12 of the worst book titles

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We are told not to judge books by their cover. But should we judge them by their titles? Arguably, when the cover of a book has a title like “Images you should not masturbate to”, it is a tough task not to begin to form assumptions and opinions. From “Reusing old graves” to “Games you can play with your pussy”, here are some of our favourite terrible (intentionally or otherwise) book titles that we have come across.

  1. The manly art of knitting, by Dave Fougner

51pOBUSENnL._SX318_BO1,204,203,200_What the Amazon reviewers said:

Joanofarcanada says, “Much manly. Very knitting. Wow.”

Chickadee says, “not much that I can add to the manly art of knitting – the man on the horse with the knitting needles pretty much says it all”

Cherryl Walker says, “Knit a hammock using shovel handles or pool cues? A saddle blanket for your horse using a piece of garden hose? Therein is your challenge! Very practical and forthright, a most excellent instruction manual.”

  1. Everything I know about women I learned from by tractor, by Roger Welsch

51I9BaVtQPL._SX316_BO1,204,203,200_What the Amazon reviewers said:

Randy170 says, “Had less tractor anecdotes than I expected.”

TomatoLady says, “If you are looking for another collection of Roger’s wonderful tractor stories, you will be disappointed. BUT, that’s OK.”

 

  1. Images you should not masturbate to, by Graham Johnson

41zam5-DcwL._SX384_BO1,204,203,200_What the Amazon reviewers said:

AmazonCustomer007 says, “Don’t tell me how to live my life.”

Rachel A Schuetz says, “This is just a collection of semi random photos. I could find a better collection on imgur. Not worth 10 bucks.”

Rodnvaldr says, “The title is completely subjective, so don’t let that stop you! You masturbate to whatever you want to masturbate to! This book did contain many images that I would not ever want to masturbate to, so I gave it 4 stars. I suppose I probably “should not” masturbate to any of these images if I wanted to consider myself a “normie” like Graham Johnson obviously is, sitting in an ivory tower somewhere, only masturbating to the “right kind” of images. No thank you! I’ll masturbate to whatever I want! Which was maybe only 3 or 4 images in this book. What?! you can’t tell me what to do! I’m 21 and I’ll do what I want!”

  1. A passion for donkeys, by Elisabeth D Svendson

worst-book-covers-titles-38What the Amazon reviewers said:

Hunter Greeno says, “For a the true Donkey enthusiast. This is not just surface level appreciation…this is heart and soul appreciation for donkeys. Anything you ever wanted to learn about Donkeys can be found in this book.”

Cindy Eriksen says, “Even more than what I expected to learn about donkeys.”

    5. Does God ever speak through cats? By David Evans

worst-book-covers-titles-56What the Amazon reviewers said:

Woodrow Vankirk says, “Being as i had just self published my own book, “Me, My Cats, and God” I ordered this book. What a great book. While it has parallels to my book this is an entirely different story with a different objective. I breathed a sigh of relief as I did not want anyone thinking I “borrowed” from someone elses work. So, cat or animal lovers see how a pet can influence a person’s outlook, behaviour, and faith. and make them all better and stronger. Read this book.”

Ryan H says, “My neighbor’s cat once looked me dead in the eye and began to telepathically dictate a lost chapter of the Book of Revelations to me. He explained that he was the angel Gabriel (in cat form), and God had chosen me as his prophet. I tried to write it down, but couldn’t figure out how to use a pencil at the time (I’d had a lot of acid earlier that day. Also some Vicodin, opium, and a handful large orange pills).

Obviously, some of my unusual experiences that day could have been related to the drugs, but the cat part was definitely from God.”

       6. Scouts in bondage, by Michael Bell

worst-book-covers-titles-15What the Amazon reviewers said:

SamuelDavidAdams says: “Not the real thing huge waste of money.”

ThreeStars says: “I had hoped for more salacious content of a homosexual nature.”

 

      7. Who cares about old people? By Pam Adams

worst-book-covers-titles-20What the Amazon reviewers said:

KristalinMiami says, “It’s moments like these I pray I have a massive heart attack in my 50’s, so I don’t have to be elderly.”

 

 

      8. The beginner’s guide to sex in the afterlife, by David Staume

worst-book-covers-titles-23What the Amazon reviewers said:

Obi Wan says, “A long long time ago I was sliced in half and my body instantly vaporized. Fortunately, my love making package remained intact in the afterlife. Much to my dismay, I discovered that…things…worked a little different. Have you ever tried making love with a body completely composed of ecto-plasm? I’m afraid the endeavor is quite difficult. Plus, she-ghosts are anything but easy to woo.

This book really changed all of that for me. Ever since then, my nether sex life has been greatly improved. Sex in the afterlife is the shizz. This book comes highly recommended.”

Irina Filatova says, “There is nothing about sex in the afterlife in this book. The name is deceptive. It deals with energies and planes and spiritual matters, and may be interesting for a student of metaphysics, however if you are trying to get an answer to the question “is there sex in the afterlife and if yes – can we get some descriptions?” you will be dissapointed!”

  1. Fancy coffins to make yourself, by Dale Power

worst-book-covers-titles-14What the Amazon reviewers said:

Edison says, “yeah, coffins!”

Gould says: “Everything about the book is unprofessional. If you’re an amateur it will not help and if you’re a craftsman you’ll be appalled.

You could do better with your own imagination. If you need dimensions, call a local Funeral Home, they’ll be glad to help.

Amazon should pull this title from their inventory.”

     10. Games you can play with your pussy, by Ira Alterman

worst-book-covers-titles-7What the Amazon reviewers said:

Johny says, “Gave it to my girlfriend for her birthday and now she won’t come out of the bedroom”

Sramazon says, “I was concerned that the pussy had grown tired of me, but this book has given me so many more tricks to play on pussy.”

  1. Reusing old graves, by Douglas Davies

41qgJOwmdBL._SX331_BO1,204,203,200_What the Amazon reviewers said:

RW Haven says, “I really dug this book.”

Butler says, “I bought this book as several elder members of our family are nearing the age to need a grave. I thought this book would show me how to save money by reusing old graves that people don’t need (long decomposed, etc). Well this book had no advice at all to offer. I feel like I wasted money that I could have spent on purchasing new graves.”

     12. Still stripping after 25 years, by Eleanor Burns

worst-book-covers-titles-16What the Amazon reviewers said:

Deb Phillips says, “All pages are intact and readable.”

A Sullivan says, “This hardbound book is filled with great pictures of many of her best ideas- “simplify the process, be brave, and enjoy your own creativity.” Quilt top piecing becomes a breeze because her directions are explicit, logical and easy to follow even if you are a novice. Warning, if you ever listen to her on t.v. her voice and demeanor may drive you a bit bonkers. None the less, Eleanor is a quilting expert worth her weight in gold. Her methods always make patterns that look difficult, easier for big chickens like me!”

 

This is by no means an exhaustive list. If you have stumbled across a book with a title so bad you think it deserves to be included here, then let us know in the comments below! 

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An ancestral yearning: why do writers love the ocean?

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“I thought I would sail about a little and see the watery part of the world,” Herman Melville’s narrator, Ishmael, explains in the opening chapter of Moby Dick. “It is a way I have of driving off the spleen, and regulating circulation.”

There is, undeniably, something about the ocean and the sea – the “watery part of the world” – which draws human beings toward it. For millennia, we have found an affinity in these places, with their sense of the sublime – as Melville writes, we are enraptured by “times of dreamy quietude, when beholding the tranquil beauty and brilliancy of the ocean’s skin.” Creation myths across history and spanning a multitude of different faiths begin in the sea – as though our ancestors somehow knew, inherently, of our origins as single-celled amoebas drifting in the primordial soup of the earth’s first ever oceans.

So it is perhaps understandable that this natural human connection with the oceans can transform into something of an obsession among writers and artists. The beguiling, ever-changing nature of the sea moved TS Eliot to write: “The sea has many voices / Many gods and many voices […] we cannot think of a time that is oceanless.” Michel Foucault, meanwhile, observed that “In civilisations without boats, dreams dry up.”

Since Juliet first told Romeo: “My bounty is as boundless as the sea, my love as deep. The more I give to thee, the more I have, for both are infinite,” Shakespeare’s lines have been whispered for centuries by star-crossed lovers stealing his words. And the bard’s love for the sea is almost as infinite as Juliet’s for Romeo – the word ocean appears well over 200 times in his plays.

From birth to life

The Australian novelist Tim Winton has nearly drowned several times; yet he, too, comes back again and again to the ocean, both in his writing, and in his general pursuits (he plays a key role in the Australian Marine Conservation Society’s campaign to protect the ocean from overfishing and pollution). The reason for this obsession, Winton believes, is simple:

“Let’s face it, you do nine months as a free diver in your mother’s womb; you belong to a planet that’s mostly water; your body is mostly water,” Winton says.

“I don’t think there’s any mystery why we would be drawn to it – I think there’s some kind of ancestral yearning. We all came from water. It feels like home.”

Perhaps this sense of homecoming was what English poet Percy Bysshe Shelly was searching for during his days with his piratical friend Edward Trelawny, who recalled Shelley jumping into a river and sinking to the bottom, as if seeking his amniotic origins – once again returning to the womb as an unplugged foetus.

Shelley, of course, would drown before his 30th birthday. And while his death was an accident, there is a connection here that spans the centuries between both himself and another literary giant – Virginia Woolf.

That Woolf would commit suicide by drowning mirrors a deep connection with water and the sea found in her writing. In her most elegiac work, The Waves, the sea is fundamental both to the structure and themes of the book, and also to the characters themselves.  In a passage auguring her author’s own fate, Rhoda imagines launching a garland of flowers over a cliff, to “sink and settle on the waves” and her body with it, like the suicidal Ophelia. “The sea will drum in my ears. The white petals will be darkened with sea water. They will float for a moment and then sink. Rolling me over the waves will shoulder me under.”

A scientific hypothesis

Such intense connections – or obsessions, depending on your point of view – with the earth’s watery bodies, can possibly be explained scientifically.

In 1984 Edward O. Wilson, a Harvard University biologist, naturalist, and entomologist, coined the term “biophilia” to describe his hypothesis that humans have “ingrained” in our genes an instinctive bond with nature. He theorised that because we have spent most of our evolutionary history—three million years and 100,000 generations or more — in nature (before we started forming communities or building cities), we have an innate love of natural settings. Before that, our biological connection to water (human foetuses still have “gill-slit” structures in their early stages of development) extended for millions of years as our early ancestors evolved in the earth’s oceans. Like a child depends upon its mother, humans have always depended upon nature for our survival. And just as we intuitively love our mothers, we are linked to nature and water physically, cognitively, and emotionally.

This, perhaps, is the reason that human beings simply like to see the sea. If you hand photographs and paintings of natural landscapes to people and ask them to rate the ones they find most attractive, and which they felt more positive towards, respondents gave the highest ratings to the pictures containing water.

While humans were developing an evolutionary preference for a certain type of water-containing landscape, the human brain was also being shaped by environmental demands. Indeed, according to molecular biologist John Medina, the human brain evolved to “solve problems related to surviving in an unstable outdoor environment, and to do so in nearly constant motion.” Because water has been crucial for our survival – both as source of food, and in more recent years as a source of money through trade and maritime industries – our brains have become neurologically wired to seek out the sea.

Waves of inspiration

Perhaps, however, writers are drawn to the sea because it possesses the same infinite and impossible qualities of the imagination – and of the task of writing, or creating any form of art. Just as the sea exists in a state of constant change, can lie tranquil and calm for a seeming age before suddenly erupting into the most enraged and energetic storm, and has the power to both lift you up and drag you under to dark and fathomless depths, so too must the writer grapple with the instantaneous changes that take place within the mind and imagination; and struggle with the challenge of putting word after word to paper consistently, fighting the various afflictions of writers’ block, distraction, and self-doubt. Writing, when the words are flowing freely, has the ability to lift you up and make you soar – the adrenaline rushing in your bloodstream. But it also has the ability to make you weak, and take you down some twisting rabbit holes as you uncover the secrets of your heart.

Joseph Conrad wrote that “the sea has never adopted the cause of its masters.” Neither has the act of creative writing, which is no formulaic act that can be mastered in totality. It is perhaps this enigmatic and uncontrollable quality that so enamours writers – and human beings – and also brings them back time and time again to stand at the shore of the sea, and sit before the typewriter, blank page, or computer screen, and grapple with the frightening and exciting infinite possibilities of both the sea, and of artistic endeavour.

Movie review: Sink

Sink

There is always a sense of excitement in watching a film debut. We live in an increasingly homogenised culture, in which it seems the only movies released at cinemas are sequels, prequels, reboots or copies of movies that are copies of other successful movies. The commercialism of the movie production industry has minimised the potential of this artistic medium as a tool of change; a tool of artistic expression – where new ideas, new films, new actors, and new directors, are often hidden away or swallowed up by the giant media corporations who only want audiences to think about the next superhero movie.

So, to see a genuinely original movie, produced in spite of the crippling power of the big movie studios, is truly thrilling. And it is therefore a pleasure to have been able to watch – and subsequently review – the world premiere of Sink, which tells the story of Micky Mason, a working class man living in East London who must contend with a multitude of different crises of our modern world.

Ultimately, this is a movie about money and power. As Micky’s long-time friend-turned-successful drug supplier notes drily: “You either have the cash, or you don’t – nobody cares where it comes from.”

We are presented with a world in which the institutions of the state – once intended to support and provide help to those in need – have been co-opted, privatised, and rigged to support those who own the businesses and corporations who benefit from a precarious, non-unionised workforce who can be picked up and dropped without recognition of their basic humanity.

The writer and social activist Thomas Merton characterises as “double-talk, tautology, ambiguous cliche, self-righteous and doctrinaire pomposity and pseudoscientific jargon”. This, the characters of Sink find, is not just an aesthetic problem: it renders dialogue impossible; and rendering dialogue impossible is the desired goal for those who want to exercise absolute power. Micky and his peers are therefore unable to engage with the state in any meaningful way – during his Jobcentre interviews, he shares a knowing joke with the employees about the language he must use to effectively work within the parameters of the system; he is “willing” and eager to go to as many interviews as possible, yet while this may satisfy the forms and bureaucracy, it does nothing to significantly bring him any closer to stable, gainful employment. Likewise, his neighbor Jean is literally unable to find the words to engage with the problems of what may be described as post-Capitalism (precarious work; the crisis and decline of manufacturing and industry, replaced by a financier economy) – repeatedly explaining “I can’t talk about it – it makes me too mad”.

The focus of the film shifts as it progresses – as it paints a view of London that feels often taken from the inside looking out; from the council estates on which much of the film takes place just a stone’s throw from the City’s financial district. We are presented with the crises facing both the old and the young – Micky’s father, Sam, battles with dementia and is removed from his care home following some money-driven ‘restructuring’; meanwhile his son, Jason, fights his own demons alone on an estate in which – so he says himself – drugs are the only thing available for him.

Of course, the fact that there are a multitude of different things going on is precisely the point – no person’s life can be lived in isolation, or from the perspective that one development or action will not have its own impact on the other narrative strands that make up a person’s life. This is not just a story of one man – but of so many men, and so many women, living within a society that has been structured in such a way as to ignore the real actuality of existence – what it means to be alive – and thus creates inevitable existential crises.

What makes this film all the more visceral is the fierce plainness with which it is told. It has passion and directness coupled with a darkly comic streak that exposes the Orwellian nature of this bureaucratic world. There are also moments of genuine tension that leave you with a tight chest and on the edge of your seat – a sure sign of real film-making talent for a movie debut and an exceedingly small budget that should make people sit up and take notice.

Indeed, blessed with exceptional performances from the cast, particularly Martin Herdman as Micky, and Ian Hogg as Sam, with an excellent score from Mallik Gris, along with a fine script and direction from Mark Gillis, Sink gets under the skin of the audience in a way precious few films do these days (Associate Producer Mark Rylance says you will find yourselves “immersed” in it). Crucially, it gives a vibrant voice to protagonists who have otherwise lost their language and their power; and so serving a very necessary level of kitchen sink realism to a world and society that seems increasingly ignorant of reality.

 

 

For UK writers and artists, the only choice at this election is Labour

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On Thursday 8th June, UK citizens will go to the polling booths for the third time in three years to vote in an election they did not ask for, called by a Government that has systematically eroded public services, damaged the country’s creative and artistic industries, caused the stagnation of wages for all but the top 5% of earners, and ground the national economy to a standstill through an economically illiterate policy of austerity and a complete overreliance on an unsustainable housing bubble to artificially inflate GDP.

Nothing in the Rulebook has made no apology for positing that the greatest support for creatives – be they writers, artists, photographers, comedians, film makers or sculptors – comes from, and has always come from, political parties on the progressive ‘left’. At this critical juncture, this is a message that bears repeating: another five years of conservative rule would be disastrous for the UK’s creatives (be they aspiring writers and artists or established professionals).

The evidence for this is clear. If you compare and contrast the manifestos for the Conservative and Labour parties, on the subject of arts and culture, there is only one party striving to support and protect such a vital industry.

As this guide demonstrates, while Labour promises investment in arts funding, support for students, protection of UK heritage, culture and media institutions, the Conservatives on the other hand offer only further cuts to arts budgets already slashed to breaking point.

Labour vs Conservatives art funding

That the Conservatives should seek to attack the UK’s creative sector is perhaps unsurprising. Such parties rely on suppressing individual thought and creative expression for their existence, as for these parties, the ignorance of the population is the source of their strength. Free thinking, enlightened individuals are much harder to control.

Few examples illustrate how badly the Conservatives seek to suppress the artistic inclinations of the UK population than their cynical attacks on British libraries. In the name of austerity, UK libraries have closed at a dramatic rate, even as the relatively small costs of running these great institutions (and perfect sanctuary’s for human knowledge) goes solely to fund tax breaks for billionaires.

The reason for these attacks is simple: reading is one of the most usefully mischievous, secretly rebellious acts that there is. Libraries are often said to be fusty and staid — it might be true of the buildings, but it’s not true of the books that await teenagers there. Indeed, as Neil Armstrong once said, the knowledge contained within library books “is fundamental to all human achievement and progress”.

The ideas contained within these books – these works of literature available to every man, woman and child, entirely free of charge – thus have the potential to be revolutionary. In this way, library books are dangerous; and perhaps more dangerous are the librarians that dare to give books out to children too poor and uncultured to know not to take them seriously. Libraries make people powerful — people who shouldn’t be powerful — and we are weaker in untold ways without them.

These are just some of the myriad number of contemporary reasons UK creatives should cast their votes against the Conservative Party and in favour of Labour at the 2017 General Election.

Yet, it is also important here to remember the historical actions of the Conservative Party. While their election campaign strategy has focused a great deal on Labour leader Jeremy Corbyn’s role in facilitating the peace process in Northern Ireland, almost no comment has been passed on the Conservative Party’s support for pro-apartheid regimes in South Africa and Angola; or for their unrelenting support of fascist dictators and regimes in South America. They call Jeremy Corbyn a terrorist sympathiser for attempting to broker peace with the IRA; yet they also called Nelson Mandela a terrorist – and called for him to be hanged. In the 20th Century alone, the Conservatives have done nothing but damage the UK, its citizens, and its economy. From Winston Churchill’s disastrous decision to return the country to the Gold Standard, through the laissez-faire policies of Bonar Law and Stanley Baldwin, and onto the imposition of neoliberal economics by Margaret Thatcher (which laid the foundations for the global economic crash in 2007), the party has pursued with unrelenting vigour policies that favour only the richest and most powerful, and help strangle the money available for creatives and artists – cultivating a culture in which artistic work is increasingly difficult to pursue; preventing people from less-wealthy backgrounds from becoming artists in their own right, and thereby reducing the number of new and unique voices operating within the creative sphere – leading to the homogenisation of UK culture.

Theresa May’s Conservative party will be no different. The weak and wobbly Prime Minister has put no thought into ways to make the UK a better place for the country’s writers and artists – let alone the ordinary citizen – beyond promising to bring back fox hunting and steadfastly continue the failed policies of the past. Her zeal for attacking our European allies and her penchant for u-turns mean Brexit negotiations with EU leaders will likely turn into a farce of epic proportions. Should the UK leave Europe with no deal, not only will the economy suffer, so too will universities, students, artists and creatives who rely on strong relationships with partners across the continent.

On the other hand, under Jeremy Corbyn the UK Labour Party has become a genuine party of hope and change. Firmly on the right side of history for decades – like his counterpart Bernie Sanders in the US – Corbyn has transformed Labour from a conservative-lite neoliberal party under Tony Blair into an organisation focused intently on making the UK a better place for all citizens. That he and his party have caught the attention and support of so many, particularly young people, despite the almost consistently negative coverage of his performance in a media controlled by 8 tax dodging billionaires speaks of the resonance of his message. As the rapper, artist, Shakespearean producer and intellectual Akala notes: “For the first time in my adult life someone I consider to be fundamentally decent has a chance of being elected.”

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Photo credit: PA

The opportunity to vote for an honest and decent human being, and for a political party that truly seeks to support the many, rather than the few, while championing the arts and creative industries does not come along often in politics. And it is for this reason – more so than the terrible record of the Conservatives – that voters should mark their ballot papers in favour of the Labour Party at this year’s General Election.

Of course this endorsement comes with caveats. The inherent problems with the First Past the Post system means in certain seats, hard decisions must be made to ensure progressive candidates return to Parliament at the expense of Conservative MPs. Voters in Caroline Lucas’s Brighton Pavilion seat, for instance, should cast their ballots for one of the genuine leading lights in British politics and long-standing supporter of the arts. Meanwhile, on the Isle of White, constituents have the opportunity to elect the Green Party’s Vix Lowthon – who has championed calls for investment in the islands creative sector – at the expense of the Conservatives.

These minor intricacies of democracy aside, it is hard not to feel that the 2017 General Election carries with it a sense of importance. For the first time since the 1980s, people have the opportunity to vote for a genuinely progressive mainstream political party that has broken with the broken neoliberal consensus that has led so many of the world economies to ruin, and has also placed the arts and creative industries at the heart of their manifesto – along with policies that will provide the support UK citizens need to be able to pursue their dreams, unhindered by low wages and mountains of debt. The odds are – and always have been – stacked against those on the progressive left; yet there is now real cause for optimism among UK creatives. Writers and artists so often love creating works based on such underdog stories; but now we have the chance to participate in a true example of one ourselves.

On Thursday 8th June, vote with hope; vote for hope. Vote Labour.

Comparison: Labour vs Conservative plans for UK arts and creative sector

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Ahead of the UK General Election on June 8, Nothing in the Rulebook recently compiled separate articles on what the manifestos of the two main political parties – Labour and the Conservatives – mean for the UK arts sector and those professionals working (or seeking to work) within the country’s creative industries.

In the interests of convenience, the team here at NITRB have followed these pieces up with what is – we hope – a helpful and easy-to-read guide comparing the pledges of the two political parties.

That the Labour Party pledges far more in support of the arts is perhaps no surprise; protecting and improving the UK’s cultural heritage and supporting new creative and artistic endeavours has long been a crucial part of the party’s policy, particularly since Jeremy Corbyn became leader in 2015. The Conservative party, on the other hand, have consistently slashed funding to the arts – by almost £50 million since they first came to power in 2010 – and, in their 88-page manifesto, the word ‘art’ appears just four times.