Posts Tagged ‘Iain Sinclair’

Scarp by Nick Papadimitriou (Sceptre £20)

Sunday, July 1st, 2012

This is one of the wackier books I’ve seen published by a corporate press in recent years. It is a mix of memoir, north of London local history and drug-fucked fantasy. It comes across as the written equivalent of a Godfrey Ho movie where various elements are cut together with a total disregard for narrative and logical sense. Does the Godfrey Ho school of exploitation film-making work on the written page? Well if you wanna know the answer you could do worse than check out Scarp.

My favourite line: “And the entire suburb is a groove sensation, a humming colony lit deep in ancient woodland.” That’s about Moor Park, which is just a bit south of Watford! Elsewhere Papadimitriou attempts to merge with the landscape and ‘become’ Middlesex (a historic English county that disappeared in 1965). He also narrates a flash fiction history of Stanmore in the language of the birds – which may well fly over the head of anyone who doesn’t believe themselves to be an occult initiate. By way of contrast the most accessible parts of the Scarp are the autobiographical sections: Papadimitriou was a teenage arsonist who ended up in borstal for setting fire to his school and burning down a neighbour’s house.

Imagine a working class Iain Sinclair (of recent vintage such as Ghost Milk rather than White Chappell, Scarlet Tracings) who is high on speedballs instead of knocking back red wine. Papadimitriou isn’t slumming it, he’s from the ‘lower depths’ (hence his obsession with sewage and sewage systems). This is documentary-fiction with the difference that it is just about possible it might all be true. And one final pedantic note: like my novel Down & Out In Shoreditch & Hoxton, Scarp seems to suffer from a dedication that wasn’t sent to the author for proofing. When Papadimitriou offers special thanks to John Regers surely that’s a typo and should read John Rogers! ‘The devil is in the detail’ and there is a lot of detail in Scarp.

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

Ken Campbell, Nina Conti & Me

Saturday, June 9th, 2012

Nina Conti is a showbiz ‘personality’ who has just revealed – to promote her new TV film A Ventriloquist’s Story – that she was theatre maverick Ken Campbell’s lover in the mid-nineties (when he was twice her age). Conti claims Campbell decided she was ‘a clown who didn’t want to wear a nose’ so he sent her a teach yourself ventriloquism kit. And Conti now seems to credit learning ventriloquism with kick-starting her career – although the fact she comes from a showbiz family must have helped too!

Conti’s current publicity drive reminded me of my own encounters with Ken Campbell (minus the affair, scandal lovers). Back in February 2000 I did a reading at The Conway Hall in central London with Campbell, Nick Cave, Michael Moorcock and Iain Sinclair. After seeing me perform, Campbell approached me excitedly and said: “You have a completely stone face. You were born to be a ventriloquist. I want to teach you!” At that time I was a bit too busy to take up Campbell’s kind offer of free ventriloquism lessons – but I did teach myself the art a few years later and incorporated it into my public readings.

Now I’m wondering whether it was just Conti and me, or if Campbell told virtually everyone he met that they ought to be a ventriloquist? Not that it really matters. The suggestion that I hook up with a dummy set me off in a productive direction! Nonetheless, I rather like the idea of Campbell telling hundreds of people they should be ventriloquists! It would be a suitably surreal thing for him to have been doing! And I really would like to know if anyone else took up ventriloquism after Campbell suggested it to them….

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

No, Or Santiago Sierra’s Latest Art World ‘Prank’

Friday, October 14th, 2011

Santiago Sierra (b. 1966, Madrid) is well known for his cruel and nihilistic pranks. To  save myself the effort of writing very much about Sierra (whose work is tedious but simultaneously serves to illustrate the complete decomposition of the institution of art), I’ve taken the following from a Wikipedia page about him: “Some of Sierra’s most famous works have involved paying a man to live behind a brick wall for 15 days, paying Iraqi immigrants to wear protective clothing and be coated in hardening polyetherane foam as “free form” sculptures, blocking the entrance of Lisson Gallery with a metal wall on opening night, sealing the entrance of the Spanish Pavilion at the Venice Biennial, only to allow Spanish citizens in to see an exhibition of left over pieces of the previous year’s exhibition… In 2006, he provoked controversy with his installation “245 cubic metres”, a gas chamber created inside a former synagogue in Pulheim Germany.”

Sierra’s cynicism and inhumanity are well illustrated by the examples above. He titillates the rich by locking them out of galleries, whereas when it comes to the wretched of the earth, Sierra delights in degrading them by providing a meagre wage in exchange for the performance of boring and humiliating tasks. Sierra’s treatment of those he hires demonstrates not just his repugnant inhumanity – his success as an artist is also based on some extremely cynical calculations about exactly what types of degradation inflicted upon the poor will most appeal to rich collectors.

As an adjunct to the Frieze Art Fair in London, Sierra’s new film No was screened last night to an invited audience at The Prince Charles Cinema just of Leicester Square. The promotion for the movie ran like this: “NO, Global Tour, 2011 A film by Santiago Sierra, Directed by Santiago Sierra, Filmed by Diego Santome, black and white film, 120 minutes. Santiago Sierra(‘s)… recent work, NO, GLOBAL TOUR, consists of the manufacture and transportation of two monumental sculptures in the form of the word “NO”, travelling through different territories on a flatbed truck. The NO, GLOBAL TOUR has resulted in a feature film that documents the passage of this large NO through various world cities… The film, full of all manner of references, does not aim for surprise but thought. Using the strict black and white that characterises his work, and with a soundtrack limited to a careful treatment of incidental sound, the film revitalises the road movie genre through a productive encounter with other languages and disciplines.”

The information that came with my invitation to the free screening was, of course, hype (as is the claim – sometimes made about Sierra – that his work is in some way ‘anti-capitalist’). Free beer and popcorn were a further enticement to attend. Rather than provoking ‘thought’, NO looked like someone had randomly strung together a bunch out-takes from one of Iain Sinclair and Chris Petit’s TV movies – and with results that were far less enticing than those achieved by this pair of London psychogeographers. I went to the screening with the intention of watching the reaction of the audience, who looked bored shitless after ten minutes. Most had walked out before the end of the movie. I presume this is what Sierra wanted and that he’s more than happy with this result. For the rest of us NO is simply a bit of a yawn. The lettrists achieved far more with their deliberately boring films of the early-1950s, and if you want to be alienated in style then stick with the output of the French avant-garde of sixty-odd years ago. Sierra is strictly for the idle rich, and hopefully they won’t be with us for much longer.

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

Children of the Sun by Max Schaefer

Monday, October 26th, 2009

When I first heard about Children of the Sun, I assumed the title was taken from the classic sixties psyche single of the same name by The Misunderstood, but anyone who reads the book can see that it actually invokes Savitri Devi, a particularly bonkers and unpleasant exponent of post-war Nazi occultism, and one of the founding members of the World Union of National Socialists. That said, the focus of this ‘novel’ is very much on English neo-Nazi scum of the Thatcher era; although Devi does appear in extended fictional form, partly on account of the fact that she died in England on the same day that the moronic bonehead band Skrewdriver played their comeback gig in London.

The book intercuts two narratives, which are joined at the end. One is about a lumpen south London secretly gay Nazi skinhead called Tony; and the other concerns the middle-class liberal James, whose family is financially supporting his research into the far-Right, so that he can write a TV script about British Movement activist and amateur porn star Nicky Crane. Schaefer uses the first narrative to undermine reader expectations, his main character Tony is complete low-life, and in every fight sequence I was rooting for him to be annihilated; so it was a major disappointment that this piece of trash survives right the way through to the end of the book.

Although Tony is a member of the British Movement, his depiction often led me to think of a Strasserite plonker on the ‘far left’ of a 1980s photo of Ian Anderson ‘manning the deliberately provocative National Front stall in the Asian area of Brick Lane, East London’, which is available from photographersdirect.com (search for “Ian Anderson Brick Lane”). In the ‘Tony’ parts of Schaefer’s book we encounter fictional depictions of figures such as Nicky Crane, Ian Stuart (of Skrewdriver), Savitri Devi and even Nick Griffin (now the BNP’s leading Nazi twat, but back then in his national ‘revolutionary’ phase an associate of a motley crew of Italian fascists with a string of criminal convictions implicating them in more than one mass murder, as well as a huge fan of Libya’s Colonel Gaddafi).

Children of the Sun not only takes the reader through a very lightly fictionalised version of key incidents in the development of British neo-Nazism, it is peppered with genuine historical documents relating to these events. What will most immediately grab many people’s attention is documentation relating to Nick Griffin’s unbelievably unsavoury past. However, of more interest to me was the resurfacing of two press clippings I’d appraised some time ago – an October 1986 news item from Searchlight linking Tony Wakeford’s National Front band Above The Ruins (the name was subsequently changed to Sol Invictus) to Nazi bonehead Nicky Crane as well as Michael Walker of The Scorpion, plus a 1986 review from the fascist zine English Rose that suggests top Nazi prick Patrick Harrington was a member of Wakeford’s group during its early days. Above The Ruins are mentioned more than once in the ‘fictional’ sections of the text, and these invocations prove extremely suggestive. For example:

“I was reading the Scorpion, this would-be intellectual journal put out by Michael Walker, who used to run a tour company with Nick Griffin and Roberto Fiore. So in summer ’93, just before Nicky died, Walker published an article by Stephen Cox, who ran something called the Jarls of Baelder, which as far as I can tell was a sort of occult, quasi-nazi homoerotic naturist group. Baelder had, or has, a secret inner order called the Fraternitas Loki, devoted to ‘covert aeonic action’: aeonics is a key Nine Angles term, and in Norse mythology Loki was the father of Fenrir, the wolf, right? The Above The Ruins album was Songs of the Wolf, and Fenrir was the in-house journal of the ONA… Anyway, Cox’s piece is this barking analysis of European history that says we need to reappraise the Third Reich and seek our destiny among the stars. And it’s illustrated with diagrams that say, at the bottom: copyright Order of Nine Angles. So this is explicit Nine Angles material appearing in the major British journal of the new right. They’re all over each other…” (pages 252-253).

There are, of course, other ways of linking Wakeford to David Myatt and the Order of Nine Angles, and Children of the Sun provides more than enough information to encourage readers to do just that and much else besides. Therefore, I’m not sure I’d describe this book a novel, it seems to me to be closer to what the Wu Ming collective call an ‘unidentified narrative object’; in fact, it reads a lot like recent work by Iain Sinclair crossed with gay porn for Nazi fetishists. The tome is incredibly well researched, and is guaranteed to stir up a lot of debate about links between the music scene and neo-Nazi politics (especially as, yet again, it blows away the threadbare argument a number of fascist musicians and their apologists have used for years in order to attain a fig-leaf of respectability; viz, they couldn’t possibly be Nazis because either they or some of their associates are gay). Likewise, although this is by no means the last word on why some extremely sad non-fascist gay men are turned on by Nazi uniforms and related trash (like Nicky Crane), it explores the area much more effectively than say Bruce La Bruce’s ill-conceived film Skin Gang/Skin Flick (1999).

Children of the Sun is at times an extremely unpleasant read, but it will nonetheless prove an eye-opener to those who run the literary world (anti-fascist activists will already be familiar with much of this material). I’m very much looking forward to some of the debates this book is likely to spark when it is published early next year. A couple of the ‘fictional’ Nazi scum turn out to be copper’s narks, and this might well lead to heated arguments about whether or not they are based on certain real-life characters. Schaefer has written an arresting debut that makes me extremely curious not only about what he will be doing next, but also what will happen to the huge amount of as yet unused research he’s done into the Nazi music scene and its fellow travellers.

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