“Comet Fox by Peter Quinones is honestly one of the best books that I have read in a really long time.”
– Heather Williams Harrell; July 16, 2019

“This is creative writing at its pinnacle!”

– Grady Harp, Amazon Top 100 Reviewer; July 14, 2019

“As the name implies, the story shoots across your mind much like a comet shoots across the sky.  It’s an amazing experience…”
– Lisa Street Rogers; June 7, 2019
“This was such a good read, and so uniquely written.”
– maq224; July 14, 2019
“I found that this book is absolutely beautiful.”
– Amazon Customer; April 28, 2019
“What a blast to read!”
– Tracy Koehler; April 27, 2019
“Imagine a shard of glass and the various ways light reflects from it.  That’s the way Quinones writes of Banja’s life.  Brief, bright glimpses that flash before us and are gone.”
– bthomas; June 3, 2019
“I have not enjoyed a book this much in years.”
– Johni Brand Wiegal;  April 12, 2019

“I found this book very exciting because it is so different…You get the feeling that life is rich and mysterious, wonderful and tragic, at the same time.”

– Pat Doyle; August 14, 2019

“Five huge stars for Comet Fox.”
– Abookreader; June 2, 2019
“I give this book a hearty five out of five stars!”
– Brown Bettie; July 1, 2019
“This novel is anything but bland.  It is a rollercoaster ride, unlike anything I have ever read before.”
– Jay; March 21, 2019
“Wow, wow., wow!  Comet Fox by Peter Quinones was an awesome read.”
– Adeca; July 26, 2019
“In this fresh nonlinear story Banja’s life plays out in spectacular fashion…Anyone looking to explore an original perspective on a pansexual caught in the struggle to find love while also living with real life drama should read this.”
– Matthew R. Edwards; August 19, 2019
“This is the experience of high culture, low humor, realism, and one of the most educating novels I have ever read…I love this book.”
– Michelle Brooks; May 13, 2019
“Overall this book was pleasantly disorienting, innovative, excellently vulgar and truly unlike anything I have ever read.”
– Molly S; August 16, 2019
“Peter Quinones is a master of words that eloquently spins a literary web that slowly traps the reader until you realize it’s 2:00 in the morning and you have been reading for hours.”
– Skye; May 28, 2019
“Not only does he nail the life experiences, but he is able to evoke so much emotion as you read that you feel a closeness with Banja.”
– Amazon Customer; May 25, 2019
“It’s almost like I was able to live out some pretty wild fantasies, including ones that I didn’t even know I had, through Banja de Banja.”
– SPD; July 3, 2019
“The writer, Peter Quinones, really impressed me as a male writer being able to write such a fully realized and fleshed out female main character.  Banja felt like a woman I know.  Banja felt like me.”
– Amazonian 77; May 22, 2019


I’ve often wondered about the extent to which accessibility should be a characteristic of postmodern literature (or other subcategories of literature, such as feminist literature).  If we compare some of the more well known practitioners of the form who are comparatively easy to read such as, say, Joseph Heller or Kurt Vonnegut with those who perhaps may carry more of an intellectual heavyweight aura like David Foster Wallace, Thomas Pynchon, or Don DeLillo, we find that the sales numbers of Heller and Vonnegut blow the others away.  Any Barnes and Noble will have twenty Vonnegut novels in stock, right there on the shelf in the fiction section, available for purchase that instant.

And it’s disturbing that some of the best postmodern/feminist fiction of very recent times, for example Logic by Olympia Vernon or Seven Loves by Valerie Trueblood, don’t receive more attention. These novels lay between easy access and dense impenetrability. Trueblood’s novel is almost a paradigm example of how to write a story that scrambles time sequences and Vernon’s is so unique in its reality of surreality that it is almost a genre unto itself.

Quinones’ novel is more like these than the others.  For instance – except for the chapter with Launch Garcia and Delicata Portugal it is impossible to lay out any kind of chronology and tiemline for the other chapters.  Does Banja’s affair with Jarena come before the one with Dr. Gasoline or does it come after?  What about her trysts with Activon Kalungis and Joviette?  Don’t forget the meeting with Thames and Dickie Green or the ones with Becky, Holly, and Apasionada.  (In a bit of a wise ass move on the author’s part Polly Honka, the “elderess” from The Angels of Hymen, just happens to be on the scene while Banja records Thames and Dickie Green.)

Temporal and spatial constraints force me to cut to another point quickly.  This involves an observation made by the film director Paul Schrader in the voiceover commentary he does for his work Dog Eat Dog.  There, he notes that while it used to be necessary for a movie to establish a visual style right away and maintain that style consistently from start to finish, that is neither mandatory nor desirable any longer.  A film (he says) can now use rapid fire, jagged cutting in one scene and then, in the next, employ more traditionally arranged shots with moderate pacing, blocking, perfect lighting, etc. – and viewers will be able to roll with it with no problem.  This seems to me to be the exact philosophy Peter Quinones employs in Comet Fox – a stylistic potpourri holding no particular allegiance.

Weiss Soos is a PhD candidate in Metrical Ontology at the University of Rizzo.