|Dimensions||225 × 145 × 25 mm|
Wrecking Ball Press
PSYCHOMACHIA reads like an NA meeting with Donna Tart, Joan Didion, DBC Pierre, James Frey, Angela Carter, Reinaldo Arenas, Virginia Despentes and JT Leroy battling their collective consciousness. Literature like this is usually presented through the male gaze, hence the fashion and rock n roll literati naming Kirsty Allison London’s finest.
She’s hilarious – she’s fucked up. Scarlet Flagg is so wasted, she doesn’t know if she killed the arch patriarch of rock n roll, Malachi Wright of Wright States International Touring after he raped her at a festival at 14. Scarlet is the kinda girl you wanna help, fuck, and leave. But is she dangerous? Did she murder Malachi or was it her boyfriend, Iggy Papershoes, frontman of Heroshima? Or perhaps her drug-dealing father? Scarlet doesn’t remember – she hardly remembers her own name.
This is brutal female drug-lit at its finest. The first novel of the real nineties, Scarlet is an unreliable narrator of epic fin-de-millennia proportions floating in a Shoreditch-warehouse haze. Her fast moving chronicle of the secret drug-filled, love starved, sex satiated-nightmare world of East End fashion, art and music afterparties is set in an era before MeToo, when stigmas meant keeping schtum, and getting in with the male-dominated in-crowd relied on copious amounts of class-As. Like Jean Genet in a prison cell, without camera phones, social media or mental health awareness, Scarlet searches for redemption in the pursuit of revenge through blurred lines in Ibiza, Paris, London and New York.
48 in stock
W. H. Auden, in his essay, The Poet and the City, (the Dyer’s Hand, 1962), starts with a quote by H. D. Thoreau: “There is little or nothing to be remembered written on the subject of getting an honest living…….One would never think, from looking at literature, that this question had ever disturbed a solitary individual’s musings.”
Auden covers much in this essay, but it’s his concept of the modern hero which is relevant here: “the man or woman in any walk of life who, despite all the impersonal pressures of modern society, manages to acquire and preserve a face of his own.”
In Geoff Hattersley’s latest collection, Harmonica, we have Auden’s hero; in fact, a succession of them. These are heroes battling against the complexity, confusion, drudgery and relentlessness of making ends meet.
This collection is appealing on many levels: for its simple language, the way he maps the struggle against these ‘impersonal pressures’, the optimism you unearth as you read more deeply, and the love of people.
Earwigging is a journey, never lingering for too long in any one place. It is the written equivalent of walking through a train station or waiting for a friend in a pub, conversations drifting in and out of earshot, only ever in part and neither beginning nor resolved. It is the overheard world. It is poignant, it is as unreal as only reality can be. It is hilarious.
This is the book that thoughtful readers of Charles Bukowski have been waiting for. Based on extensive research, it places Bukowski’s poetry in it’s American cultural context, and explores the key poems and collections in his development. It traces magazines, literary contacts and influences from the mid-1940’s to The Last Night of the Earth Poems (1992).
Want to know about Bukowski and the movies, the Beats, Hemingway, Céline and Walt Whitman? About how and why Bukowski formed his unique style and image? And about where he fits in to West Coast and post-War American verse? Scholarly but accessible, this is the essential book to have. Also contains drawings by David Hernandez, rare photographs of C.B., and a preface by Gerald Locklin. – The Editor
In a land not too far away and a time yet to be decided, one man and his Dad embark on an epic journey of war, peace, love, religion, magnificent flying machines and mushy peas.
The Bastard Wonderland is the astonishing debut fantasy novel from Hull writer Lee Harrison.