Writer, artist and Soho dandy Sebastian Horsley has died of a suspected heroin overdose, just days after after a play based on his memoir opened in London. As Toby Young says, “I’ve met a few Soho characters in my day and most of them were drunken bores. Not Sebastian.” He continues:
“He styled himself an artist, but his true genius was for conversation. Aphorisms and one-liners came pouring out of his mouth like gusts of fresh air, blowing away received wisdom and herd opinion like so many cobwebs. He was steeped in the works of Oscar Wilde, but could just as easily quote Balzac or Flaubert. I never spent an evening with him without having to write down something he’d said immediately afterwards.”
Asked by 3:AM‘s Sophie Parkin as to why Dandy in the Underworld couldn’t have a happy ending, Horsley replied, “Because anything that consoles is fake. You see, the good ended happily, and the bad unhappily, that is what fiction means.”
Today as people everywhere are raising a glass in honor of Bloomsday, Joshua Cohen traces the heirs of Joyce’s Ulysses, from Wales to Russia to Turkey to Argentina:
I wrote a book called Witz. It’s capacious (800 pages). It’s complex (puns in a dozen languages: fun in a daze of longuages). And it’s about a Wandering Jew – the Last Jew in the world.
A friend of my father called after having tried a page to say, “It’s like the Jewish Ulysses.” That wasn’t a compliment. Problem is, James Joyce‘s Ulysses is already the Jewish Ulysses; featuring, as it does, Leopold Bloom – that Dubliner born Jewish, raised Protestant, converted to Catholicism to marry Marion “Molly” née Tweedy, who at the end of the novel says “Yes” a lot. That’s what I said to my father’s friend. “Yes,” I said, “yes.”
That wasn’t a compliment either: I knew he wouldn’t get the reference. I began wondering. If Ulysses was the Jewish Ulysses – and the Irish Ulysses, too, one would think – shouldn’t other cultures have Ulyssi of their own? Having worked as a weekly book reviewer, I came across marketese like this all the time: “Known in its nation of origin as the Icelandic Ulysses” – publicity talk for “a difficult but ultimately rewarding novel by a dead man from Reykjavik.” In other words, the summa of a culture.
The best work of art, in any medium, that I’ve come across this year is Douglas Gordon and Philippe Parreno’s film Zidane. Almost exclusively following Zizou through an entire football game – a game during most of which he’s not really ‘doing’ much other than meandering one way and another or indulging his nervous tick of scraping the top of his foot against the grass – it’s a brilliant disquisition on time, event-space, mediation, consciousness and, of course, repetition. During half-time we pan out from the stadium to find out what else is going on in the world during the game, and see, among footage of various trade pacts being signed, space missions being launched and so on, the inevitable image of a roadside bomb in Iraq’s aftermath – and one of the blood-soaked, screaming victims is wearing a Zidane t-shirt. I think it’s a major masterpiece.
3:AM Magazine’s SJ Fowler travels with his Enemies Project and other poets on a collaborative poetic voyage across Scotland, documented by Ross Sutherland. __________ The Enemies project: Auld Enemies was a transnational poetry collaboration where six poets worked in rolling paired to produce original works for readings across the breadth of Scotland and where in each event also featured [...]
It’s difficult to define submission guidelines when one of the things I’ll be looking for is something I’ve never seen. There are sensibilities I know I’ll recognise, as soon as I read them. I’m interested in work that is experimental, playful, serious; in work that pays close attention to form, and language, always in support of what the work is; in intelligent work that wears its learning lightly: to paraphrase Beckett on Joyce, writing that is “not [only] about something; it is that something itself.”
When human blood reacts with luminol, it lights up a ghostly blue. This reaction, most commonly used to detect whether violence has taken place at suspected crime scenes, combines the human and the chemical, it invokes violence and disposability but also transformation. THE LUMINOL REELS takes its imagery from pornography, Catholicism, and crime scene investigation [...]
On August 26 the ICA will screen 3:AM contributor John Rogers’ Make Your Own Damn Art, a study of Leytonstone’s most celebrated contemporary artist Bob and Roberta Smith. This is preceded by an ‘Art Party’ event (and film screening) on August 21, featuring music from The Fucks (who appeared at our ‘Good Sex Prize awards’ [...]
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A selection of Richard Marshall's End Times interviews published by Oxford University Press