Make It Real

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Make It Real
by Kathe Koja

Hey, boy, welcome to reality – David Bowie

When you write a book about reality, when I wrote this one, you need to consider what reality is, really. Is it tangible, physical? a rapturous hug from the one you love, a tasty cocktail sipped in the sun, a broken thumb, a lit cigarette, a stubborn headache, the view from a balcony? Or is it a metaphysical construct, an art school joke, a philosophical itch, a lone proverbial tree forever falling, falling? Is it emotional vertigo? Is it vertigo? What if reality defines itself? How would we know?

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Six Ridiculous Questions: Max Caspar (and Kathe Koja)

Caspar and Koja

The guiding principle of Six Ridiculous Questions is that life is filled with ridiculousness. And questions. That only by giving in to these truths may we hope to slip the surly bonds of reality and attain the higher consciousness we all crave. (Eh, not really, but it sounded good there for a minute.) It’s just. Who knows? The ridiculousness and question bits, I guess. Why six? Assonance, baby, assonance.

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All That Hunger

"The Cipher" cover

All That Hunger
by Kathe Koja

If you write a book about a bottomless hole that appears in a cruddy storage room floor, and call it the Funhole (the hole, not the book, although the book was briefly titled The Funhole until its original publisher insisted on a title change to The Cipher), you are going to get asked a lot of questions. Some of them will be predictably droll, some will be existentially thoughtful, and the great majority of them will be about that hole. Specifically, what exactly is it, a monster? a process? a Freudian metaphor? And what exactly happens in there, why do horrible things—transformative, absolutely, but uniformly horrible—happen to anything that gets too close?

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Excursions Into the Bizarre: A Review of Kathe Koja’s “Velocities”

"Velocities" cover

My first encounter with Kathe Koja came via the novels published by the surreal horror imprint Dell Abyss in the 1990s. The Cipher and Bad Brains were profoundly unsettling works on their own, as well as memorably serving as proof of concept for a more unsettling strain of horror that opted less for scares than for dread. Since then, Koja’s milieu has only expanded; with books like Under the Poppy, she’s displayed a penchant for forays into history, and her body of work also involves an extended commitment to theater.

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Six Ridiculous Questions: Kathe Koja

Kathe Koja

The guiding principle of Six Ridiculous Questions is that life is filled with ridiculousness. And questions. That only by giving in to these truths may we hope to slip the surly bonds of reality and attain the higher consciousness we all crave. (Eh, not really, but it sounded good there for a minute.) It’s just. Who knows? The ridiculousness and question bits, I guess. Why six? Assonance, baby, assonance.

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