With his debut “twin” novellas, Gabriel Hart breaks out of the confines of song to deliver a literary Chinese Finger Trap. In these two deceptive morality tales, any quaint preconceived notion of Yin/Yang shall spin unruly into a blurring darkness of the thirsty drain.

What started as a private love letter to a severed flame, Virgins In Reverse ended up a hypnogogic, coming-of-age kitchen sink drama set in a metamorphic Los Angeles. Young alcoholism clashes with the naivete of domestic idealism, commanding surrealistic bridges to connect all fried synapses. Using a Burroughsian analogy of the Emerald Wasp hunting the Cockroach, a parallel narrative will pursue the couple’s unraveling until… it doesn’t quite end, as much as it teeters on a mere cliffhanging layover.

But this purgatory continues in The Intrusion. Exploring the staggering correlations between alcoholic blackouts and what we perceive as spirit possession, we follow the same young man from Virgins In Reverse through his own jagged personal apocalypse, where his synonymous bottle seems to contain an unholy genie that “has played him like a brown note trumpet.” Part bat-shit noir, part Bildungsroman, and part clinical study, The Intrusion is destined to be the definitive take on what this generation refers to as “the fear.”