By: David Brown
In recent memory, few debuts promise to ignite as much controversy as Otto Blaast’s incendiary Snake Kiss. At the heart of this inevitable controversy lies a stubborn epistemic paradox, best articulated by Blaast himself: “My stories are factually correct…authentic and true, and yet, at the same time, they’re utterly unbelievable.” Even Blaast, who experienced these events first-hand, struggles to fully process them. “I lived these stories and still find some very hard to believe. So, if readers are skeptical, I get it,” he admits.
Yet, Blaast is unyielding in his defense. “The photographic evidence is the photographic evidence…the veracity of the photos cannot be denied.” Snake Kiss, an extract from his Gold Connections Trilogy, culminates in what Blaast describes as one of the most horrific photographs ever taken – depicting “primordial evil.” An audacious claim, indeed.
It’s no wonder, then, that procuring industry support for Snake Kiss has been a long, grueling journey. “I kept receiving rejection letters saying, ‘Sorry, we’re not taking on any new fictional projects at this time.’ And I thought, ‘Did anyone even read it…or look at the photographs?’”
Despite the setbacks, Blaast found solace in the stories of other authors who faced similar struggles, such as kindred spirit Richard Bach. But J.K. Rowling’s tale of discovery particularly resonated with him. “If Christopher Little hadn’t picked up her manuscript from the slush pile, Harry Potter might never have seen the light of day,” Blaast reflects, highlighting the capricious nature of the publishing industry.
Rowling’s influence on Blaast has been profound; right down to his choice of 12-point Adobe Garamond typeface. “In the final drafts, I constantly asked myself, ‘What would J.K. do? Would she add a comma here? Use a semi-colon there? Approve of italics in this instance,’” Blaast reveals.
Other literary influences are evident in Snake Kiss as well. The punchy humor, despite the novel’s eerie undertones, bears the mark of Kurt Vonnegut, while traces of David Foster Wallace, particularly Pale King, are discernable. Thematically, Philip K. Dick’s Ubik and Mark Z. Danielewski’s House of Leaves quickly come to mind, the latter, particularly for its assertion of truth amongst apparent fiction.
Blaast describes Snake Kiss succinctly: “Imagine an R-rated episode of Big Bang Theory evolving into a deeply disturbing, occultist creep-fest,” or alternatively, “What if The Blair Witch Project turned out to be true?” On this note, Blaast’s gripping, visually-inspired narrative seems tailor-made for the big screen. “I’m certain most readers will agree the book would translate into a compelling, cinematic experience,” Blaast asserts. His passion for music – a self-professed audiophile – suggests the soundtrack could be legendary.
Snake Kiss is just a taste of what is to come. Part of a larger trilogy, Blaast’s narrative journey is far from over. After nearly thirty years of teaching philosophy in Southern California, he’s returned to his roots in Norman, Oklahoma, hoping to spend his remaining years captivating audiences everywhere. “There’s nothing I’d like more than to continue to explore the prism of aesthetic possibility, value, and experience,” Blaast concludes. Here’s to the journey ahead, Otto.
Published by: Josh Tatunay
