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    <![CDATA[Smartass slacker satirist Steve Aylett follows up his debut novel, <em>Slaughtermatic</em>, with <em>Toxicology</em>, an equally scathing collection of 20 short (often short-short) stories, eight original and 12 reprinted (mostly from British publications like <em>TechnoPagan</em>, <em>Crime Time</em>, and <em>Sex, Drugs, Rock 'n' Roll</em>). Some of the stories share settings and characters with <em>Slaughtermatic</em>. All the stories are bursts of ferocious energy, fast and furious as punk-rock songs and about as subtle. The plotting is not complex (sometimes it's little more than the setup for an O. Henry twist), but the ideas are clever, the anger is justified, the prose is imaginative, and the dialogue is sharp (though the hard-boiled metaphors are occasionally overcooked to incomprehensibility). <em>Toxicology</em> is a potent, poisonous, post-cyberpunk cocktail of ultraviolence and outrage with a splash of Burroughs, a dash of Ballard, and a twist of Dick.<p> Three quick tastes: In &quot;Gigantic,&quot; the media turns an astrophysicist forewarned of alien invasion into just another crackpot tabloid-TV guest. In &quot;Tail,&quot; a hyper-Chandlerian PI follows a suspicious fiancé through a surreal cityscape. And in &quot;The Passenger,&quot; a musician attempts to make his unknown band famous via a performance-art plane crash. <em>--Cynthia Ward</em></p>]]>
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    <body><![CDATA[a 21st century Boris Vian, a funny Thomas Ligotti,<a href="http://www.goodreads.com/book/show/7437.Naked_Lunch_The_Restored_Text" title="Naked Lunch  The Restored Text by William S. Burroughs">naked lunch</a> era Burroughs rewriting Voltaire, fast paced, grim and ridiculously funny and so bitterly true.]]></body>
    
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    <![CDATA[Smartass slacker satirist Steve Aylett follows up his debut novel, <em>Slaughtermatic</em>, with <em>Toxicology</em>, an equally scathing collection of 20 short (often short-short) stories, eight original and 12 reprinted (mostly from British publications like <em>TechnoPagan</em>, <em>Crime Time</em>, and <em>Sex, Drugs, Rock 'n' Roll</em>). Some of the stories share settings and characters with <em>Slaughtermatic</em>. All the stories are bursts of ferocious energy, fast and furious as punk-rock songs and about as subtle. The plotting is not complex (sometimes it's little more than the setup for an O. Henry twist), but the ideas are clever, the anger is justified, the prose is imaginative, and the dialogue is sharp (though the hard-boiled metaphors are occasionally overcooked to incomprehensibility). <em>Toxicology</em> is a potent, poisonous, post-cyberpunk cocktail of ultraviolence and outrage with a splash of Burroughs, a dash of Ballard, and a twist of Dick.<p> Three quick tastes: In &quot;Gigantic,&quot; the media turns an astrophysicist forewarned of alien invasion into just another crackpot tabloid-TV guest. In &quot;Tail,&quot; a hyper-Chandlerian PI follows a suspicious fiancé through a surreal cityscape. And in &quot;The Passenger,&quot; a musician attempts to make his unknown band famous via a performance-art plane crash. <em>--Cynthia Ward</em></p>]]>
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