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Interviews » Sounds » Psychobilly, qu’est-ce que c’est? (published 27/03/2017)

I was a mod 1980-1986, I then got into Acid Jazz, I took my first E in ‘88, 89 and I kind of thought, as I’d always been interested in mods in the sixties getting into acid, that mods had gone two ways, they’d either become skinheads or took acid. And I thought that in the eighties that was our acid period, that was our Haight-Ashbury, our summer of love and I was a year or so late to it, but I remember thinking that ‘This is it! Ecstasy will unite the world!’, it’ll whatever.

Andrew Stevens talks subcultures and pulp fiction with Paul Hallam.

Essays » Lumpenproletariat. Writing Attack/Antisystem/Subliterature (published 03/01/2017)

These are properly “deconstructive texts” in the sense that they burlesque rather than conventionally critique: they occupy the very language of disenfranchisement that is otherwise employed to demonstrate that they do not really exist. There is nothing of a Foucauldian paradigm here: this is not some pretence to an authentic voice of the excluded, a critique of the history of reason from the POV of the madwoman in the attic. The truly subversive character of the sublit project is that it is first and foremost a “locus” of détourning action – a radical poetics – a tropism. While the theorisers of the recuperated avantgarde toil to contain and expropriate the thing they imagine subliterature to be, their grasp necessarily comes up empty: there’s nothing to grasp, in any case, but a hologram of their own transgressed image, which they are more than adept at attending to.

Louis Armand on the Sublit Project.

Interviews » This Is The Place To Be: An Interview with Lara Pawson (published 23/11/2016)

While people may think that someone who writes about such intimacy can’t possibly be nervous, they’d be wrong. I still feel unsettled by this aspect of the work. That’s part of what makes it a difficult book to discuss. In truth, I’m also a little afraid that in talking about my book, I risk damaging the work itself. My mouth might tread all over the text. I don’t want that to happen. I want the text to speak for itself. I feel very protective of the text.

Lara Pawson, interviewed by Rebekah Weikel.

Reviews » 600 Years Of Defiant Pose (published 27/08/2016)

At the fag-end of the 1980’s … writing’s anti-authorial, anti-purist, anti-linear, anti-referential and deeply linguistic character was something in the air then. It was an update of Joyce’s ‘polyglottal’ ‘Wake’ project, a sexier, more chic version … that works with and through language, a clash of two codes, textual and bibliographic, but with a further density to the polysemy and plurivocity added, that of a fragmented elucidation. Acker and others – Bill Burroughs was another clear example – were writing monsters of subversion where theme, narrative, character and plot were their targets. Words were no longer subject to the equation that they meant just one thing, or even one cluster of things. Meaning was now just an effect of language not of anything lying within or behind it. Authorial intention and determination was eroded and instead labyrinths of possibility and acrostic sampling were being produced in a kind of hip, punk slippage to indeterminancy. The improvisory, intermedial experience of reading became a biological-emotional state of hyper-real decision making and play.

Richard Marshall reviews the 25th Anniversary Edition of Stewart Home‘s Defiant Pose.

Reviews » Louis Armand’s The Combinations (published 16/08/2016)

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Roland Barthes dreamed of Armand’s book when he writes: ‘only allude to writing before going off somewhere else’ where writing becomes a quasi-linguistic function existing already in excess of itself, ‘rehearsing the contemporary tropes of the semioticians’. For Barthes the photographic image can’t be made into an analogue for something else because it is the analogue of the impossible, ‘an image whose detonation is … finally reducible only to the reflexive movement of its own enframing, between two shots, two anachronistic moments. ‘ It represents ‘the perfection and plenitude of its analogy.’ And that analogy risks being mythological and artefactual. ‘an issueless predicament of nothing.’ Armand’s novel is a sequence plenum of this Barthean process.

Richard Marshall reviews Louis Armand‘s The Combinations.

Buzzwords » Essays » Brexit at 3:AM (published 26/06/2016)

It’s easy to feel helpless in the face of vast public events, especially if we didn’t support them, as the majority of the UK population (‘remain’ voters + abstainers) did not. My question is one that I’ve been asked several times since Friday: what can writing do in the face of this situation?

Reviews » Skank: The World’s Most Dangerous Comic Book (published 15/05/2016)

Back when Skank and Attack! Books were rolling there was a sense of writing as being hardly the point, words being an excuse to present a comedic matter that doesn’t always rescue silence but gets close, with sentences just a further excuse to find such words; and through the fog of anguish which is the obvious mystery of life, they worked to prove these claims of comedy over tragedy, to float that idea out and test it. Punk felt like that too. That sensibility is here in this book.

Richard Marshall reviews Bobby Joseph‘s Skank.

Reviews » Dear Reader, I Spit On You – A Book and an Exhibition (published 08/02/2016)

What is this? Is it a novel? Is it an anti-novel? Is it an anti-anti-novel? Is it a comic book about the exploits of an outrageous superhero – Bukaka? Is it a joke? It is perhaps all of these things and none. Brener/Schurz use the rubble of literature to further destroy capitalist power structures.

Steve Finbow reviews Bukaka Spat Here by Alexander Brener/Barbara Schurz.

Reviews » Enthusiasm (published 23/12/2015)

He works in the limits of what he calls, as an abbreviation for the complexities, ‘enthusiasm.’ Of course there’s not a single proposition attached to that label. But it is something ‘not limited by anything & the imagination of flight is apparently a mild head cold to the viral germ warfare we ought suddenly employ when thinking about what we might do with our future time…’. That is the ultimate focus. No summarized norms, epistemic stances calibrated to measure the dreamed metaphysical ghouls, maybe even harness them, or drive a stake through to a heart, or a yacht to navigate territories. ‘Water/ doesn’t need a boat you arrogant fuck.

Richard Marshall reviews S.J. Fowler‘s ‘Enthusiasm.’

Reviews » Trolls (published 25/08/2015)

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Philips argues that there is only the thinnest of lines between trolling and sensationalist corporate media. The main difference is that Trolls do it for leisure and for no pay whereas corporate media do it as a business strategy and get paychecks. She claims that they are comfortable fits within the hypernetworked digital media landscape. Trolls use the internet technologies creatively and expertly. They align with corporate and social media marketers. They mobilize the dominate cultural tropes of adversarial and (mainly white) male gendered notions of success, dominance, western entitlement, expansionism and colonialism, and embody the key values of the USA – life , liberty and freedom of expression.

Richard Marshall reviews Whitney Phillips’ ‘This Is Why We Can’t Have Nice Things. Mapping the Relationshp Between Online Trolling and Mainstream Culture.