Natsuki Taniguchi
Since the beginning
Works in Sapporo Japan

Kenji Siratori, author of Blood Electric, is a brilliant superhip writer of great intellectual hypermodern fiction. Born in 1975, he currently lives in Sapporo, Japan.
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Blood Electric

Fri Aug 02, 2002 00:00 - Mon Aug 05, 2002

Blood Electric
Fiction for the 21st Century
by Kenji Siratori

Virtual literary forums, online zines, digital writing circles, visitors to these havens for cyber-writers may already be familiar with Kenji Siratori: a young Japanese writer who is currently bombarding the internet with wave upon wave of highly experimental, uncompromising, progressive, intense prose.

Now with the publication of his debut novel, Blood Electric, Siratori痴 highly-original work will be exposed to a far wider audience. His is a writing style that not only breaks with tradition, it severs all cords, and can only really be compared to the kind of experimental writing techniques employed by the Surrealists, William Burroughs and Antonin Artaud. Unlike these innovators however, Siratori stands as a real 21st-century boy. Embracing the image mayhem of the digital age, Siratori痴 relentless prose is nonsensical and extreme, avant-garde and confused, with precedence given to twisted imagery, pace and experimentation over linear narrative and character development.

Vividly describing the coming to consciousness of an artificial intelligence set against a Blade Runner-esque apocalyptic landscape, Blood Electric draws from genetic engineering, biological warfare, highly-advanced computer games, ultra-violence and gratuitous sex crimes in this non-stop, explosive sci-fi rant.

Officially approved by the Japanese Embassy (Japan 2001) and under consideration for the Arthur C.Clarke and Philip K.Dick Award, Blood Electric sets a benchmark for a new generation of experimental cyberpunk writers.

Creation Books



Richard Marshall interviews Kenji Siratori

RM: Give the readers some biographical details -- maybe including your involvement or non involvement with World Cup excitement.

KS: My vital icon functions to hypermodern space -- the gene dub that was turned the strategy. I'm beating as a hardweb -- like the streaming machine of World Cup -- my nerve cells that turned nomads are the data=mutant of the violence screen. I'm writing this in the silence of an unnationality now.

RM: Your writing is extreme -- there's violence, sex in plenty. Where does this come from: is it influenced by film experiences, reading experiences or personal experiences? It reminds me of 'Tetsuo'.

KS: So my writing was born with the horizon of techno -- I'm advocating nerve physics here -- I process violence and sex as the reality of data -- I take a view of my conceptual web with nerve experiences. The writing is linked to how I game this expanded hardweb for me -- such a method that touches to my brain more cruelly.

RM: The form of the writing is extreme too -- it seems to break the language into something else, almost a new language. What are you trying to achieve here?

KS: In my writing the language cell is able to be distorted by the infinite hyperlink of the synapse -- 'a new language' is the conceptual pain -- all the data act as the hardweb character as if I dissect subjective writing, I'm striking the nude brain to a screen. This is the practice that hardweb creatures were disclosed.

RM: Are there writers you feel have been important to you? Writers from the past and writers writing now? If so, who are they, and what makes them important?

KS: Certainly Antonin Artaud exerted an important influence on my hardweb -- Artaud produced PDA of a nerve cell -- there is different vital possibility that was hypercontrolled by the language here because the creature intensity of hardweb is increased to our atrocious gene dub.

RM: How far is Japan an influence on you and your writing?

KS: Japan is the cultural discharge zone where was alienated for me -- is the dark arrangement of my writing for literary defection.

RM: Tell us about your novel Blood Electric -- about how you came to write it, what is it about and what are its themes? Why might we want to read it?

KS: So my novel is presenting the aspect of a genetic hardweb clearly -- the nerve cells that run through our gene dub -- is the strategic object that our body codes erodes the world.

RM: We live at a time when the novel is under attack -- film and music are more advanced we're told. Do you think this is true or do you think the novel can still be a modern, advanced place?

KS: I believe that the novel becomes a cultural trigger -- but this requires the digital narrative of nerve cells that had the creature intensity -- simultaneously we must perceive the instant when the novel is networking as a part of the human body emulator.

RM: The world is a place where violence seems to be everywhere -- and is taking on new meanings -- from September 11th type stuff to the Sarin gas attacks in Tokyo to Israel: is your book a response to this? Are you trying to find out what language can do with this new world? Are you positive about the world or is there something too negative about everything now? Do you think as a novelist you should try and answer such questions such as 'How should we live', like Tolstoy thought novelists had to?

KS: We must control a different vital language cell in the world, so the world is exposed to more physical gene dub. I practice hardweb of the creature intensity as the data mutant of the world -- the new world is resisting our evil gene dub with the era respiration byte. The echo archive. As all the data of the human body flow backward to our global hardweb.

RM: Do you think there's a new readership out there who are wanting to break out of the old forms because they're no longer relevant?

KS: Yes -- I call this a different vital plug-in of the global hardweb --but it's important to incubate purer nerve cells -- to produce our creature intensity into the cursed gene dub. You are the interactive data mutant.

Richard Marshall is the editor of '3AM Magazine'.
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