Trashland A GoGo edition by Constance Ann Fitzgerald Literature Fiction eBooks
Download As PDF : Trashland A GoGo edition by Constance Ann Fitzgerald Literature Fiction eBooks 
Alice in Wonderland, with garbage and a dead stripper!
Coco takes off her clothes for a living, until some nasty little bitch kills her while she's dancing. Thrown in the dumpster by her sleazebag boss, Coco awakens in a land of trash. With her new friend, Rudy (a dying fly), and her knight in garbage armor, the undead dancer tries to find her way home. But first she must escape from the evil Queen of this trashscape a jealous and insane Ruler of Refuse who has an intense fear of flies. With hints of The Matrix and The Whiz, this heady trip will satisfy your cravings for twisted fairy tales, rotting garbage, and charming weirdos. Long live the Queen!
Trashland A GoGo edition by Constance Ann Fitzgerald Literature Fiction eBooks
I love bizarro fiction, but, let's face it, it's a huge sausage fest. I can count the number of female authors in the genre on one hand and still have room for a couple of finger puppets and a Chinese finger trap. Trashland A Go-Go was the first bizarro I've read by a woman- and it delivered.At its core, the story seems to be a retelling of Alice's Adventures in Wonderland. Coco is a stripper who dies in a tragic pole accident and is unceremoniously thrown in the trash by her employer. Against all odds, she wakes up and finds herself in a magical world that she first mistakes for the dump. It quickly becomes apparent that is is no ordinary landfill, however. She befriends a fly (a Cheshire Cat of sorts), who is simultaneously annoying and helpful. He guides her through her journey, sees her through her interactions with the denizens of Trashland (oddball characters that make Alice's Mock Turtle and March Hare seem almost normal), and delivers her unto the Queen.
There is one truly notable difference between Trashland and Alice, though. The most fearsome aspects of Wonderland are never of much concern because Alice knows they are not real. She finds herself torn from her life of logic and reason and thrust into this world where nothing is as it should be. Coco, on the other hand, is no child chasing rabbits in a field. She's lives in a world that's kind of unreal, a Liberty City sort of place where she takes her clothes off for a living and is horrifically killed by something as simple as petroleum jelly on a pole. Waking up in an alternate reality on the other side of a dumpster is not that great of a stretch. From the beginning, Coco wastes little time trying to verify the reality of the situation and much more doing what she can to survive.
What we have here is a bizarro story that brilliantly interweaves feminist insights into the natural tropes of the genre. Coco is a strong female lead who is forced to battle other strong females in order to hold on to her place in the social hierarchy. In her real life, it's an angry coworker; in Trashland, it's the evil Queen. All of these female characters hold power and it is only through elimination of one another that any of the others can advance. Sit back and think about the implications there for a moment.
As a stripper, Coco (and her homicidal rival) exhibits her power over men with her sexuality. The Queen she eventually meets bends men to her will with the aid of a spore that binds itself to their necks and keeps them loyal. In both worlds, a single woman must hold the power over the group of men in order to stay dominant. This is why both the evil stripper and the Queen want Coco dead. There is not enough room in either world for shared female power. The women want other women out of the way so that they can have the men all to themselves. Not out of some need based in sexuality, but, rather, in a need for power that just isn't available in any other way.
Coco, however, is the antithesis of this idea. She is catty toward her coworker, but doesn't do anything bad to her. She's content to dislike the woman and get on with her life. Likewise, she has no beef with the Queen until the matriarch starts some stuff. Coco doesn't want the power the others strive for. For the most part, she simply wants to be. Enticing men, be it for prestige or to fill a gaping void in her self-worth, is of no interest. She's strong all on her own. She needs no one's affirmations of this. She's kind of hardcore.
As far as feminist images go, there was one I enjoyed above all others. Coco is arrested by the Queen and locked inside of a cell made of dirty diapers. In a show of anti-domesticity, the dead stripper forcibly claws her way out, refusing to be held back by the festering vessels of feces. Martha Stewart, eat your heart out.
When all is said and done, Fitzgerald holds her own against the heavy-hitters in the bizarro scene. Her gross outs rival the later challenges in Steve Lowe's King of the Perverts, and her fantastical world is as lovingly crafted as Cameron Pierce's Keister Goblins of Auschwitz.
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Trashland A GoGo edition by Constance Ann Fitzgerald Literature Fiction eBooks Reviews
After a pole dance goes horribly wrong, Coco Darling is tossed into the garbage and wakes up in a land of garbage. Can she find her way home without running afoul of Queen?
Yeah, I may have unearthed the gem of the 2011-2012 New Bizarro Author series.
If the Wizard of Oz starred a stripper and took place in a land of garbage, it would be very much like Trashland A Go-Go. Coco is a strong leading lady, not waiting for some guy to come along and save her. She's also tough as hell. Could you dig your way out of a room that has walls made of dirty diapers? Yeah, me either.
Coco's journey is full of funny moments as well as disgusting ones. Imagine a woman walking across a trash-filled landscape wearing an ugly bridesmaid dress and interacting with her talking fly sidekick. The villains are vile, the trash world is utilized to its full potential, and there are parts of the book that will make you want to laugh or puke, or both at the same time. That's pretty much all I can say without giving away too much.
Trashland A Go-Go is one of those first books that you're astonished is someone's first book. The writing is polished, the pace is great, and there aren't any missteps. It's also pretty accessible for a Bizarro book. If you're looking to give the Bizarro genre a shot, you can do a hell of a lot worse than Trashland A Go-Go.
ID SAYS
WHEEEE!!!! Stripper flies from the pole and goes smashing into the DJ booth. Oh, the electricity! Quick, let's throw her body in the dumpster out back says the boss man. No one will miss her, except maybe the DJ who's got a sex fantasy obsession with her.
Oh no, Coco! You're not dead. Or are you? You don't remember talking flies before your electrocution, and this city dump you woke up in is a lot bigger than you imagined. Better start walking if you want to get out of here. Try not to inhale through your nose if you can help it, this place smells worse than poo.
Maybe the old woman Oracle can help, but you probably won't enjoy her divination techniques. And besides, there's a handsome knight in tire tread armor who can help you navigate the trashscape. Oh, but if he's a knight, that means he serves a monarch. The current ruler is one crazy-horny shrew, Coco, watch out. Whatever you do, don't let her find out you brought that talking fly into her queendom.
EGO SAYS
Coco Darling is a survivor. I think. No matter how bad it gets, she pushes forward in her attempt to escape the city dump. Not many would take one step into the filth and muck she enters. I wonder, though, why she wants so badly to escape back to her normal life. It wasn't exactly the most glamorous, working for a scumbag at a strip club where happy hour consists of the employees doing extremely degrading things with bratwurst. She should look into a new line of work.
Helping out Coco on her heroine's journey is Rudy, the dying fly. Rudy isn't sure what he's dying of, only that he has a week a live according to the Oracle. Coco accidentally destroys Rudy's home, but he still offers to take her toward civilization. I don't believe it's exactly the same kind of civilization Coco's thinking of.
Also ready to help out is Adrian, a knight of the land. He also acts as the maintenance man, repairing the robot Gatekeepers and occasionally taking them out when they begin to malfunction.
Adrian serves the Queen, a mostly human monarch with a taste for anything masculine. When she's in heat, she attracts mates by dropping purple spores. If the spores happen to attach to nearby men, said men may have a hard time concentrating on anything other than their deep adoration and appreciation of the Queen. Worse still, when she grows bored of her playthings, she tosses them in the Chamber, never to be heard from again.
SUPER-EGO SAYS
If this book has taught me anything, it is that strippers are apparently a dime a dozen. How else can you explain Coco's boss throwing her away like unwanted kittens. Would it have hurt him to post a sign stating "FREE DEAD STRIPPER TO GOOD HOME"?
Ms. Fitzgerald brings the world of landfills to life in ways most vulgar. The colors, the smells, the liquids, they all swirl together in descriptions that will leave you terrified of what could be growing in your own garbage can.
From her first squishy step, it seemed to me that the protagonist was doomed to wander the trashlands eternally. Is she really dead? Is this some sort of stripper hell she has found herself in? Or is it something else? Perhaps it is a dream the fates are using to try getting through to her about the life she led, pointing out the trash she was already living in. Or perhaps her life was the dream, and maybe this is Coco's chance to discover a better life to wake up in.
I love bizarro fiction, but, let's face it, it's a huge sausage fest. I can count the number of female authors in the genre on one hand and still have room for a couple of finger puppets and a Chinese finger trap. Trashland A Go-Go was the first bizarro I've read by a woman- and it delivered.
At its core, the story seems to be a retelling of Alice's Adventures in Wonderland. Coco is a stripper who dies in a tragic pole accident and is unceremoniously thrown in the trash by her employer. Against all odds, she wakes up and finds herself in a magical world that she first mistakes for the dump. It quickly becomes apparent that is is no ordinary landfill, however. She befriends a fly (a Cheshire Cat of sorts), who is simultaneously annoying and helpful. He guides her through her journey, sees her through her interactions with the denizens of Trashland (oddball characters that make Alice's Mock Turtle and March Hare seem almost normal), and delivers her unto the Queen.
There is one truly notable difference between Trashland and Alice, though. The most fearsome aspects of Wonderland are never of much concern because Alice knows they are not real. She finds herself torn from her life of logic and reason and thrust into this world where nothing is as it should be. Coco, on the other hand, is no child chasing rabbits in a field. She's lives in a world that's kind of unreal, a Liberty City sort of place where she takes her clothes off for a living and is horrifically killed by something as simple as petroleum jelly on a pole. Waking up in an alternate reality on the other side of a dumpster is not that great of a stretch. From the beginning, Coco wastes little time trying to verify the reality of the situation and much more doing what she can to survive.
What we have here is a bizarro story that brilliantly interweaves feminist insights into the natural tropes of the genre. Coco is a strong female lead who is forced to battle other strong females in order to hold on to her place in the social hierarchy. In her real life, it's an angry coworker; in Trashland, it's the evil Queen. All of these female characters hold power and it is only through elimination of one another that any of the others can advance. Sit back and think about the implications there for a moment.
As a stripper, Coco (and her homicidal rival) exhibits her power over men with her sexuality. The Queen she eventually meets bends men to her will with the aid of a spore that binds itself to their necks and keeps them loyal. In both worlds, a single woman must hold the power over the group of men in order to stay dominant. This is why both the evil stripper and the Queen want Coco dead. There is not enough room in either world for shared female power. The women want other women out of the way so that they can have the men all to themselves. Not out of some need based in sexuality, but, rather, in a need for power that just isn't available in any other way.
Coco, however, is the antithesis of this idea. She is catty toward her coworker, but doesn't do anything bad to her. She's content to dislike the woman and get on with her life. Likewise, she has no beef with the Queen until the matriarch starts some stuff. Coco doesn't want the power the others strive for. For the most part, she simply wants to be. Enticing men, be it for prestige or to fill a gaping void in her self-worth, is of no interest. She's strong all on her own. She needs no one's affirmations of this. She's kind of hardcore.
As far as feminist images go, there was one I enjoyed above all others. Coco is arrested by the Queen and locked inside of a cell made of dirty diapers. In a show of anti-domesticity, the dead stripper forcibly claws her way out, refusing to be held back by the festering vessels of feces. Martha Stewart, eat your heart out.
When all is said and done, Fitzgerald holds her own against the heavy-hitters in the bizarro scene. Her gross outs rival the later challenges in Steve Lowe's King of the Perverts, and her fantastical world is as lovingly crafted as Cameron Pierce's Keister Goblins of Auschwitz.
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