Fiction. Do we call TOUGHLAHOMA the satire we all deserve, a monstrously true fable of the late days of capitalism? We could say, for instance, that TOUGHLAHOMA crosses Vico's early sociological theories with Hobbes's and Locke's conflicting notions of the state of nature to tell the story of one civilization's failed attempts to become civilized. Or we could say that TOUGHLAHOMA is simply a first account of the Toughlahomans and what they did and do: Jesus went to the End and back before inventing Uglahoma. Ishmael kicked ass and said taglines all over Roughlahoma. Good Dad mostly stayed put. The rest of them hang around the Community Center chewing their Necro Wafers and just being themselves--bicepsual, troublesexual, and martially artistic--in case they ever get to have a war. Let's call TOUGHLAHOMA a history, a scripture, a goddamn dithyramb, and a public relations campaign all in one.

"In the post-apocalyptic, Mad Max world of literature, Christian TeBordo is the guy with the shotgun."--Amelia Gray

"A non-stop rush of luscious language and ingeniously twisted story logic told from another dimension, perhaps the fifth or sixth."--David Ohle