Posts Tagged ‘counterculture’

“Baron’s Court, All Change” by Terry Taylor reissued at last!

Friday, December 2nd, 2011

If you’ve checked out the main part of this site you will probably already know that I consider Baron’s Court, All Change by Terry Taylor to be one of the greatest drugs and youth culture novels of all time. Therefore I’m very proud to have written the introduction to a fiftieth anniversary reissue of the book. For my old take on the importance of this novel in relation to the emergence of mod and the counterculture see the piece I posted on 14 February 2007. My introduction to the new edition starts like this:

“Many novels are forgotten and more or less disappear from circulation. The majority of books to suffer this fate more than deserve it. A handful of them are classics and eventually find their way to wide circulation. One of the most famous examples of this is Les Chants de Maldoror by Comte de Lautréamont, which made little impact upon publication but became a canonical example of modernist literature after being rediscovered and championed by the surrealists. Baron’s Court, All Change by Terry Taylor is a very different type of lost classic. It created a bigger splash upon publication than Maldoror, but by the late-sixties had faded from view and most people’s memories. It provides an accurate account of the drug subculture in London at the end of the fifties. The realism and hep talk of Baron’s Court shocked many readers when it first appeared in 1961, but would have raised far fewer eyebrows in the aftermath of the summer of love. That said, it is only more recently that it has become possible to appreciate its historical significance…”

Since if you’ve any sense at all you’ll want to read Baron’s Court, there’s absolutely no point in my reproducing the whole of my introduction here! You can read it all in the reissue and you’re unlikely to lay your mits on anything else – because the original sixties hardback and paperback editions have been near impossible to get for years. The reissue is available to UK residents for £8.00 by cheque from the publisher: Ross Bradshaw, Five Leaves Publications, PO Box 8786, Nottingham, NG1 9AW: or for £9.99 by credit card at  http://tinyurl.com/taylor-barons. It will soon also be in bookshops and on Amazon. If you want to order from outside the UK, you may do best to use www.bookdepository.co.uk – since they don’t charge postage. Baron’s Court, All Change was republished on 11 November 2011. It’s a stone-to-the-bone mod classic!

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

Terry’s Taylor’s cult novel ‘Baron’s Court, All Change’ is a classic – official at £238!

Tuesday, December 15th, 2009

Copies of Terry Taylor’s 1961 novel Baron’s Court, All Change don’t come up for sale at all often but until now when they did they’ve never been particularly expensive. I have a paperback that came from an exchange stall and it cost 20p. I was looking for a hardback for about 4 years until I finally acquired one via eBay – and no one else even bid on that copy of the book. I’ve been checking the obvious online places for further copies since then (eBay, Amazon, Abe Books), and I’ve not come across a single instance of Baron’s Court being offered for sale over the past few years until now. As I write, Repton Readers are offering a copy of Barons Court on Amazon UK Marketplace for a whopping £238 plus postage.

So how does a hard-to-obtain title go from being offered for sale for a few quid to an asking price of hundreds of pounds? Obviously, it is a combination of buzz and a bookseller chancing it with a high price. Baron’s Court is a far-out drugs novel that fell through the cracks and disappeared for forty odd years – the main problem being that it was at least five years ahead of its time. That said, it only needed a handful of relatively ‘young’ hipsters to realise that the book described mod and the counterculture in very early stages of their evolution, that it was the first British novel to mention LSD, and that the author Terry Taylor had a quite incredible life story, for interest in it to rocket. Since my mother (Julia Callan-Thompson) was a friend of the author, when I started researching her life at the turn of the millennium, I came across Baron’s Court and once I’d obtained copies for myself I started talking the book up. I not only wrote about Baron’s Court, I was so knocked-out by this novel, I mailed photocopies of it to key contacts – and after receiving a Xerox from me, Andy Roberts even bigged it up in his recent history of British acid culture Albion Dreaming.

If you want to know why Baron’s Court is so hard to find,  you have to understand both publishing and the used book trade. It is the difficulty of obtaining a title like this that leads dealers to asking an exorbitant price for it. I don’t know the print run of the hardback edition of Baron’s Court, but I’d guess it would have been between two and five thousand. It seems to have generated some coverage, but not massive interest – after it was published Terry Taylor was invited to do some reviewing, but the paperback rights didn’t immediately sell. Taylor’s follow-up, which drew more explicitly on the literary experimentalism of figures like William Burroughs, was rejected by his publisher. So Taylor has been to date a one-shot novelist, and was thus unable to draw readers to his earlier book through the publication of further tomes.

The publication of a Baron’s Court paperback four long years after the appearance of the MacGibbon & Kee hardcover edition is probably best explained by the burgeoning drug culture. By 1965 ‘with-it’ publishers were aware of a growing interest in drugs and casting about for books dealing with the subject. The Baron’s Court paperback was published by Four Square (later New English Library) who by the late sixties/early seventies did first printings of their books in runs of 20,000 and they only reprinted if this first run sold quickly (see my interview with NEL editor Laurence James as an example of background research I’ve done in this ares). If we assume the company worked in the same way in the mid-sixties, then 20,000 seems a reasonable guess for the print run of Baron’s Court in paperback. We can conclude that in its two editions to date possibly as many as 25,000 copies of Baron’s Court were printed. Most of them will now be destroyed. I don’t know exactly how the book sold, but since it clearly wasn’t like ‘hot cakes’ (if it had there would have been more reprints), it is possible some copies were pulped by one or both of the publishers. I have yet to properly determine the initial reception of the book, and if anyone can point me in the direction of contemporary reviews I would be grateful.

Mass market paperbacks put out by companies like Four Square are cheaply made – perfect bound rather than sewn and printed on pulp papers that deteriorate quickly – after being read a few times this type of book tends to fall apart and get thrown away. Although the paperback will have been printed in a far bigger run than the hardback, my guess would be that far fewer copies of it survive than of the first edition. That said, I wouldn’t be particularly optimistic about many copies of the first edition surviving either! It is likely the majority of hardbacks sales would have been to libraries, and library books are often roughly handled and suffer damage – before being either sold off or thrown away at the end of their lending life.

But what about those copies of Baron’s Court that were offered to secondhand dealers over the years? Since the book had no buzz about it until recently, few dealers would have wanted to buy copies even if they had recognised the title or author (and very few would have done so); and if they did acquire copies in job lots of books, they may have simply thrown them away or used them for fuel. Owners of copies of Baron’s Court who were unable to sell them to dealers may have treated this once hard-to-sell tome in an equally caviler fashion. Precisely because until recently there has been little to no market for Baron’s Court as a novel, the overwhelming majority of copies will have been destroyed.

Now there is some buzz about Terry Taylor and Baron’s Court, the remaining copies of the book have a greater potential value than many other out-of-print titles precisely because its earlier lack of popularity makes it rare. Baron’s Court is also, without a shadow of a doubt, not only a cracking good read but of considerable historical significance. So fingers-crossed that some clued-up publisher puts it back in print, and rather than having to shell out hundreds of pounds for a used copy, you can buy it new for roughly the same price as any other mass market tome. And if there are any interested publishers out there, I’d be happy to put them in touch with the author who still controls the rights….

Terry Taylor’s story is one with a relatively happy ending for those who like to believe fairy tales about ‘literary immortality’, but don’t let it blind you to the fact that the vast bulk of books published every year are very quickly forgotten!

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!