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Ever since the publication of his first novel, Generation X, in 1991, Douglas Copeland's increasingly uneasy relationship with irony and with scepticism has marked him out as something more than just another writer of 'blank' fictions. In texts such as Life after God (1994) and Microserfs (1996), and most particularly in the troublingly supernatural novel that provides the focus for this essay, Girlfriend in a Coma (1998), Coupland has been writing, in a sense, determinedly against the grain of the last decade of the twentieth century; even as he seems to capture so many of its moods and anxieties.