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D. Harlan Wilson

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D. Harlan Wilson
OccupationNovelist & Professor
NationalityAmerican
Period1999-Present
GenreIrrealism, Bizarro, Science Fiction, Fantasy, Horror
Literary movementBizarro fiction
Notable worksDr. Identity
Website
http://www.dharlanwilson.com

D. Harlan Wilson (born September 3 1971 in Grand Rapids, Michigan) is an American short-story writer and novelist whose body of work is typically associated with the genres of irrealism, science fiction, fantasy, horror, and Bizarro fiction.[citation needed] Elements of splatterpunk, absurdism, literary fiction, ultraviolence, and postmodernism deeply inform his writing, too.[citation needed] He is the author of several books, and his stories and flash fiction have appeared in magazines, journals and anthologies in multiple languages.

A literary critic in addition to a fiction author, Wilson holds a Ph.D. in English and is a college professor. Both his cultural criticism and creative writing focus on how the human condition is an increasingly pathological construction of technocapitalist media forces.[citation needed]

His work has been allied with a wide range of authors, especially Bizarro authors like Carlton Mellick III, John Edward Lawson, Steve Aylett, Kevin L. Donihe, Vincent Sakowski and Steve Beard.[citation needed]

Wilson is also the editor-in-chief of The Dream People, an online journal of Bizarro literature, art and animation.

Books

Films

  • The Cocktail Party (2006) - Co-written with director Brandon Duncan, this short, animated, rotoscoped film is a highly abstracted and philosophical (post)postmodern meditation on the narcissistic themes of consumerism, redundant self-analysis and rampant hypocrisy. The film won several awards, including a Platinum Remi Award (WorldFest-Houston International Film Festival 2007), Grand Jury Award Best of Show (Fear No Film Festival 2007), Best Student Film (Kansas City Filmmakers Jubilee 2007), and Best Animation (ACE Film Festival 2007).

Trivia

Wilson is a direct descendent of James Fenimore Cooper.[citation needed]

Wilson's narratives are fraught with ellipses, a technique he has admitted to borrowing from William S. Burroughs for the purposes of "representing the terminal lack around which reality is perpetually (re)structured." For Wilson, ellipses are manifestations of Jacques Lacan's concept of The Real.