“THE METAMERICANA ANTHOLOGY.” Each book features a different premise, a different tone, a different world, sharp, suspenseful, satirical tales that explore pop culture, social politics, and religious philosophies. All interconnected, forming an overarching narrative of irony and sincerity. THANK GOD FOR DRUGS is the first book in that series. The story is split up into 3 acts. Each it’s own season and theme. 1st Act: Spring (Nihilism), 2nd Act: Summer (Absurdism), and Act 3: Autumn (Existentialism.) These themes play out through the characters and their interactions with their environments and each other which sets forth a parallel story. One that goes on in the collective consciousness of the reader. Mae Williams is a struggling artist from Brooklyn, surviving on a diet of cynicism and Vodka, with a thirst for the bohemian counterculture. Unabashedly feminist, off-beat, and charmingly self-deprecating, she rages through life rattling social constructs, as she deals with her hopeless love life, schizoid fantasies and lack of career-direction. But, when Mae meets a rugged executive on her way to an interview by the name of Yasiin Baako, he forcefully charms his way into her life making her the object of his obsession. Yasiin has sex like an alcoholic drinks; compulsively, indiscriminately, and for the sake of release rather than for intimacy, pleasure, or human feeling. He’s a man whose entire sexuality is rooted in expression of self-hatred while his interactions with people are flat and almost lifeless. The attraction between the two becomes increasingly evident, almost undeniable. They form an unhealthy relationship that expresses itself through violent outbursts, and copious sex scenes that range from genuinely sexy to mechanically frantic. As Yasiin begins invading every aspect of her life Mae soon learns the consequences of her curiosity. Raw and energetic, THANK GOD FOR DRUGS is a fast-paced and addictive novel exploring the depths of flawed human nature, the thin line between love and obsession and the destructive nature of addiction. The story brings new life to an old tale: a courtship and all its predictable detours on the road to romance, when a boy-meets-girl inexorability along the way to finding himself. But what happens after you fall in love? Is it a guaranteed happy ending? Can love conquer all, despite the personal hang-ups, fears, and dramas that comprise the nature of human relationships? Shifting between first and third person, stream-of-consciousness, screenplay-style dialogue and other narrative techniques in an attempt to reflect the polyphonic nature of our existential obsessions and addictions.