Freedman, Benjamin, authorAusubel, Ramona, advisorAltschul, Andrew, committee memberMacKenzie, Matt, committee member2024-05-272026-05-202024https://hdl.handle.net/10217/238423At its core, this novel centers around Pep Olsen, a fifteen-year-old boy living in the Olympic Peninsula in Washington State in 2004. He navigates his overactive mind and anxiety, absence of his dad who works on a nuclear submarine, seeking popularity in school, adolescent relationships, burgeoning bicurious desire, and fascination with a stranger who has recently been going around town, violently killing and displaying animals. Eek! The backdrop to this local violence is the Iraq war. A different sort of violence, but no less gruesome. The war has taken over the consciousness of the community and is usually present, humming in the background of the novel. Pep navigates his own still-forming thoughts on the U.S. and its invasion of Iraq, which is put in conversation with other main characters—Grandma Bee, Ken Olsen, and Vice Principal Sanders—who each see the horror of war but react in radically different ways. Often times, characters like the Vice Principal, Clint Shackton, and others act or say things with direct allusion to historical events or speech. There's also some philosophical references and literary allusions going on, though I hope it's not too heavy-handed. I think there's also this recurring theme of human and animal, how slippages between the two can occur, and how this period makes "animals" out of folks, and what that allows to be viewed as "legitimate." The way in which stories are constructed, how the media describes violence, and the mythmaking of war are all important. It's probably worth mentioning that I also recently read a ton of weird, early 20th century American political thinkers like Walter Lippman and Edward Bernays, who sort of professionalized and developed the idea of propaganda as a "necessary" means of controlling public opinion. Those ideas are present throughout, as I see a direct intellectual through line between that era and how the Bush administration riled up war support. Grandma Bee's leftist political tendencies are a nice foil to this. It also pretty explicitly deals with the somewhat uniquely American phenomenon of both being one of the most destructive, violent international forces, and yet almost uniformly not viewed as such within the country. Delusion and how such a picture of the world is formed seem to be important questions. Thematically, one of the things I attempted here was put the early aughts nostalgia of boyhood and dial-up internet and old video games and high school culture in direct proximity to the horrors of this period. I try and let the two bounce off one another, and hopefully this helps contribute to the slightly eerie, off-kilter atmosphere of the book. On a craft level, there's a few things I tried. First, the whole book takes place over roughly two and a half days, so naturally there is a lot of expansion of moments here, living inside the head of Pep and others. There's also an abundance of dialogue, at times spanning pages. I wasn't expecting this when I started, but it quickly grew to become an essential part of the pacing of the book as well as deepening the characters. And it was also, well, fun as hell to write. There are also some bigger ideas I played with—reality and distortion, the function of language, and what the line between mind and world is when you're writing from the perspective of within someone's head, etc.born digitalmasters thesesengCopyright and other restrictions may apply. User is responsible for compliance with all applicable laws. For information about copyright law, please see https://libguides.colostate.edu/copyright.TextEmbargo expires: 05/20/2026.