Amber Reins Fall

Adelaide in the 1960s and 70s. Adam Teforp stumbles through his adolescence, constantly confronted by his obsessive, materialistic father. Early days as a confused hippie give way to outlandish yet astute entrepreneurship.

Adam becomes involved in a covert world of wealth and intrigue. Unknown to the public he stores nuclear waste in the barren desert of South Australia ... for a price! More

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About d'ettut

d’ettut is an enigma and intends to stay that way. He has no vested political interests apart from his desire to help facilitate a movement which could bring about an equitable global society. He does not aspire to any particular role in such a movement nor does he wish to gain anything financially. His books are intended to assist in his quest to help the world gain social fairness.

His literary style varies. None of it is intended to be entertaining. It is confronting, didactic and enlightening (he hopes). He writes about social justice and targets youthful, very literate, Harry Potter-type readers who are now real-world savvy and like Harry are bursting to take on the establishment. His first four works are presented as novels and describe social despondency in all its manifestations.

Greenwars (1998), his first novel, essentially covers the fact that technology and its evolution can outstrip social evolution. Moral and ethical development of society is not able to keep pace with its own driving technology. This is all described in the form of an animal allegory; a kind of 21st century Animal Farm.

The second novel, Pie Square (2000), describes a different aspect of social evolution. In this situation it is the benign exploitation of youth through a highly sophisticated interactive electronic based fast food chain. Using this device young people are groomed for a more creative and constructive contribution to society.
In Vampire Cities (2000) the brashness, the harshness, of unfettered capitalism is the main theme.

Finally Amber Reins Fall (2006) looks in detail at an individual struggling in the 1960s and early 1970s to come to terms with contemporary society and the need for there to be a progressive evolution towards a moral betterment. The main protagonist invents the self-help concept.

His fifth work, OWL: One World League (2017), is neither fiction nor fact. It is a literary work he calls fusion fiction which creates a ‘sugar coated political treatise’ condemning overpopulation, encouraging world government and issuing a clarion call to form a new global cyber democracy ‘before it’s too late’; ‘before the elite snuff out social media’.

Fusion fiction he defines as literary ‘bisociation’, to borrow a term used by Koestler and Edward de Bono. It’s a pairing of semi fictional plots with slabs of ‘borrowed’ and authentic text text taken selectively from journals relevant to his thesis with no formal quotation or referencing. He says, ‘Like Andy Warhol paintings of unacknowledged Campbell’s soup cans, this is a collage of written down ideas, a creative plagiarism, to send a cerebral message.’

OWL is supplemented by the website which dares readers to unite and light the fire of revolution for 21st century redemptive politics.

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