News Flash from the Third Circle: It turns out Barbara and Jenna Bush aren’t alone in their misdemeanors.
Meet twin sisters Susan and Sharon, extracted straight out of Disney’s The Parent Trap (itself extracted from German children’s author Erich Kastner’s Das Doppelte Lottchen). Unlike Disney’s series of self-congratulatingly “uproarious” sequels starring Hayley Mills, Yellow #10 catches those rascally Baby Boomer twins full in the throes of a 1990s-style adolescent identity crisis, where anti-depressants, confessional poetry, cry-for-help suicides, and the constipated rhythms of pre-millennial pop music.
“Trevor Dodge’s prose lifts the belly of consumer culture and media-saturated society to reveal its hidden center: endlessly shifting identity and the long echo of a desire perpetually deferred. You are what you read in the arbitrary loop and electrical charge of language. Dodge signals through the flames.” -Lidia Yuknavitch, author of Real to Reel, Liberty’s Excess, and Her Other Mouths
“Mr. Dodge’s short novel may make you a little queasy, but I can assure you that you will never find queasiness this interesting again. Not in this life.” -Curtis White, author of Requiem and The Middle Mind
“Yellow #10 is an avant tour de force, a maniacally funny standup routine dreamed by William Burroughs dreamed by Georges Bataille dreamed by Terry Gilliam in a dress. Its amped-up multi-vocal exploration of the carbuncular body, Silly Putty selfhood, and millennial Culture of Derangement will leave you gnawing your chair leg. Bring a bite guard. You’ll need it.” – Lance Olsen, author of Nietzsche’s Kisses and Girl Imagined by Chance
ABOUT THE AUTHOR
Trevor Dodge is the author of Everyone I Know Lives on Roads (Chiasmus, 2006) and co-editor of the Northwest Edge anthology series. His work has appeared in Fiction International, Gargoyle, Plazm, Review of Contemporary Fiction, Black Ice, and Rain Taxi. He lives and teaches in Portland, Oregon and can be found online at www.trevordodge.net.
ABOUT THE ARTIST
In Venus of Sub-Urbino (after Titian’s Venus of Urbino, 1538) Michael Kadera juxtaposes naïve feminine innocence with female sexual objectification. His other works address the transmutation of the American dream and the effects of escapist consumer culture via contempoary iconography. Kadera is a native of Portland, Oregon and can be contacted at firstname.lastname@example.org.