The “evil glamour” of Anita Pallenberg. * Friction author — and singer with (We Are) Performance — Joe Stretch interviewed on Brightcove TV (more here and there). Also on Brightcove, John Barker reading from Bending the Bars, his prison memoir. * Check out the official Offbeat Film Channel. * Jim Jones (Pere Ubu) and Alain Robbe-Grillet have both kicked the bucket. * Jon Savage on Derek Jarman in The Guardian: “Jarman had already put his life into his art, so why not his slow death?”. And in Time Out: “You used to go up to Derek’s tiny flat and there would be some German punk kid who’d come to talk to him, together with Norman Rosenthal from the Royal Academy, John Maybury and Derek’s latest rent boy discovery. Not that Derek was having sex with them necessarily, but he liked those marginal lads. Derek was always unbiddable, that’s what I liked about him: ‘I’m going to do what the hell I want. I’m going to do the opposite to everybody else, and sod you’.” (See also Jarman the gardener and painter. There’s a video here.) * Zachary German‘s Eat When You Feel Sad. * Je n’ai pas connu Jacques Vaché. * Lee Rourke‘s Everyday reviewed in RSB. * The first issue of the UK Network for Modern Fiction Studies‘ journal, Critical Engagements, is available. * Will Ashon in The Indie. * Larry “If I wasn’t cool I couldn’t get within two miles of these kids” Clark: “This is where the complexity lies in Clark’s photographs, in the distance between their subjects’ lack of self-consciousness and the camera’s all-too-aware rendering of the same”. * “Morrissey, Michael Stipe, Brett Anderson, Noel Gallagher — j’accuse”: Toby Litt on why rock stars always lose it in the end (“Once the old todger goes a bit soft, everything else does, too”). * The Open Humlanties Press. * Listen to a Wisconsin Public Radio feature here about The Apocalypse Reader anthology. * Nowhere Fast — the Brutalists’ first offering — is reviewed here. The Brutalists are also interviewed in dogmatika. * Dan Crowe in the New Statesman: “When I edited Zembla, a literary magazine that ran from 2003 to 2005, I often asked writers if they had any unpublished gems in their desk drawers — but our backer was the antiquarian bookseller Simon Finch, not the richest man in the world. A big (and fun) part of the challenge was seeing what I could get them to work for instead of money. Will Self was given a first-edition William Burroughs. J T Leroy asked for a pair of Manolo Blahnik heels (I should have realised there was something going on with the chap at that point). Robert Macfarlane settled for a UK first edition of Lolita, which I think we still owe him (sorry about that, Robert; you will get it)”. Another interesting extract: “It is no longer enough for a literary magazine to publish ‘good writing’, or even ‘new writing’. We’ve got the internet now. When Plimpton founded the Paris Review it was an act of rebellion; similarly for Bill Buford when he relaunched Granta in the 1970s. They wanted to shake things up a bit. With the new owner in place, it is time for another shake-up. Granta must loosen up; it must rock and roll”. * Martin Amis interviewed in Time Out (London). On Terry Eagleton: “He’s a disgrace to the academic profession. He’s like an old boxer who keeps picking fights. But it’s time for him to take off his trunks”. * Mr Merde. * The greatest stories never told. * Novelist Nicholas Blincoe (who appeared at 3:AM’s very first London event) wouldn’t buy an unused condom from the Ramones. * What has Tamra Spivey been up to? * Heidi James in Vauxhall; Joseph Ridgwell in Bethnal Green. * Lynne Tillman in The Independent: “[S]he comes from an era when the hottest upstart literary magazine (Between C&D) was printed on a nine-pin dot matrix printer, and some of the most evocative young fiction writers Kathy Acker and Mary Gaitskill had worked as strippers. The art and literary worlds mingled in the pages of new magazines like Bomb, which launched in 1981″.
First posted: Tuesday, February 26th, 2008.