Posts Tagged ‘Alex Trocchi’

From censorship to John Latham and back again…

Monday, December 7th, 2009

The oldest of suppressed traditions

In a world dominated by illusion, it comes as no surprise that censorship should be popularly misperceived as a form of social repression. The contradictions which support such an inversion are manifest in every area of daily life; they constitute the apparent “reality” of our “time”. Despite the fact that it has been demonstrated time and again that consciousness is an effect of a closed system of exclusive focus, of censorship, “literate” consensus maintains that censorship and silence are the negation of consciousness. It is clear that Power has a vested interest in maintaining a monopoly on censorship. The “concept of freedom” is an unreachable, collapsing, absolute. All experience becomes equal when exchanged via Capital; with class “privilege” determining how much of this worthless “equality” each person is entitled to.

The negative and its use

Anything can be censored for any reason; start by censoring this text. The censors of the “left”, “right” and “centre”, all do their collective part; despite the fact that they imagine themselves to be motivated by the very beliefs we will ultimately negate.

From originality to ontology: the decline of the text

The possibilities for communal transformation of this world lie in disconnection from imposed notions of progress and democracy. Plagiarism is the “beginning”, the negative point of a culture which finds its justification in the “unique”. Censorship supersedes plagiarism as an “intelligent” negation of “originality” because it suppresses not only (“original”) production, but also reproduction (plagiarism, appropriation &c.) which revalue the “original” and maintain its circulation in “reality”. Censorship is to the present what plagiarism was to history.

The healing power of doubt

Revolutionary propaganda sets itself the task of discrediting all received ideas without offering a single “alternative” thought with which they might be replaced. Kill your desires and live! Erase, destroy and make useless all recorded information. Physically and otherwise attempt to suppress all expression in art, politics, history &c. Resist culture and all other forms of institutional identity. Suppress, by refusing to participate in, interpersonal and mass social relationships. As you see fit, smash the “imagination”, “schizophrenia”, “death”, “sexuality”, “values”, “time” and all other forms of seduction and abstraction. Experimentally break down the frames of reference by which you organise non-valued perceptions into valued entities: i.e. objects, ideas, means of self-perception &c.

An end to social relations

“Self-destruction” is a semantic swindle. The moralism against suicide is reactionary resistance to change. Only total opposition, both theoretical and practical (i.e. silence), is irrecuperable. Anything else must necessarily appear absolutist and contradictory.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

The ‘eternal’ return of London’s most down & dirty beatniks!

Saturday, September 12th, 2009

Going to my post box the other week, I found within my haul of letters a small collection of stories entitled Chomsky And The Kultigator by Graham Nowland (Clear City Press). The title piece about a man who is mistaken for the linguist Noam Chomsky is very good, but another story called Some Of The Times I Have Died is even better: “How can I be writing this if I am dead? Well, I can think of at least three novels with dead narrators and I’m not even trying. Take it from me, you can write when you are dead..”

Graham Nowland is a name that will be instantly recognised by those familiar with London’s beatnik hipsters of yesteryear. He turns up alongside the likes of Grainger “Don’t Call Me Malcolm” Drake in newspaper pieces on ‘longhairs’ dating back as far as 1962! Nowland has been living in Australia for some years, and this is where much of his recent fiction is set, but he knows the hippest and most hidden aspects of the London counterculture of yesteryear the way only an insider can.

Clear City Press is not only the publisher of Nowland’s collection of short stories, it is also this hipster’s latest venture: and he plans to publish more of his own work as well as that of associates including R. Frederick Finlayson, anail nathrach and Liz Elliot. The latter’s as yet untitled book is being promoted with the following blurb: “A London poetry and prose writer, she is also writing an autobiography. She has long been active in London underground networks and her associates have included LSD guru Timothy Leary, novelist and king junkie Alex Trocchi, neurologician Brian Barritt, and archetypal London hipster ‘Grainger’ aka Malcolm Drake.” All of which makes Elliot sound like Liz Cooke’s double to me!

Moving on, one poem that has entered into oral legend from this particular circle of people, runs as follows:

I am a pot plant
That instead of being watered
Has been pissed on by a cat.

My impression is that Clear City Press are concentrating on quality writing, but I wonder if Nowland would consider doing an anthology of lesser unpublished pieces by people from within the circles Grainger frequented. The above poem is often quoted by those familiar with this milieu precisely because it is  funny, memorable, and thus ‘so bad it is good’!

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Antony Balch Night at the BFI

Friday, June 26th, 2009

I try to catch as many of the BFI’s Flipside nights as I can, since this monthly delve into the wilder side of British cinema should not be taken for granted. It is sobering to think that only a few years ago the BFI was an incredibly stuffy and conservative institution that haughtily ignored the film culture it now highlights in its Flipside programming. So big up to Vic Pratt, Will Fowler and the current BFI management for being forward thinking and in the groove! The days of tossers like Colin McCabe passing-off their tiresome taste in bourgeois snore fests as somehow representing everything that is ‘progressive’ in cinematic culture are thankfully over!

First up at Flipside last night was Towers Open Fire (1963, directed by Antony Balch). This was a clean 35mm print from the BFI archive, and you could actually see where Balch had deliberately degraded the film stock to create contrasts between different passages. Towers Open Fire was written by and stars beat novelist William Burroughs. It condenses his literary obsessions and cut-up techniques into a dozen minutes of screen time. The world disintegrates, the stock exchange crashes, and some strange things happen in the old BFI boardroom on Dean Street. Magic is performed over cans of film, the director lies on a bed and jerks off, there are shots of a Brion Gysin dream machine, cameos by BFI luminary Liam O’Leary and junkie novelist Alexander Trocchi, and things more or less end with Ian Sommerville doing a comic dance. I’ve seen this short many times, but never from such a good print.

Next up was the legendary Kronhausen’s Psychomontage No. 1 (1963, originated and executed by Phyllis and Eberhard Kronhausen), a short I’d never seen before. Antony Balch did some of the cinematography for this movie, the rest is by the Granada Zoological Unit and Harold Keene. The film cuts between shots of animal sexual activity and amorous human subjects. Towards the end, the Kronhausen’s up-the-ante with some almost explicit scenes of a woman getting fresh with a dog. This short is very hard to source and the BFI screened it from a video copy supplied by Mark Pilkington of Stranger Attractor. By chance, Mark had the seat next to me in BFI Screen 1. We said hello but the programme had just started when he came in, and he rushed off at the end of this Flipside session, so I didn’t get a chance to quiz him about the Kronhausen movie. I’m still trying to get my head around it, and would like to see it again.

The main feature was Horror Hospital (1973, directed by Antony Balch). This is essentially a parody of a Bela Lugosi-style b-movie. The plot revolves around a mad scientist called Dr Storm (Michael Gough), who is performing brain surgery on victims he lures to his Gothic mansion, turning them into mindless slaves (who he sexually abuses). Inevitably one of Dr Storm’s assistants is a dwarf (Skip Martin), and the flick also features iconic 1970s British sex-comedy star Robin Askwith. Balch plays with old dark house and horror tropes but keeps the campy parody reigned in just enough to maintain audience interest in the slight plot, which concludes with the mansion going up in flames. The overall vibe is similar to movies such as Thundercrack (1975, directed by Curt McDowell) and Flesh For Frankenstein (1973, directed by Paul Morrissey), but Balch gives the proceedings a uniquely English twist and does so with considerably more aplomb than the Rocky Horror Picture Show (1975, directed by Jim Sharman). The audience at the BFI was in stitches throughout Horror Hospital.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Soho – keep it ‘unreal’!

Thursday, May 21st, 2009

Yesterday I spent the afternoon at the old St Martin’s School of Art campus. The building stretches between Charing Cross Road and Greek Street. The frontage is impressive but the interior takes me straight back to Soho in the 1970s, when London was truly down and dirty. In the main entrance there’s even a ‘blue’ plaque stating the Sex Pistols played their first gig at the college in 1975. A lot of bands played at St Martin’s over the years, and you’d have thought the administration could have found a better group to commemorate than the Sex Pistols.

I’m not sure when the Sex Pistols moved into their Denmark Street rehearsal room, but if they were there by November 75 it would have been literally just a stroll across Charing Cross Road to get to the gig. Not much further away is the site of the old Marquee Club at 90 Wardour Street, the building that housed it is now demolished. The Sex Pistols played the Marquee but I managed to avoid them both there and at St Martin’s. That said, I did spend a lot of time at the Marquee in the late-seventies. Although the Marquee was originally located on Oxford Street and much latter moved to Charing Cross Road, the Wardour Street address is its core location and the club was run from there between 13 March 1964 until 18 July 1988.

When I went to the Marquee in the 1970s, Big John the bouncer would be standing at the entrance, I’d pay between 50p and a pound to see the band, and as I walked down the corridor to the first bar I’d hear Jerry Floyd or Ian Flemming spinning disks as a warm up. The place is etched in my memory, and so is how dirty Soho and the rest of London were at that time. When I walked into St Martin’s yesterday it reminded me of how great London used to be before it was cleaned up and gentrified. The Marquee in the late-seventies was peeling, and so was the rest of London. St. Martin’s is in ruins today and repairs are avoided because this institution was merged with The Central School of Art in 1989, Central St Martin’s is now a constituent college in The University of the Arts London, and is moving to a new purpose built campus in Kings Cross in 2011.

Wandering around St Martin’s yesterday I could feel Soho history wafting through the corridors, and some of it smelt rank. The building was built around 1938 and at the time would have been really grand. Now there are little locked rooms all over the place, and I wonder if when they’re finally opened there will be a yield of dead bodies. No one seems to know what is locked behind those doors. While plodding tourist ‘heritage’ items like the Sex Pistols now form the official history of St Martins, it has a much more interesting subterranean past. To give just one example, beat novelist Alexander Trocchi was employed by the sculpture department on a pretty much a full-time basis between October 1964 and March 1966. As far as I’m aware that episode is still fairly blank in terms of published biographical accounts of Trocchi’s life.

Moving on, I guess everyone imagines Soho was best in whatever state they first got to know it. My real love affair with the place was between 1974 and 1980, from the ages of 12 to 18. This was the era of the dirty bookshops and sex cinemas. The sleazy feel of the place at that time totally grooved me and I hated the way it was subsequently cleaned up. If you read the memoirs of fifties London gangsters then they tend to bemoan the arrival of the sex shops, which they say brought about the decline of the family businesses that gave the area its distinctive feel. What those who first discovered Soho in the nineties are nostalgic about I haven’t a clue… But luckily for me it looks like the credit crunch is taking what was once my favourite part of London back to the state I think it ought to be in; i.e. a dirty rotten mess. Who knows, I might even catch Sohoitis once again! Yes, going into St Martin’s yesterday gave me a real whiff of a London I know is no longer lost forever….

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Phil Green & the lost world of London’s beatnik hipsters

Friday, April 3rd, 2009

It has long been a cliché to say that history is written by the victors, but in terms of the London counterculture it would be far more accurate to state that to date accounts of this scene have largely been composed by the squares; individuals who failed to penetrate the truly hip inner circles because they are too straight to know about them.  Since I started researching my mother’s life, I have come across a massive amount of material that was missing from histories of the period. The most amazing oversight is without doubt the Victor James Kapur acid manufacturing bust (my mother’s friend Detta Whybrow persuaded the chemist to make the LSD, and organised its distribution in London); fortunately after I turned Andy Roberts onto newspaper accounts of the court case, he did further research and included it in his book Albion Dreaming (2008).

Many beatnik faces are still overlooked in histories of the sixties because publishers and television producers think all anyone wants to hear about is the rather less sophisticated hippie scene. Likewise, the real hipsters were rather less interested in publicising their activities than interlopers like Steve Abrams. In this blog I’m going to look briefly at 1960s west London beatnik face Phil Green, who – in tandem with Alex Trocchi – made an early stab at translating French Situationist texts into English. That said, while Trocchi’s French contacts liked to drink wine and smoke a bit of weed, these London hipsters were more into smack; and this is as true of Phil Green as anyone else.

On 12 March 1962 The Times carried the headline ‘Drug Charges After Raid On Café’ above an article that mentioned Green among others, then on 26 March 1962 the same paper followed this up with ‘C.N.D. Supporters Given Drugs’, concluding on 26 April with a news story entirely devoted to Phil Green entitled ‘Youth’s Beard A Part Of Façade’. Philip John Green then aged twenty was one of ten men and women arrested for their involvement with a ‘drug ring’ centred on The Peace Café in Fulham Road, Chelsea. At the time Green worked at this establishment as a chef. He pleaded guilty to possession of Indian hemp and twenty grains of opium, as well as ‘hubble bubble pipes’ used for opium smoking.

Green’s defence lawyer said that there was no question of him being ‘a conduit pipe for this stuff or a distributor of it’. The Magistrate assented it did rather look as though everyone was experimenting together. Green was told he’d been caught in possession of a substantial amount of opium, and it was a serious matter, requiring a full medical report. He had his hair cut and trimmed his beard, and upon his return to court for sentencing was given two years probation. The beak told Green: “You have got to get a regular job. Set your sights a little higher than the kitchen and try to trim your appearance to the job. I think you are capable of doing it, having been to a public school.”

Despite assuring the law he’d mend his ways, Green had no intention of doing so. He just wanted to stay free. Jamie Wadhawan caught him on camera at Alex Trocchi’s Arts Lab event of 13 April 1969 in the documentary Cain’s Film; and one of the women present at the event told me recently that Green promised he’d come off junk if she’d sleep with him, but she politely declined the offer. I’m also told, by other sources who likewise wish to remain anonymous, that during this period Green specialised in doing over chemists to support his drug habit. However, after coming out from a spell in Pentonville Prison he met and married a millionairess who hoped to reform him; and moved to Amsterdam with her.

That said, Green kept up his more important London contacts after he left the city. Nina Trott who squatted in the flat above my mother and her common-law husband Bruno de Galzain in Tottenham Court Road in 1975/6 told me: “An old junkie friend of Julie and Bruno called Phil Green came over from Amsterdam and stayed for a while.” While another squatter from a few doors down added: “I remember meeting Phil Green at Julie’s flat, with Bruno, sometime in 1976.  Phil was a photographer and a smackhead.”

Since my mother Julia Callan-Thompson died in 1979, I haven’t attempted to follow Green’s evolution from that point on. However, I’ve been led to believe he is now dead. Further anecdotes about Green, particularly if they relate to his involvements with my mother and/or Trocchi, are of course very welcome in the comments below.

Jeff Nuttall in Bomb Culture (Paladin, London 1970, page 181) mentions Phil(ip) Green by name and provides a sketch of the scene he belonged to. After mentioning the appearance by William Burroughs and Alex Trocchi at the Edinburgh International Writers conference and dating this as 1963, Nuttal continues:  “Together he (Burroughs) and Trocchi moved down to London. In London they became the pivot round which a number of people revolved – Charles Hatcher, Tom Telfer, McGrath, Philip Green, myself. They were not, however, the beginning of the Underground in England. Towards the end of the great days of Aldermaston certain of the whackier and younger CND followers had gathered in the Peace Cafe in Fulham Road, eventually closed through notoriety for drugs, and formed a cultural nucleus that looked mainly towards America and the Beats for its model. Prominent figures to emerge from this group were Dave Gunliffe, Lee Harwood, Ian Vine, Neil Oram, Spike Hawkins, Miles and, most important, Mike Horovitz and Pete Brown…”

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Grainger & Trina, 2 Ladbroke Grove hipsters of the 1960s…

Wednesday, March 18th, 2009

Two names that come up frequently when I’m looking at the real hip scene of the 1960s are Malcolm Drake AKA Grainger and Trina Simmonds. Their names even appear from time to time in print but to date the semi-official historians of the London counterculture have singularly failed to get to grips with what they and their scene were all about.

Alan Semple, who knew Trina Simmonds in the early sixties, told me that before she met Grainger she’d been partnered up with another London streetwalker called Kay, and that this pair were as likely to roll johns as do the business with them. Indeed, they’d steal anything of value punters were foolish enough to let them lay their hands on, and the items they filched ranged from money and cheque books to booze. Semple met Trina and Kay in 1961 when they stopped his car late at night on Kensington Church Street. They asked him if he had a bottle opener and when he replied he had one at home, the two flat-backers got into his motor so that he could drive them to his pad. Together they drank the wine Trina and Kay had swiped from a drunken john, swapped life-stories and became friends. Semple told David Seabrook the same story I got from him, and the recently deceased true crime journalist incorporated it as background material into his book Jack Of Jumps; but Seabrook didn’t supply Trina’s surname and apparently didn’t know it, and as a result he seems to have missed her walk on role in media coverage of the later Gail Benson murder too. As far as I can ascertain, Trina was born on 31 December 1941.

Other people, and in particular ex-junkies who’d rather not be identified, know considerably more about Grainger and Trina than Semple (who was only acquainted with Trina before she met Grainger). These sources say Grainger studied pharmacology at a northern university, but didn’t complete the course. After working on the dodgems in a seaside fun fair in the summer of 1961, he moved down to London from Bradford. Grainger discovered pot in London in the autumn of 1961. He smoked reefer and took amphetamines until mid-1962, when he graduated to junk. Grainger wrote a lot of poetry in the early sixties but didn’t succeed in getting anything published. He wanted to be a professional writer. He fathered a son in either very late 1961, or early 1962 (no later than the spring) but no one I’ve been able to dig up knows what happened to the child, or the mother’s name. It has been suggested that I may be Grainger’s boy; while this strikes me as possible, I view it as improbable. My mother’s on-off relationship with Grainger, who she was living with when she died in 1979, appears to date back to at least the mid-sixties; but I’ve never been able to ascertain whether it began as early as 1960 or 1961. By the time Grainger’s love child was born (as I’ve said, possibly me), he was dating Liz Cook – she was then a drama student and later became Brian Barritt’s lover.

According to my anonymous sources, Grainger and Trina met through the junk scene in 1963, at a chemist’s shop, or alternatively in a doctor’s waiting room. They were both registered users. Trina had a pad in Queensway when Grainger first knew her. Kay disappeared soon after Grainger and Trina became an item. Grainger dabbled with acid in the mid-sixties, and settled in the Grove at that time, but even in the nineteen-seventies he was still working with the insights and assumptions that came from the earlier beatnik scene. He was not a full on acid head or hippie, he was formed by the beat traditions of junk and bebop. He adapted to countercultural changes but in the hippie era was an elder. When he was first in London, Grainger talked up the work of writers like Trocchi and Burroughs but didn’t know them personally then. He got close to Trocch, and heavily involved in his drug dealing scene, after meeting Trina in 1963.

Some of this can be confirmed by chasing up drug stories carried by the British press in the early sixties. Grainger suffered what looks like his first bust in the spring of 1962 which led to the headline ’5 Idle Chelsea Men Had Hemp’ in The Times of 24 April that year. This story describes Grainger as 22 years-old and unemployed. Busted alongside him were his flat-mates Robert Osbourne Morgan, John Beaumont, Charles Terrence Westwood and Selwyn Paul Eva. After he was informed that Grainger aspired to being a poet, the magistrate announced: “That is a nice job for the evenings and getting up in the morning to see the sun rise.” The beak was not impressed with the defendants ‘long hair’ and seems to have viewed them all as worse than work-shy, ranting after reading a report on Beaumont: “…your philosophy is that work has to be avoided at all costs. You have almost a religious faith in being able to exist without earning any money…” The court case apparently caused a sensation at the time, with Grainger and his friends being dubbed ‘the kids who couldn’t give a damn’ by the tabloid press (which was, of course, only too happy to pay them for their story).

There are reports of a second bust in the summer, which graced The Times under the headlines ‘Premises Dens of Iniquity’ (6 August 1962), ‘Indian Hemp Youth Gets Six Months’ (11 August 1962) and ‘Probation for Girl In Drug Case’ (18 August 1962). Subheadings to these stories included: ’11 Men and a Woman on Drug Charge’, ‘Syringes Found’ and ‘For a Bit of a Kick’. Most of those busted lived at the time in bedsits in Regents Park Road, including Grainger and Robert Osbourne Morgan. Like Morgan, John Beaumont who earlier in the year had been busted with Grainger in Chelsea, was up before the beak on a repeat offence; this time he’s listed as being of no fixed address. Grainger was sentenced to three months in jail. After this he apparently felt little inclination to compose poetry, telling acquaintances that he lived poetically and therefore thought it best if lesser talents were left to write it.

Fast forwarding into the 1970s, Grainger and Trina arrived at Michael X’s Trinidadian commune in November 1971 and left roughly one week after the murder of Gale Benson who died on 2 January 1972. It isn’t entirely clear whether or not Grainger and Trina knew about this homicide prior to the discovery of Benson’s decomposed body; among other things, there is an ambiguous passage on pages 93 to 94 of Charlie and Mike Phillips’ literary and photographic memoir Notting Hill In The Sixties that might be taken as intimating they did. Benson was the privileged daughter of a former British Tory MP, she dug the black power message and somehow got herself killed. Her death generated headlines and among the more lurid of them was ‘Two Loves Of Black Power Girl’ which graced the front page of The Sunday People on 27 February 1972. This article claimed Benson had been a heroin addict and was in love with both Hakim Jamal and Michael X. Benson provided exactly the type of horror story reactionary journalists loved, since despite a privileged upbringing and society wedding, she’d wound up dead after immersing herself in the hippie and black power scenes.

Most commentators ignored the claim made in the Sunday People that Benson was a heroin addict, and instead their credulity was revealed when they portrayed Grainger and Trina as naive hippies, or even a writer and his girlfriend, rather than a pimp and prostitute who had a perhaps undeserved reputation as ruthless junkie survivors. Indeed, early press coverage of the murder, such as ‘Trinidad Death Victim May Have Been Buried Alive’ in The Times of 29 February 1972, report local police as being concerned to discover the whereabouts of Grainger and Trina who are described as a missing English man and woman. Grainger is (mis)identified as Mr Granger, while Trina appears under her married name of Mrs Pashley.

Trina is said to have been a frequent companion of the murdered woman, and the inference in early press reports (before she’d been located back in London) is that the authorities were worried about her and Grainger’s safety and well-being, since they too might have been killed. While Trina in particular was apparently deeply shocked, shaken and upset by Benson’s murder, she and Grainger concealed their feelings in court, where they claimed to have seen nothing untoward during their stay at the commune. Of course, court statements along these lines are exactly what one would expect from such junkie survivors regardless of what they actually did or did not see; the trial was widely reported in the British press and it was imperative that their peers did not perceive them to be grasses, since this would have made their lives difficult and Grainger’s activities as a drug dealer untenable, thereby cutting off a major source of their income. Grainger and Trina’s perception of the commune when they were resident there may have been exactly as reported in court; on the other hand, Trina’s apparently hysterical outbursts to acquaintances upon their return to London might be taken to indicate this was not the case.

Denis Browne who knew Grainger and Trina in the early 1980s told me in 2002:

“Grainger’s favourite saying: “I’m a healer not a dealer.” I scored off Grainger for years up until my last bust in 1984. I’ve had no contact with him since then. Grainger and Trina feature quite a bit in a late seventies biography of Michael X. The main “message from Alex” they took to Trinidad was an once of smack. For the commune hospital, of course. Even among serious junkies G and T were regarded as a pretty ruthless pair of survivors. Grainger could be a total bastard, especially when he took speed, but was generally okay with me – I had a bit of extra cred, having been introduced by Alex Trocchi and found Grainger great company on a good day – a sharp, no bullshit kinda guy. Rare among long-term junkies. Trina was just like Fay from Cain’s Book (Trocchi’s autobiographical novel) – a totally ruthless junkie who’d “suck the last fix out of your arm” – she generated an endless series of hustles, scams, rip-offs and marathon psychodramas round at their place – a poky thirties council flat in Elephant and Castle when I knew them – which tended to spoil things.

“I didn’t know Grainger in the days when he roamed the Grove in a hooded purple cape, but I do remember him talking to me about your mother. What I can recall is that he was incredibly cut up about her death and seemed to feel a lot of guilt and self hate about what had happened – this would have been about 81/82 – a few years after her death. Grainger was a fair bit older than most of us who’d hang out round their place. I reckon he’d be in his mid-sixties now.

“Grainger was from Leeds and definitely had the hard-bitten Yorkie vibe about him. Wiry/wired kind of guy, small beaky nose and hooded eyes gave tortoise-like impression. He’d often seem somnolent in group situations but his mind would be blazing all the time. When the speed/Trina paranoias weren’t in full effect and if you could get him on his own, he could be great company. Alex Trocchi wouldn’t hear a word against him.

“The time when he rapped about your mum came about because I got frozen in round at his flat one particularly cold Xmas (81?82?) for about three days. Trina had gone back to her folks in Gateshead after a real spectacular: suitcase over the balcony when Grainger found she’d nicked a load of his private stash of diamorphine amps.

“In one account of his early days he said he’d trained or qualified as a pharmacist before the sixties kicked in During another long session he told me how he’d been part of a wild traveller gang who travelled around the North, vaguely connected with putting on funfairs etc., “I lived like a fucking animal” he recalled with no pride. Then he’d discovered first acid and then smack – in the days when GPs were able to prescribe class A’s and things were a bit of a free-for-all. A golden age of junk – when I got into smack a few years later – when the regime had changed from heroin maintenance to methadone reduction – we felt really pissed off and cheated that we’d missed out on the ‘good times’, I’m sure most of the Trocchi stories in circulation come from this time. It might help explain the vibe around in your mother’s time when some fairly hardcore drug use really wasn’t considered that outré

“If I had to try to liken Grainger to someone you’re familiar with I’d tentatively suggest John Lennon. Similar mix of contradiction maybe. I was reading something last night about Lennon’s drunken arsehole in LA period in the mid-seventies – and how generally given he was to drunken destructiveness – compared to the received image of the guy. Grainger had the same kind of caustic vibe as Lennon. “I’m a healer not a dealer” could almost be a Lennon lyric. Another favourite Grainger saying: when declining to give someone gear on tick – as experienced by yours truly – “No-one wants to pay for drugs they’ve already taken.” Hard but one of the truest things I’ve ever heard…”

I’m told by those that knew Grainger in the sixties that the Michael X episode changed him dramatically and very much for the worse. Likewise, the same sources tell me Grainger and Trina were only very loosely together for much of the seventies, and lived in separate pads for extended periods. In the very early seventies there was a sex scene going on with Grainger, two girls, one dark, one blonde, and a black guy. The fair girl may have been my mother Julia Callan-Thompson. Grainger and Trina only got back together on a full time basis after my mother’s death.

There are a number of stories in circulation about my mother’s death, and these vary from the claim that she was murdered by an obsessed john to the less sensational suggestion that she died from an accidental heroin overdose. Only the latter rumour need concern us here, since Grainger features prominently in it. The story runs as follows.

In the late-seventies my mother was having a down period. However, at the very end of her life she got a job in a clip joint. The manager had employed her before but was wary of her smack habit, so she’d had to convince him she was clean in order to get the job. Since it isn’t easy to land a hostess job at the age of 35, my mother really felt she was on the up again. She had just done cold turkey in the US, but once she was back in the UK with Grainger, she wanted hits to help her relax after she finished work. Grainger made these up from his personal stash, and although Julie was living with him as his common-law wife, he charged her for the gear. He told friends he exaggerated the size of the hits he was giving my mother, because lying to her about this kept her straight enough to do her clip joint job (it also meant Grainger had both more money and more junk).

On the night my mother died, Grainger had sold a lot of gear and used all that was left over himself. Therefore there wasn’t a shot for my mother when she got in from work. Desperate for a fix, my mother went and scored street heroin from Brian Barritt. She bought the equivalent of what she thought she’d been getting from Grainger, not knowing he’d exaggerated the size of the hits he’d been giving her. She shot up before going to bed. My mother woke Grainger in the night to tell him she couldn’t breath and needed help. He told her to go back to sleep, which is what he did. When Grainger woke up in the morning my mother was dead in bed beside him because she’d overdosed. Grainger proceeded to clean up the flat, removing all needles and other signs of drug use. When he called on his near neighbour Brian Barritt, he was visibly upset and in a panic. Grainger had broken up with Trina to get back together with my mother, and since he loved her, he was completely cut up by her death – for which he felt he was in some ways responsible.

Without some form of corroboration, it is impossible to know whether or not there is any truth to the story I’ve just related. Regardless, since Grainger may be able to throw some light on my mother’s death, I am keen to collect further information about him; and if he is still alive to speak to him. I can’t find any west London hipsters who have seen Grainger since 1986; five years ago I called several times at a flat in south London where I believed Grainger was living, but the man resident in the property wouldn’t answer the door and it is now occupied by someone else. Although my mother had many lovers, ultimately only two were really significant to her, Grainger was one and Bruno de Galzain the other. And to wrap up, while Brian Barritt can be contacted easily enough, he has to date refused to speak to me about my mother and her death. If you have anecdotes about Grainger and Trina, you can – of course – add them to this by leaving a comment.

Addendum: On 22 February 2010 I received an email from someone Grainger and Trina befriended during the post-Ladbroke Grove phase of their lives. It included the following: “Grainger died in February 2000. He had contracted Hepatitis C many years previously no doubt as a result of very liberal heroin use in the 60′s and 70′s. I think he was unaware that he had it until early 1999 when he fell seriously ill with cirrhosis of the liver. I went to his funeral in Elephant & Castle. Trina has moved to Newcastle upon Tyne and is living with her mother.”

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Alex Trocchi & the revolt against authenticity

Wednesday, January 21st, 2009

Hey kids just in case the notorious lobster loving nude chefs of the International Necronautical Society fooled you into thinking I was the first person to attack the cult of authenticity (and I’m sure they only took this humorous stand to demonstrate that they are absolute masters of the inauthentic), let’s backtrack a bit. Since we’ve been talking about the inauthentic lately in relation to Tom McCarthy and Simon Critichley taking up the trope from various 1980s and 1990s countercultural networks, it seems worth putting my introduction to Alexander Trocchi’s Young Adam online. This is a book from the 1950s that brilliantly satirises the authenticity obsessed existential movement of that time. My analysis of the text comes after a little bit of set up, so stick with this one boppers! Oh and for those bibliophiles with us here today (yes, I do count the likes of Paul Noble among my many acquaintances), this first appeared at the front of the One World Classics edition of Young Adam published in June 2008.

Young Adam Introduction

Alexander Trocchi was born in Glasgow in 1925 and died in London in 1984. His life, as much as his writing, is the stuff of legend. Considered by many to be the most dissolute of the beats, for a time it looked like he was more likely to be remembered as ‘The Lord of Junk’ than as a writer. Trocchi was notorious both for his prodigious chemical intake and pimping his wife Lyn to get money to pay for drugs, But times change and fashions do too; and now ‘Scots Alex’,  as Trocchi was known on the west London drug scene, has become an almost respectable literary figure.

For contemporary Scots writers Trocchi’s immersion in the hippie counterculture makes him a more attractive literary figure than the country’s other relatively visible modernists of the fifties and sixties such as Edwin Morgan, Ian Hamilton Finlay and Hugh MacDiarmid (all principally poets). Irvine Welsh has been quoted as calling Trocchi ‘the George Best of Scottish literature’. Other Scots writers owe even deeper debts to Trocchi; former boxer Barry Graham went as far as penning a Trocchi parody novel “The Book of Man” (1995). In London where Trocchi settled in the early sixties, he towers over those who might be seen as his most immediate English literary heirs such as Ann Quin, B. S. Johnson and Alan Burns. Trocchi did little writing after washing up in London, but he cut a doomed and dashing figure hanging out with the likes of black power leader Michael Abdul Malik, and fellow beat generation stalwart William Burroughs.

There is considerable division over which Trocchi book is his best, but the consensus of opinion is either “Young Adam” (1954) or “Cain’s Book” (1961). “Young Adam” tends to catch the attention of those less interested in drugs and literary experimentation. To date this novel has suffered from being seen as a work of late-modernism cast in the same mould as Beckett, Genet and Ionesco. Trocchi had a hand in publishing all three of these writers when he lived in Paris in the early to mid-fifties.

Trocchi’s importance as a proto-postmodernist has been obscured by what in retrospect appears an arbitrary division between his porn novels and ‘serious’ works. In fact “Young Adam”, the earlier of his two ‘serious’ novels, was first published under the pseudonym Frances Lengel as a ‘dirty book’ by Olympia Press in 1954. The other titles written by Trocchi and published by Olympia under this name are “Helen and Desire” (1954), “Carnal Days of Helen Seferis” (1954), School for Sin (1955) and “White Thighs” (1955).

Trocchi re-edited “Young Adam” removing a number of the erotic passages so that it might be issued by a ‘reputable’ publisher at a time when the use of extended pornographic tropes in literary novels had yet to become an accepted postmodern practice (cf. Kathy Acker, Bret Easton Ellis and Chris Kraus). What Trocchi excised from his ‘definitive’ version of “Young Adam” were principally sex scenes, with one important exception. This is a climactic passage where Trocchi’s narrator Joe recalls an argument with Cathie, his former lover whose dead body he helps drag from a canal at the beginning of the book. Cathie is supporting Joe as he unsuccessfully attempts to complete a novel. Joe describes a day on which instead of writing he made custard and when Cathie comes home this leads to a row. She refuses to eat the custard, so Joe throws it at her as she is taking off her work clothes, then he thrashes her with a rough slat of wood, before proceeding to tip ink, various sauces and vanilla essence over the girl:

“I don’t know whether she was crying or laughing as I poured a two-pound bag of sugar over her. Her whole near-naked body was twitching convulsively, a blue breast and a yellow and red one, a green belly, and all the colour of her pain and sweat and gnashing. By that time I was hard. I stripped off my clothes, grasped the slat of the egg crate, and moved among her with prick and stick, like a tycoon.

“When I rose from her, she was a hideous mess, almost unrecognizable as a white woman, and the custard and the ink and the sugar sparked like surprising meats on the twist of her satisfied mound.”

Trocchi is clearly using a fictional voice and although it might be argued that he shares some of the Joe’s misogyny, he was not prone to the racism implicit in the term ‘white woman’. Likewise Trocchi’s decision not to use Cathie’s name at any point during his description of the “sploshing” and “thrashing” is clearly a conscious device aimed at revealing Joe’s dehumanised ‘nature’ as he reduces the object of his lust and fury to the same base level. This is just one of many passages that demonstrate Trocchi did not want Joe to be a sympathetic ‘character’, or for the reader to trust him as a narrator. Joe’s claim sustained pretty much throughout the second and third parts of “Young Adam” that Cathie met her death accidentally is not necessarily to be believed, just as at the end of “American Psycho” (1991) by Bret Easton Ellis the reader is left uncertain as to whether the narrator Patrick Bateman is a psychotic serial killer or a pathetic fantasist.

Another contemporary New York writer who retrospectively helps illuminate Trocchi’s aesthetic stance here is Lynne Tillman. At the climax of her novel “No Lease On Life” (1998), the narrator Elizabeth Hall is so frustrated by her inability to find any peace in her Lower East Side apartment, that she sends a rain of eggs splattering onto those making noise in the street below her. Tillman’s book is loosely modelled on James Joyce’s “Ulysses” (1922). The action takes place over 24 hours but the tenor of the work and its denouement mark it as self-consciously postmodern. Tillman and Trocchi who knew each other briefly, share a love of classic modernist literature but at the same time both have moved beyond what even by the early 1950s was an exhausted literary form.

Trocchi’s narrator Joe only admits that he knew Cathie half way through “Young Adam”. Joe claims he’d wanted to focus on his attraction to his subsequent lover Ella, and therefore didn’t explain how Cathie fitted into the overall picture of his life. At this point it is Joe and not the reader who has lost the plot. He is confused and says he killed Cathie: “There’s no point in denying it since no one would believe me”. To underline his sense of disorientation, Trocchi makes Joe speak of police ‘sensationalism’ being reported in the newspapers, a reversal of commonplaces about ‘media sensationalism’. The reader only has Joe’s version of events, and Trocchi goes to great lengths to underline his unreliability:

“It was an odd thing that I, who saw Cathie topple into the river, should have been the one to find her body the following morning at one mile’s distance from where she fell in. I felt at the time that it was ludicrous, so incredible that if Leslie had not happened to come up on deck at that time I should most certainly have refused to accept such an improbable event and tried to thrust her away again with the boat-hook.”

While life is full of coincidences, the plots of novels are the result of conscious design. Most writers would avoid happenstances like the one Trocchi employs here because although it just might occur in life, it isn’t plausible as fiction. Trocchi, of course, uses it to undermine Joe’s believability as a narrator. “Young Adam” has been called an “existential thriller” and compared to “The Outsider” (1942) by Albert Camus, but such descriptions rest on a misreading of Trocchi’s text as being modernist. An unreliable narrator like Joe cannot be an existential protagonist because the philosophy of Jean-Paul Sartre, Albert Camus and their various followers, is predicated on notions of authenticity. Joe is not even an authentic bargeman, he is a university drop out who works on the canals for at most a few months.

“Young Adam” is neither an “existential thriller”, nor merely a parody of that genre, but rather an entirely new type of work. Among the many indications that “Young Adam” is a post-modern fiction is the fading away of geographical descriptions as the book progresses. The first part of the narrative is a burlesque of exhausted modernist literature. Trocchi makes his prose deliberately awkward, thereby reversing the tactic he employed to parody pornography, which he wrote both too carefully and too well. Towards the end of “Young Adam” Trocchi has Joe tell us:

“I was out in the street early and found myself walking along Argyle Street in the general direction of the courts. I stopped for a cup of tea at a snack counter, smoked two or three cigarettes, and then continued on my way. As I walked through the town, a strange felling of confidence settled upon me.”

There is a pleasing vagueness to this passage, allowing the reader to draw their own associations from the name Argyle Street. Given that this is one of the longest boulevards in Glasgow – running from the High Street out to Kelvin Grove Park in the west end – a conventional (as opposed to a pulp or post-modern literary) novelist would have described the section of the road they passed along in some detail. It should go without saying that Argyle Street today is very different to the one being invoked when these lines were written more than fifty years ago; to the east it is now littered with pound shops and dominated by the glass hulk of the 1980s St. Enoch Shopping Centre, while the M8 motorway completely separates that part of the avenue from the more residential section to the west. Notice also “Young Adam’s” trademark sloppiness in the passage quoted above, achieved via Trocchi’s self-conscious repetition of words such as ‘street’ and ‘walked/walking’,

Returning to Joe, he is confident he won’t have to answer to the police or courts (or indeed his less sophisticated readers) for killing Cathie. At the end of “Young Adam” an innocent man is condemned to death for the girl’s murder; and Joe’s cold psychotic nature is underlined by his reaction as he watches the drama unfold in court: “The man who was created in the speeches of the procurator was fitted admirably to the crime which the police had invented – a very gratifying thing indeed to see two branches of the public service, the judiciary and the police, work together in such imaginative harmony.” Joe can’t even stay on this train of thought; he breaks to write two sentences about playing pinball in a Jamaica Street dive, then returns to the courtroom to hear the inevitable guilty verdict on the innocent man. Joe is cast very much in the same mould as another of Trocchi’s ‘anti-heroes’, the murderous and lustful Saul Folsrom in “White Thighs”. Both these non-characters owe something to Lee Anderson, the narrator of Boris Vian’s “I Spit On Your Graves” (1946).

“I Spit On Your Graves” was a literary hoax that was first published as if it had been written in English by an Afro-American author called Vernon Sullivan and Vian was merely its translator. In fact there was no Vernon Sullivan, the ostensible author of this work was a figment of Vian’s imagination and the book was written in French. Vian’s first person narrator Lee Anderson adopts a prose style and worldview heavily influenced by Henry Miller and James M. Cain. Although Anderson identifies himself as an Afro-American male, he is able to pass as white and revels in seducing privileged southern girls who have no idea that he is black. These sexual conquests are presented as a form of revenge against the white racists who Anderson tells us murdered his darker skinned brother. However, Anderson’s sexual shenanigans are a mere prelude to him slaughtering two white sisters, Lou and Jean Asquith.

“I Spit On Your Graves” was hugely controversial and there was much speculation about its authorship until the hoax was finally revealed. Trocchi’s greatest success through scandal in the dirty book business was a faked fifth volume of “My Life And Loves” (1959) supposedly written by the philanderer and literary middleman Frank Harris. Again this was Trocchi engaging in a burlesque, he disliked Harris as a middle-brow literary figure and although the book was accepted as genuine upon publication, it was an opportunity for its real author to parody and pillory the man who was supposed to have written it. This is typical of Trocchi’s approach to writing fiction, and the only real exception to it is “Cain’s Book”, which in any case is fictionalised autobiography alchemised into an ‘anti-novel’. The jury is still out on whether “Young Adam” or “Cain’s Book” is Trocchi’s greatest work, but regardless the former remains the best introduction to his writing because it is so much more typical of his proto-postmodernist approach.

For more on Trocchi (the novel White Thighs and his 1969 Arts Lab State of Revolt event) go to: http://www.stewarthomesociety.org/luv/splinters.htm

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!