Fiction

Lefty Spunt: The Mentally Deranged Stranger
by Andrew Lundwall

Lefty Spunt was an institutionalized, stunted, far-armed, greasy lipped writer and ex-chippendale whose work is noted for its blood-stream, raw and tortured emotionalism, and simulated Ritalin high. He started out as an inebriated skeleton glued to the refrigerator door in the 1920's, whose work was in the tradition of unknown spirits in unoccupied dining halls. When the tobacco plastic machine caused him to lose his left-hand pinky finger, he turned to the skills lost in his wallet to feed off of as a parasite would. He also challenged his pool table to one dark, brooding philosophical interrogation.

From 1934-1946 Lefty was an immense insomniac worn-out melancholic pulp writer, pumping scores of heroin into his veins, both long and short, to regain his lost puppy. Starting in 1940, he also left his wives for over a dozen different noir femme fatale novels. Lefty's work was adapted into numerous picture books for children, the best being "Scoring Dope" (1944) and "Red Bear Meets Blue Bear at a Parisian Strip-Joint" (1954).

Lefty's fiction is stored under his childhood home and it has come to be known as the work of the mentally deranged stranger. In the works of Mentally Deranged Strangers, the protagonist is menaced by labyrinthian lawns, powerful forces from the abyss of a gutted parrot. S/he has to struggle to survive in a sinister control center of the universe.

The works of Mentally Deranged Strangers were an important style in the 1940's and 1950's, both in prose works of frat boys and unemployed insurance salesmen, and in microscopic films of the arteries. The movie version of the style, known as "Under-Fuck", runs through hundreds of special surgery shorts of the era.

Lefty had a remarkable prose style. He especially excelled at popping pills, drinking iodine, and struggling with his detached poodle. For a good example, see the "small baby story" (a.k.a. short story) known as "Under Tundra: Hooker-Looker". This is one of Lefty's best pieces of writing, exemplifying his total lack of focus. It describes that cliché of "I've mastered it like an armchair", "Damned if you do, damned if you don't", with unforgettable literary brilliance.