Rowdy Cutlip is a present-day, free-riding patriot of Truth who deconstructs the clandestine, multi-generational political world into which he was born, and, for whom that world's expectation holds no chain. Courageously traversing his own totemic looking glass, a long avoided imperative directs the way: nosce te ipsum, know thyself -- for the writer, this journey takes him even farther down the hole . . .
"They say it's okay for me to make this tape . . ." Rowdy Cutlip's via dolorosa commences.
Breaking the fourth wall, The Cutlip Files exposes America's political bloodlust by interweaving historical facets that intersect and run parallel throughout the story of Rowdy's own bloodline induction into the world of Masonic, Illuminati-esque Transhumanism propagated via experimental educational systems and seated in governmental agencies, bureaus, and other entities that shape the world in which we live.
". . . okay to get this information down," with a deep breath Rowdy continues, revealing the nature and path of The Beast as the grandson of an internationally honored WWI pilot, the son of a top-ranking Company Man, and his own subsequent involvement by reciting into a lone microphone all he knows from personal experience, his hand guiding the record button.
Now, more than 10 years after the event, the FBI has incorporated a copy of this tape into a voluminous multimedia file on Rowdy Cutlip, which includes a newer body of video interviews taken by an unnamed videographer. The agents watch an older and much bolder Rowdy sitting on a rural cabin porch disclose even darker truths about this nation's underpinnings and its connection to world events that shaped the past, dictate the present, and direct the future towards the completion of the New World Order -- in Rowdy's own words, "The truth makes a damned better story than anything you can ever imagine" -- and the wall comes tumbling down.
The physical book itself mirrors Rowdy's path. The content is woven into an undulating Möbius strip, employing historical and present-day drama, flashbacks, dream sequences, audio transcripts, and rich, full-color renderings of original art to utilize a deconstruction approach by subverting the implicit contract between author, text, and reader while simultaneously drawing the reader into the world of Rowdy on a subliminal level through an extremely fresh, innovative stream of consciousness delivery reminiscent of Kerouack's On The Road, the telegrammatic staccato of Ellroy's "L.A. Quartet," and, the paratactic eloquence of Hemingway's The Sun Also Rises.
The result is an autobiographical postmodern historiographic metafiction roman à clef from an author born into Washington D.C.'s highest elite in 1951, fashioned as a wild tale about growing up surrounded by the rich and powerful . . . about spies, the Feds, the Mafia, the Kennedys . . . about J. Edgar Hoover . . . about George Washington and The Potomac . . . about the skeletal underpinnings of this nation, dark secrets protected for generations under cloak and dagger.
Ultimately, the beating heart of The Cutlip Files is the journey itself -- that undulating Möbius strip comprising the physical, emotional, and spiritual elements of existence itself -- for each section, scene, character, is pulled along this journey that ends in one truth -- a truth the writer himself illuminates, "Sumus quod sumus. We are what we are" . . . then, completes the Möbius strip with: "Every thing I say is a lie."
The journey continues . . .
