Guerrilla Literature

Apologies in advance to the MFA students who care more identity than great writing. And to the editors of illustrious literary magazines who care more about “spreading the right narrative” than truth. And to everyone else who cares more about political ideologies than originality.

All you will find here is truth, great writing, and originality.

This writing often comes from rebellious writers. I wish it didn’t have to be that way, but I don’t make the rules. They’re the ones who push the medium forward because they’re unafraid of sharing the truth. As I write in The Rebels Need to Topple the Literary Establishment:

In most cases, the institutions of the Industry are right to ignore the anti-establishment novels they receive. Just because a work is pornographic or reactionary does not mean that it is good. There is nothing impressive in scribbling thousands of dirty words or inventing a series of depraved scenes. But when controversial books also have artistic merit, they are much more powerful than the well-composed works HarperCollins poops out. In guerrilla novels, one finds the crude gutter slang normally reserved for use with close friends, the hurricane of private thoughts and emotions that are too vulgar and shameful to speak. Excellent banned books leopard crawl into the secret crevices of the mind. Not only are they more truthful than the traditional, but more innovative too. The writer willing to mar his reputation or forgo publication is more likely to break all convention than the party man. It was Céline who pushed the novel one hundred years forward because—after first torching the rules of pretentious literary language—he then tore down those of form, structure, and subject matter.

So, what is the goal of this publication? To make you feel more alive. To give you a deeper understanding of the greatest stories ever written. To share with you the biographies of mad creators. To help you discover new fiction from the best living writers. To introduce you to new friends through the real-life events. And, of course, to make English teachers croak.

If we can do all of that, then, together, we’ll breathe life back into literature.

— Anthony