prose that paints the imploding future as a funhouse of pop culture and avant-garde literature. The Kyoto Man goes a dimension or so further, mixing fractured narratives of SF with Hollywood pop into a postmodern scene that out-Burroughses Burroughs and makes Kerouac's trips seem square." Douglas Kellner, Professor of Philosophy at Columbia University and author of The Postmodern Turn and Media Spectacle