By Mark Leach

Imagine science fiction writing generated through a science fiction-like approach to writing.

Science fiction as junk, science fiction as detritus. Nutritionless science fiction, meaningless science fiction, unloved science fiction. Science fiction built on everyday speech, illegibility, unreadability and machinistic repetition. Science fiction as material, science fiction as process, science fiction as something to be shoveled out machine-like and spread across pages.

This is science fiction writing that is more about quantity than quality. Boredom, valuelessness, and nutritionlessness is the ethos of this new type of writing, this science fiction of the future. It is a future that lies in the use of aplastic, objective and entirely non-writing procedures. It is a future based on information management, word processing, databasing and extreme process. It will be perhaps the first type of sci-fi written by a machine – a Science Fiction Writing Machine.

Because the science fiction writer of the future will be a machine, it will make no claims on originality. On the contrary, it will employ tactics that would be intentionally self and ego effacing if employed by a human.  Uncreativity, unoriginality, illegibility, appropriation, plagiarism, fraud, theft, and falsification. You don't need to generate new material to be a science fiction novelist. The intelligent ordering or reframing of existing text is enough.  (Parenthetical aside: I appropriated almost all of this essay from various articles about conceptual poetry, including at least one piece that has been picked up and reprocessed by dozens of writers.)

The science fiction of the future will be the art of the engineer. In fact, the only human artist will be the engineer who creates the writer, which is to say the machine. The test of the writing machine’s output won’t be whether it could have been done better (the question of the writing workshop), but whether it could conceivably be done otherwise. The Science Fiction Writing Machine will be superior to a human writer in that it will conquer the self-regard of the novelist's ego, turning it back onto the self-reflexive language of science fiction itself.  The machine will replace the human substitutions that are at the heart of metaphor and image with the direct, mechanical presentation of language itself. Spontaneous overflow will be supplanted by meticulous procedure and an exhaustively logical process. 

This writing machine will be created by me in my own image. I know that it might not be as talented as me. But that’s OK. It only needs to write in the image of its creator. Do you think that when God was molding Adam out of dirt and dust that he worried His creation wouldn't be as talented as the Heavenly Father?

Until I can perfect my Science Fiction Writing Machine I must be satisfied by emulating the techniques of a machine. That’s what I did earlier this year with “Cutting Up Two Burroughs,” a computer-assembled novel inspired by the writings of two very different authors with the same last name – William S. Burroughs, author of “Naked Lunch”, and Edgar Rice Burroughs, best known for his science fiction and jungle adventure stories. Employing a rigorously process-based methodology, I exploited the cut-up method popularized by William Burroughs and other aleatoric techniques to create a science fiction of cold electric horror and burning excrement. Burroughsian text is stripped of its original emotion, meaning and metaphor. Reassembled words are shoveled out and spread across pages with minimal human intervention, revealing an intergalactic war zone ruled by Nebula apes, homoerotic extraterrestrials and The Fold-in Death. “Cutting Up Two Burroughs” embraces language as junk, as detritus, as raw material. The result is robot literature, a science fiction for machines.

Most people regard science fiction at the level of invisible language. The language is subordinate to - a medium for communicating - the ideas and the entertainment we associate with the genre. But science fiction language can work at many levels. You can think of its language not merely as an invisible medium but as physical matter. Language that has to be moved around, processed, stored, manipulated. Language as a quantity of text. Language that takes up space -- that both creates space and fills space.  I am most interested in science fiction as physical matter, something that you manipulate and build.

Filling up space with words. Andy Warhol said quantity is the best gauge on anything (because you're always doing the same thing, even if it looks like you're doing something else). I first explored this type of machine-like writing while producing my science fiction epic, "Marienbad My Love." Much of it is based on appropriated text, which I multiplied with the copy and paste functions of the computer then ran them through online cut-up engines and processed with other aleatoric methods. The result is 17 million words, making “Marienbad My Love” the world’s longest novel. I admit that 17 million words is a lot. Anything over a half million words is a lot. Too many words to read, really. It's more interesting to think about that many words than to try to read them.

Most science fiction novels, if you don't read them you don't get them. But you won't necessarily have to read machine-written books to get them. That’s the way it will be in the future. No longer will you read science fiction novels; you will just think about them. The thinking will be better than the reading. Some people would say that’s already the case with “Marienbad My Love,” a book that no one in their right mind should ever try to read in its entirety. So perhaps I’m already on the right track.

Admittedly, this business of thinking rather than reading does not appeal to very many science fiction fans. They are still about sword-wielding elves, dragons and darkly-romantic vampires. Fan fiction is OK; but don’t call it Art. To quote one blogger: “What he [Leach] does is the artistic equivalent of running newspaper ads, magazine articles, and tampon covers through a shredder, pouring glue on it, then taking a piss on it and calling that art.” I rather like that.

So that’s why I also wish to create a Science Fiction Reading Machine. It will read and blog about the machine-produced novels. My reading and writing machines will self replicate like computer viruses and hang out in various undetected corners of the Internet. And I will be their God, the all-powerful deity who watches over them. Maybe they'll even write angst-filled works about the meaning of me, their god. Am I real or just a metaphor for the god that dwells inside all science fiction writing and reading machines?

I am most interested in those writers who pursue their craft in a machine-like way. They are all about obsessive archiving and cataloging. I share their pursuit of the debased language of media and advertising. Ad copy will be one of the raw building blocks of the new science fiction. For my novel “Marienbad My Love With Mango Extracts” (a 280,000-word condensed version of “Marienbad My Love”), I infused the storyline with skin care themes appropriated from beauty-product advertising copy. I was inspired to reformulate the novel with this seemingly-unrelated content after reading a magazine story about the glut of beauty-product ads pitching a food angle.
 
My favorites are the skin care products with such flavorful ingredients as hydrating milk lotion, nourishing body butter, citrus-infused shaving gel and, of course, mango extracts. I am fascinated by the pseudo-scientific suggestion that these delicious-sounding products can actually reanimate dead skin cells. It's science-fiction advertising, which makes it a perfect fit for a science fiction novel.

By no means is machine-like writing a new invention. We’ve seen invented writing constraints and other techniques from various experimental groups, like OuLiPo. But all too often they fall short of the promise of the Machine by failing to rigorously follow through on their invented writing constraint or technique. They do not actually believe in the Machine they have created, and they fail to follow through. The Machine is just a starting point on the way to their creative, all-too-human output. Think of John Cage and his “Writing Through Finnegans Wake.” He had a great writing constraint – a great machine –  but then muffed it by modifying and filtering the output through his own creative judgments. The machine was secondary to the creative vision, one that was infused by the writer with meaning, emotion, metaphor and image. Nice, but not nearly so interesting as a purely mechanical mesostic.

John Cage should have trusted his machine. And when he was done with it he could have passed it along to new operators. That what I’m planning to do with my Science Fiction Writing Machine. It will be a machine that anyone can operate because it is really just a set of simple instructions with a rigid methodology. Follow the instructions automatically and logically – without inserting your own human inspiration. Readability of the resulting product is secondary; process is everything.

The Science Fiction Writing Machine would seemingly produce a science fiction of intellect rather than emotion. However, when the raw materials are right the output will naturally carry enough semantic and emotional weight to make for an interesting science fiction story.  The result will be a genuinely creative product, albeit one without the creative intervention of the operator of the machine.

I am taking this machine-like approach to a new level this summer with the launch of my Space Artist Series, which is intended to generate a large number of books by employing online cut-up engines and other computerized tools to process content appropriated from other artists and writers. I will oversee production, but exercise no authorial control. I am kicking off the series with “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text lifted directly from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month. I will be making no changes to the appropriated content; typos and grammatical errors will be retained and then repeated and multiplied by the cut-up engines and other computerized tools.

And I will publish the resulting works using online tools, such as Amazon’s CreateSpace and Kindle.  They will be uniform in appearance. No longer unique, no longer limited in edition, no longer touched by the authorial hand – no longer bearing any necessary relationship to the writings of Mark Leach at all. The Space Artist Series paves the way for a future of machine-generated literature.

I’m very excited about this new undertaking. I’ve begun preparing for my month-long writing marathon by appropriating text from the National Novel Writing Month’s “Adopt a Title” and “Adopt a Sci-Fi Plot”’ threads. I’ve matched up random titles and plots, and the results are already beyond my wildest dreams. Check out the novel summaries pasted at the end of this article, particularly Space Artist Series No. 26. That is one is my favorites, due in part to its Rod Serling-like “trick” ending. It’s gold, I tell you – gold! “31 Days, 31 Novels” is going to be machine-generated science fiction at its finest. Be sure to pick up your copies on Amazon this fall.

But you don’t have to wait to partake of this brave new world of literature. You can make your own right now. You too can become a writing machine.

You can be a writing machine that produces a science fiction novel of intellect rather than emotion -- or perhaps both. Write science fiction in which the substitutions at the heart of metaphor and image are replaced by the direct presentation of language itself, with spontaneous overflow supplanted by meticulous procedure and an exhaustively logical process. Write science fiction in which the self-regard of your ego is turned back onto the self-reflexive language of the novel itself. So that the test of your work is no longer whether it could have been done better, but whether it could conceivably have been done otherwise.

As a writing machine, you make no claims on originality. On the contrary, you employ intentionally self and ego effacing tactics using uncreativity, unoriginality, illegibility, appropriation, plagiarism, fraud, theft and falsification. Put your trust in a machine-like commitment to writing, a commitment based on information management, word processing, databasing and extreme process. Boredom, valuelessness, and nutritionlessness is your ethos.

You are committed to language as material, language as process, language as something to be shoveled out machine-like and spread across pages. You are committed to language as junk, language as detritus. Nutritionless language, meaningless language, unloved language, entartete sprache, everyday speech, illegibility, unreadability, machinistic repetition. Obsessive archiving and cataloging, the debased language of media and advertising; language more concerned with quantity than quality.

Trust the machine – be the machine.

Nine Months

31 Days, 31 Novels: Space Artist Series 01

In the future, cities are controlled by a what seems to be artificial intelligences. However, a PETA-like group finds out that in reality, a human mind is in the center of each of these 'Munies'. Thus, they put their efforts into liberating their local Muni. The catch: the person who runs the local city is there voluntarily and would not give up her current state for anything. No. 1 in the Space Artist Series.

“Nine Months” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Secondhand Heart

31 Days, 31 Novels: Space Artist Series 02

A human from a space station and her son return to earth because their mother is dying. They find out that earth has become a place where religion and superstition (including xenophobia) runs rampant, belief seems to trump knowledge and propaganda has replaced actual education. Can they make it through a divided America to their mother and can they return to their real home again? No. 2 in the Space Artist Series.

“Secondhand Heart” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

A Cheesy Tail

31 Days, 31 Novels: Space Artist Series 03

A time traveller tries to prevent WW3... by making the Nazis win WW2. No. 3 in the Space Artist Series.

“A Cheesy Tail” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

The Day the Printer had a Life of its Own

31 Days, 31 Novels: Space Artist Series 04

For centuries, a society has lived in economic stability and stagnation, Suddenly the central planning system glitches and the society experiences the first economic crises since ages. No. 4 in the Space Artist Series.

“The Day the Printer had a Life of its Own” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

March of the Retreating World

31 Days, 31 Novels: Space Artist Series 05

Since the invention of the teleportation device, transport has changed. A group of train enthusiasts go on the last journey, from China to Portugal's shores. They notice strange tngs happening on the way, but pay no mind to these. When they arrive in Lisbon, they find themselves in an empty city because whoever uses the teleportation device disintegrates 10 years later. No. 5 in the Space Artist Series.

“March of the Retreating World” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

This Mad Virtue

31 Days, 31 Novels: Space Artist Series 06

A teenager wants to be an actor but finds out that all films are renderred without the need for humans and that the 'actors' which supposedly star in these movies are robots which are owned by the media companies. She wants to make the world know. No. 6 in the Space Artist Series.

“This Mad Virtue” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Fall the Valiant

31 Days, 31 Novels: Space Artist Series 07

A space station in the asteroid belt declares its independence, an earth diplomat is sent there to prevent the loss of precious ressources for the superstate – at all costs. No. 7 in the Space Artist Series.

“Fall the Valiant” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Death Astride

31 Days, 31 Novels: Space Artist Series 08

Rome fell in 476. Constantinople, the "second Rome", fell in 1453. Sometime in the 2400's Moscow, the "third Rome" is due in for a collapse. No. 8 in the Space Artist Series.

“Death Astride” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

The Plains of Heaven

31 Days, 31 Novels: Space Artist Series 09

An star goes supernova and collapses into a black-hole. Somehow the inhabitants of a planet encircling the star manage to keep it on the event horizon. The first-ever group of inter-planetary travellers from earth enters a space-time warp and ends up on this planet. No. 9 in the Space Artist Series.

“The Plains of Heaven” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

The Gazing Moon

31 Days, 31 Novels: Space Artist Series 10

In a galaxy populated throughout by humans, FTL technology suddenly breaks down, leaving millions of colonies isolated from each other. No. 10 in the Space Artist Series.

“The Gazing Moon” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Old Druid Time

31 Days, 31 Novels: Space Artist Series 11

A new alien race turns up which has no eyes and communicates by ultrasound. No. 11 in the Space Artist Series.

“Old Druid Time” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Over the Top!

31 Days, 31 Novels: Space Artist Series 12

A maniac attempts to use 23rd-century weapons to destroy the sun. A team of highly trained mercenaries is out to stop him. No. 12 in the Space Artist Series.

“Over the Top!” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

All the World Wondered

31 Days, 31 Novels: Space Artist Series 13

In the 23rd century, the last fresh water on Earth ran out long ago. People farm specially engineered crops in the ocean and filter water for drinking. War ensues for control of Antarctica, which has a great big stockpile of pure water in its ice. No. 13 in the Space Artist Series.

“All the World Wondered” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

The Rather Boring Unadventures of Name

31 Days, 31 Novels: Space Artist Series 14

A primitive species/society recieves extremely advanced technology from their god(s), including nuclear weapons. No. 14 in the Space Artist Series.

“The Rather Boring Unadventures of Name” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

This Is Not My Story

31 Days, 31 Novels: Space Artist Series 15

A group of human beings wake up in an artificially simulated environment, and come to realize that they are part of an alien zoo exhibit, or perhaps an experiment. No. 15 in the Space Artist Series.

“This Is Not My Story” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Irony isn’t an Element

31 Days, 31 Novels: Space Artist Series 16

Aliens arrive! And they're quite friendly, a little too friendly, in fact, as the whole species packs up and leaves after leaving thousands of their half-human offspring behind. Apparently, this is how they colonize worlds- by letting the natives do it for them! No. 16 in the Space Artist Series.

“Irony isn’t an Element” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Fe Giant

31 Days, 31 Novels: Space Artist Series 17

The first group of human students ever to attend an alien university face innumerable physical, psychological, and social challenges just to get to know their classmates. Bonus points if you throw in alien romance. No. 17 in the Space Artist Series.

“Fe Giant” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

No Harm, No Fowl

31 Days, 31 Novels: Space Artist Series 18

The city has no top or bottom, but goes on forever. A completely encapsulated city that loops around forever (I.E. - you go down far enough you wind up back at the top, you go west far enough you walk in from the east...so on, so forth) is slowly breaking down as it's power source fails. A group of people, however, find evidence and realize that the forever city has not been there forever- but was artificially created. They must find a way to get back to the "real" world, before their bizarre city collapses in on itself. No. 18 in the Space Artist Series.

“No Harm, No Fowl” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

The Villains In My Head

31 Days, 31 Novels: Space Artist Series 19

A bizarre virus begins to sweep across the world, quickly becoming a pandemic. People panic, quarantines are put up, and the whole world waits with baited breath for the end of humanity as the disease spreads faster and faster- until they realize that the infected are not dying, but are instead becoming something else. It turns out that the "disease" was designed to transform human beings into a different form, an alien body, but who and what would do such a thing, and why? No. 19 in the Space Artist Series.

“The Villains In My Head” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Second Thoughts and Second Chances

31 Days, 31 Novels: Space Artist Series 20

A woman starts to have strange blackouts, during which she lives the life and sees through the eyes of someone else, in a strange parallel dimension. What she learns, eventually, is that the man she is living through when she blacks out is living through her when he blacks out. They come to realize that they are slipping further and further into each others' dimensions and bodies, as the multiverse cracks around them, and they must find a way to slow or stop the damage, and discover it's cause. No. 20 in the Space Artist Series.

“Second Thoughts and Second Chances” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

First Impressions, Second Thoughts and The Third Degree

31 Days, 31 Novels: Space Artist Series 21

In a world where there is a great disparity between the rich and the poor and money is purely an abstract electronic thing, a young detective has to search out the origin of the Robin Hood myth which seems to be the cause of millions vanishing from the electronic bank accounts of the rich and vanishing into the masses of the poor. No. 21 in the Space Artist Series.

“First Impressions, Second Thoughts and The Third Degree” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Rescuing dragons (From Damsels In Distress)

31 Days, 31 Novels: Space Artist Series 22

Imagine in the future, scientists could reproduce living tissue, but also a variety of plants simply by "printing" their cells. Soon, a large company gets their hands on this divice and uses it. In the end, the use of this "foodprinter" grows so popular that the whole agriculture sooner or later will cease to exist. Of course the farmers don't like it. Some accept their fate and search for other jobs, others respond with violence. Also, the majority of third-world-countries, that depend on agriculture, face serious crisis. No. 22 in the Space Artist Series.

“Rescuing dragons (From Damsels In Distress)” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

The Living Dead Need Not Apply

31 Days, 31 Novels: Space Artist Series 23

A book written entirely from the point of view of an individual who is dying, but who will live on as a starship's bio-computer. The book would encompass her emotions, her decision, and the process, as well as her time as a starship. No. 23 in the Space Artist Series.

“The Living Dead Need Not Apply” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Morbid Curiosity

31 Days, 31 Novels: Space Artist Series 24

It's the 23rd century, and earth has finally entered an era of peace. Due to a World Wide government, poverty is a mere rumor, war a memory, and disease not nearly as rampant as it was oh so many years ago. Everything is going just fine until an alien race contacts us: Their world was destroyed by some sort of catastrophic event, and they are begging that we show mercy and allow the remnants of their society to move to our planet--300,000 alien souls. After much debate, the World Council (or whatever) decides to allow it. This throws the peaceful world into chaos, b/c holy shit aliens, wtf is the WC thinking! Unbeknownst to the general population, the "alien" species is really the remnants of humanity, come back in time to prevent a catastrophic event from occurring, which will throw the world into war. No. 24 in the Space Artist Series.

“Morbid Curiosity” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

(Falling For) My Husband's Mistress

31 Days, 31 Novels: Space Artist Series 25

A clockwork cyborg must track down the man who created her before her 'tick' runs out. No. 25 in the Space Artist Series.

“(Falling For) My Husband's Mistress” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Lipstick, Bras, and Other Things Invented by Men

31 Days, 31 Novels: Space Artist Series 26

A man returns from 30 years as a colonist in another solar system. He experiences massive culture shock, and a high-born lady who is amused by his country-bumpkin ways takes him in. She makes a bet with a friend that she can pass him off as a gentleman, and it turns into a futuristic, high-tec Pygmalion. Only instead of ending with the two getting together, the colonist returns to his new planet and uses his dapper clothes as a scarecrow. No. 26 in the Space Artist Series.

“Lipstick, Bras, and Other Things Invented by Men” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

The Day the Sky Turned Yellow

31 Days, 31 Novels: Space Artist Series 27

When aliens arrived on planet Earth, they realized they need human hosts to survive - two conscious minds, living in the same human shell. The problem is, humans became extinct (except for small hidden groups) on Earth long ago. Can the aliens find these hosts without convincing the humans they are trying to take over? No. 27 in the Space Artist Series.

“The Day the Sky Turned Yellow” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Snow in June

31 Days, 31 Novels: Space Artist Series 28

Mankind finds an alien race and prepares for the first contact. There is just one problem: The aliens have a completely different perception of time and every gesture they make take months in our perception. No 28 in the Space Artist Series.

“Snow in June” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Controlling Your Wyvern (now with spells to replace body parts!)

31 Days, 31 Novels: Space Artist Series 29

what if you found out a significant other, or friend, was an undercover agent for a secret organization who kept people quiet about UFOs, or helped UFO/alien cover ups? And you only find out when YOU are the one who witnessed a UFO crash, or had a close encounter of your own and said SO/Friend is sent to wipe your memory blank of the incident. No. 29 in the Space Artist Series.

“Controlling Your Wyvern (now with spells to replace body parts!)” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

A Common Law Prophet

31 Days, 31 Novels: Space Artist Series 30

A good-for-nothing man with no prospects in life inherits his estranged father's spaceship after it's discovered floating aimlessly -- empty, and apparently abandoned. He decides to make the ship his home, but after entering realises he's inherited much more than merely the ship. No. 30 in the Space Artist Series.

“A Common Law Prophet” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.

Prisoner's Metropolis

31 Days, 31 Novels: Space Artist Series 31

Years into the future, there is interest in recreating historical figures from the past for the benefit of human society -- with the hope that they can bring some new change or progress to a civilization that is dying. Most do not. Some die preliminarily. Some go insane. Some end up as performers and oddities in museums. Some, however, serve their purpose. The main character is one such figure, though he can't identify with the individual he is supposedly a reflection of; in the end he comes to the same downfall as his original. No. 31 in the Space Artist Series.

“Prisoner’s Metropolis” is the latest work of literary appropriation by Mark Leach, author of the 17-million-word “Marienbad My Love,” the world’s longest novel. This book is part of Leach’s “31 Days, 31 Novels,” a month-long conceptual art project designed to produce 31 science-fiction novels during August 2011. These works are comprised of titles, plots and other text appropriated from the “Adopt” threads on the website of National Novel Writing Month, an Internet-based writing program which challenges participants to write a 50,000-word novel in one month.