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Hailed by cult novelist James Purdy who declared "He has no equal, today or tomorrow.", Quine's four paneled Hallucination is a work in the tradition of Lautremont's fin de siècle extremity. Its ostensible narratives are fever dreams swarming with globe shuttling pop stars, their catatonic lovers and malefic nightclub DJ's creating nightscapes warped fantastic by the ultimate hallucinogen-- "mirrorgas". In this pool of fanciful imagery VR hysteria instigated by a band of self declared "ikons" segues into a tale of vengeful young visionaries on the trail of homophobic televanglists.
The London born, Cambridge educated East Villager is obviously not without his fair share of camp humor but at no point does his work ever loose the discombobulating trauma that makes fin de siècle fiction so peculiar. Such a claim of course provokes the question of "How could anyone possibly take that genre further down a particularly fantastic road?" but Hallucinations at the end of this millennia is precisely what Lautremont's, Huysman's and Wilde's work represented at end of the 19th century
One could extend the millennial lines a bit further and look at the way turn of the century Art Deco design streamlined the elegance and proportions of 18th century furniture design. Art Deco fed from but extrapolated 18th century ornamentation, proceeding to flatten it, stream line it and stylize it to draw maximum attention to outline, surface and sheen as opposed to body or texture.
This is precisely what Quine does with the florid excesses of the 19th century fin de siècle fiction . He convert's that period's self dramatizing prose intricacies with an emblematic, narcissistic starkness that couldn't have happened until now--at the end of the twentieth century when the "decadent' sensibility can be remodeled under the influence of a mass media culture weaned on the marketability of shock value and transgression.