A.B. West
Ronald Sukenick
Raymond Federman
Lidia Yuknavith
Lance Olsen
 
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Lance Olsen

  Lance Olsen is author of six novels, four critical studies, four short-story collections, a poetry chapbook, and Rebel Yell: A Guide to Fiction Writing, as well as editor of two collections of essays about literary innovation. His novel Tonguing the Zeitgeist was a finalist for the Philip K. Dick Award. His short stories, essays, poems, and reviews have appeared in a wide variety of journals and anthologies, including Fiction International, Iowa Review, Village Voice, Time Out, BOMB, Gulf Coast, Electronic Book Review, and Best American Non-Required Reading. A Pushcart Prize recipient and former Idaho Writer-in-Residence, Olsen serves as Chair of the Board of Directors at FC2. He lives corporeally with his wife, assemblage-artist Andi Olsen, in the mountains of central Idaho, and digitally at www.cafezeitgeist.com.

"Ever since the untimely death of Kathy Acker, experiments in form and voice and subject matter in the speculative genre have been all too rare. Luckily for us, however, a few brave authors remain willing to push ahead into uncharted literary territory. One of the finest is Lance Olsen."

-Asimov's

"Olsen is among the finest writers of social critique and speculative fiction today."

-American Book Review

Read an interview with Lance Olsen at Flashpointmag.com.

Girl Imagined By Chance

Girl Imagined by Chance is a critifictional novel about a couple who, in an unguarded moment, find themselves having created a make-believe daughter (and soon a make-believe life to accompany her) in order to appease their friends, family, and, ultimately, the culture of reproduction. Structured around twelve photographs, a single roll of film, Girl explores the nature of photography and the questions that nature raises about the notions of the simulated and the real, the media-ization of consciousness, originality, self-construction, and the way we all continually fashion our faces into masks for the next shot.

At its heart, Girl Imagined by Chance investigates the mystery of self-knowledge. Its prevailing metaphor and structural device, the photograph, examines the way images, in their magical ability to mimic memory, ultimately mock and eradicate it. The individual past, seemingly stable and fixed, turns out to be as protean and unknowable as the future, and the body becomes strangely dispensable, perpetually adrift in a cybernetic world of hyperlinks and interfaces. If Jean Baudrilard, Hélèn Cixous, and Clarice Lispector had collaborated on a novel, Girl Imagined by Chance would be the result.

"Lance Olsen has composed a spare parable of respresentation and self, the loss of the real and the reality of loss. Girl Imagined by Chance is smart and moving and elegant, its seemingly offhand scenes as effortlessly poignant as a handful of old snapshots."

—Shelley Jackson

"This play between image/text and fiction/criticism leaves both Olsen and his narrator on deliberately shaky ground, and it's precisely this tension which saves the novel from becoming another by-product of the Oprah-ization of literary fiction in the United States."

Portland Mercury

 

 

  Girl Imagined by Chance - Excerpt

For more than a decade after you were married, Andi and you discussed the prospect of children diligently and on a fairly regular basis.

You took the matter seriously.

You did not joke around about it any.

Have them, you decided, and you are doing nothing more nor less than making a bid to perpetuate your own genes.

Have them, and you are attempting to produce another human being over whom by default you have earned the right to exert blanket control for five to thirteen years, moderate control for five to eight more, and minimal if frequently surreptitious and psychologically damaging control for decades to come.

Do not have them, and you are making a bid to perpetuate your own selfishness, denying a certain sort of citizenly responsibility.

Do not have them, and you are evincing a puerile repudiation of maturation.

And yet you could not shake the feeling that children are not so much children as a breed of defective adults.

They do everything adults do, that is, except they do it much worse.

]Being as they are, for instance, noisy, messy, and egomaniacal.

Noisy, messy, egomaniacal, and cruel, combative, recalcitrant, naive, needy, histrionic, uninformed, opinionated, untruthful, insecure, moody, amoral, and physically and emotionally destructive.

Neither you nor Andi ever especially liked being around them, either.

You never knew what to say or how to behave in their presence.

Plus, Andi whispered, turning to you one night in the middle of a northern New Jersey movie theater in the middle of a lightweight spoof about the wacky adorable things kids do, I don’t want something alien growing inside me.

You glanced over at her, mouth stuffed with artificially butter-flavored carbohydrates and fiber, to see if she was pulling your leg.

She was not.

Swallowing, you whispered: Fair enough. But experts on Oprah say that motherhood is all about nurturing and joy.

I don’t want something forming inside me that literally makes me sick, day after day. Sciatica. Vomiting. The unstoppable need to urinate.

She helped herself to a handful of your popcorn.

Constipation, she added. Varicose veins.

The young couple behind you shushed you.

Andi turned in her seat and shushed them back. You’ve been thinking a lot about this, you whispered supportively.

Dreaming its own dreams beneath your heart. The very idea frightens me.

You watched children the size of Army tanks abusing their parents’ house on the screen. Audience members in your neighborhood chortled knowingly. Something the size of a great oak fell and smashed in Dolby sound.

We could always adopt, you whispered after a while.

In certain circumstances, I have no problem with adoption. Infertility, say. Age concerns. But for us adoption would spell bad faith. Simple cowardice in the face of the unfaceable.

I don’t understand, if I’m being really honest here, you whispered, how parents do it. Have you ever noticed that hollow, wasted, terrified look in their eyes two weeks after their babies arrive?

Like they finally understood the lifelong consequences of what they’ve just done?

One week they’re thirty, the next fifty.

Look how their skin turns gray overnight.

Their shoulders sag. They lose the ability to focus. They suffer from symptoms of sleep deprivation. They become irritable and self-absorbed and easily distracted.

They lose the ability to use an adult vocabulary and syntax and start worrying about how they’re going to pay for everything.

And then they begin talking in public about the color of their baby’s stool: semi-solid with light swirly hazelnut hues throughout, and so forth.

And then their child’s backing out of the driveway on the road to college and they’re standing on the front doorstep, wondering where the last eighteen years of their lives have gone, yet at the same time crushed by an overwhelming sense of loss they refuse to admit exists, saying every minute was worth it.

The young couple behind you hurrumphed and rose to move to a different section of the theater.

You noticed the woman was pregnant.

And labor, Andi said, no longer whispering. Don’t forget labor. They say birthing feels as if you grabbed your upper lip in your fist and yanked your facial flesh over your skull. In terms of pain magnitude, it’s the equivalent of losing a limb while you’re fully conscious.

Excuse me, the usher sussurated, kneeling beside you, pimply pale face floating in darkness, but I’m going to have to ask you to keep it down. People are trying to watch the movie.

It’s okay, Andi told him. We’re done.

She stood and without hesitation walked up the aisle toward the exit.

You looked at her vanishing, looked at the usher, handed him what was left of your popcorn, and hurried to catch up.


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