Creatives in profile: interview with Joseph Alexander

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Joseph Alexander – a writer of some mystery – assures us that a secretive reading group can be found through clues in this image…happy deciphering, comrades!

Joseph Alexander is a writer from a mixed Romani / white working class background. He went to Oxford for grad school and PhD, where he also taught for about 5 years. At Oxford, he had a one-sided feud with Richard Dawkins for stealing his vegetarian lunch, until they sat next to each other at dinner and talked it over. He has also held a visiting fellowship at Harvard, feud-free.

Joseph writes literary fiction and essays. He lives with his wife and labrador and is currently working on a novel. The first few chapters of his novel-in-progress are available for free at: https://www.wattpad.com/story/185509944-vz

Nothing in the Rulebook caught up with Joseph in the latest instalment of our ‘Creatives in profile’ interview series.

INTERVIEWER

Tell us about yourself, where you live and your background/lifestyle

ALEXANDER

I can’t tell you where I live or too much about my lifestyle for reasons that are not as interesting as this will no doubt make it seem. Basically, I only have like 5 fans but they are very enthusiastic.

I grew up in a kind of halfway Romani/white working class culture. We got into fights a lot as children, everyone seemed to want to beat us up for some reason. I just thought that’s what it’s like to be a boy. I have a crack in my skull and all kinds of scars and it’s only my now-wife who pointed out that maybe even the ‘normal part’ of my childhood wasn’t all that normal. When you grow up with prejudice, you don’t even realise that you’re treated differently. And hiding your background becomes this subconscious thing that you’ve just been Pavloved into doing over the years, and your level of skill in will determine your fate to a large extent. It’s only now that I’ve started telling people.

I showed musical promise early, so I semi-voluntarily applied and got in a hard-ass music academy where we did like 20h of music a week and crammed every other subject into the remaining time. But to put a long story short, there was a series of real tragedies that kind of made my life soundtrack go permanently quiet when I was in my teens. Music has a kind of trapeze artist joy that I just couldn’t get back after everything, so I eventually stopped. Got into maths pretty seriously for a few years, even came second in my school maths-competition, but it was too far down the other extreme – it has real beauty that increases the deeper you go, but also a kind of conceptual coldness. So I eventually found something in between.

Went to Oxford for this famously tough graduate programme, went on to do a PhD (or DPhil as they call it to feel special) and taught there for about five years. I also had this weird semi-formal fellowship thing at Harvard that they give either to people who have promising early careers or are in exile from a successful career elsewhere. I’m not sure how that happened. I’m now part of their weird Alluminati network that has, like, Tony Blair and a bunch of others, and everyone posts in a private network about how they “found their passion” or “dreamt of changing the world”. I shit you not.

So that’s probably enough for now, though I didn’t even tell you about the weird super-Christian religious sect my mum’s family was a part of, or the time I was a platoon leader, or the time I got shot. Next time.

INTERVIEWER

Is writing your first love, or do you have another passion?

ALEXANDER

Writing is my first love, it’s just that I had to sort of come out of the writing closet. Like a lot of writers, you experiment with stuff in your early life and keep some plan Bs open and maybe the writing works out, maybe it doesn’t. But fiction writing is something I’ve done since I was a child (in my first ever report card my teacher even says she likes my “imaginative little stories”, god knows what she saw), but in my culture of origin it’s not, I guess, socially acceptable for a man to tell stories. I think a lot of working class people can relate. You’re supposed to be hard, and to know your way around an arm bar, and if you just want to be by yourself with a notebook people laugh at you. And someone always bloody found the stories I’d written, and read them out loud to people, so I got into the habit of critiquing my work early and burning or burying (literally, so it can’t be found) the stuff I didn’t like. I basically wrote because I had to, not because I wanted to be a fancy writer. It’s more that I couldn’t make it go away.

INTERVIEWER

Who inspires you?

ALEXANDER

Oh man. I should say right off the bat that I’m foundationally suspicious of hero worship. Like, everything about it is absolutely, just axiomatically wrong.

Writing-wise, there are a few people whose stuff just shimmers off the page and makes you fall in love with the craft again. Like George Saunders, Kurt Vonnegut, Alice Munro, Thomas Pynchon, some of David Foster Wallace. Don DeLillo’s stuff is pretty inspiring too, on a line-by-line level, although I always feel like I didn’t get the whole book when I finish it.

Life-wise, it tends to be people like Alexandria Ocasio-Cortez or Greta Thunberg. These are people who saw that there is a lot that’s wrong with this world, and their natural reaction wasn’t “oh shit, better go hunker down somewhere and pray it doesn’t concern me”. It’s easy to think now that they were destined to become the icons that they are becoming, but it must have just been absolutely hopeless when AOC was sitting in her tiny overpriced NYC apartment and going to her bartending job while campaigning, or when Greta Thunberg first decided “that’s it, I’ve had enough of this shit, I’m going on strike.” The things both could do were so tiny and pointless (like who actually cares if some 15-year-old doesn’t show up at school one day, it’s hardly unusual, or if some bartender runs in a primary), but they did them anyway. They both knew they were basically insignificant little nobodies, and it’s extremely unlikely they’ll make any difference. But someone has to do something, so they did. That does inspire me. Normal, insignificant nobodies have tremendous resources when they really decide to do something.

INTERVIEWER

Your story, ‘VZ’, is set in the near future, at a point in time after a near cataclysmic event. How likely is it, do you think, that mankind is facing some form of catastrophe?

ALEXANDER

The ‘cataclysmic event’ in VZ is a bit funny, and kind of hard to talk about without spoiling it. But I’ll just say it may not be quite the catastrophe that it’s made to seem, at least not for everyone, and it may have actually happened and nobody noticed. Or maybe the things people did to stop it from happening were a far greater catastrophe. So it’s not a “dystopian novel” in that sense, you’re meant to doubt whether anything bad actually even happened.

The point of this, or one of them, is that all kinds of catastrophes happen all the time, and we just pretend like they never happened as long as they fit within the parameters of our preconceptions. Syria was obviously not perfect, but had a lot of well-educated people who were basically liberal individualists (I mean ‘liberal’ here in the classical sense, not whatever Fox News means by it) and genuine hope for a well-functioning participatory society. Now it’s a desperate hellhole that superpowers use to test their weapons on, just to show the other side they’ve got them, and could well be the place the apocalypse begins at. Turkey was edging closer to a full-on liberal democracy, until it became like Erdogan’s version of Gilead that is just a fertility shortage away from real Atwood territory. We’re back on the path of nuclear proliferation, climate change policy is apparently just everyone waiting for everyone else to do something. And these last two could destroy human civilisation as we know it, possibly completely.

I think humankind has faced (and is currently facing) all kinds of catastrophes, but we go on and pretend like they basically never happened and that they’re completely normal events. If people get upset at the effects of these events, someone comes along and directs that anger towards immigrants and poor people. So catastrophes are apparently fine, as long as they are ones that we kind of knew to expect. It’s the unexpected events that aren’t really all that significant, if you think about it, that we label ‘catastrophes’, like Trump winning the election or Brexit. Both are just continuations of pretty predictable trends and not even close to being on the same scale of event as, say, climate change or the poverty crisis in the UK and US, but we’re losing our shit over Trump and Brexit while thinking of maybe switching to a hybrid car and giving £5 to Oxfam once.

So the ‘cataclysmic event’ in VZ is about this kind of mass hypnosis, and in that respect it’s meant to be a reflection on the actual state of affairs.

INTERVIEWER

In the story, we often encounter moments where our protagonist/narrator almost looks to psychoanalyse themselves as well as other members of society he encounters. How closely do the narrator’s thoughts mirror your own, and why do you think human beings behave in the (myriad) strange ways that we do?

ALEXANDER

From a certain angle, the book is about empathy and failures thereof. The central-stage characters in the book are kind of locked in their own heads and trying desperately to get out, connect with and understand other people. But we have really limited ways of conveying what is in our heads to the heads of others, and so to that extent I am like the characters. Being a writer, I agonise over which words to choose, and what other tools to use to open up commlinks between my head and the reader’s head. It’s a constant struggle to close this distance between what I write and what I want the reader to see or feel.

I think this is a need that everyone has, and from one angle the book is about that need and the crazy things it can get people to do. Some characters in the book do it through psychoanalysing themselves and others for similarities, some do it through exerting control over other people (i.e. making other people the receptacles of their thoughts and wishes), some are out for revenge because they want other people to feel the way they feel and so on. But they’re all trying to feel a kind of sameness and common humanity, as paradoxical as the methods they choose might be. In a sense, they want proof that others are like them. That need, I think, is at the root of a lot of the strange ways we human beings behave in, but common roots can lead to very different branches.

As to the narrator’s thoughts/voice, I do some tricks with the narrator that are meant to get you to think “is this the real Joseph trying to sledgehammer through the text and talk to me?” or “is this the real Joseph accidentally showing through, in that he wrote this or in this way because he is/isn’t [insert feature here, e.g. male, female, unnecessarily into maths, liberal, conservative, Christian, Buddhist, straight, gay, transgender, Romani, black, white, privileged, underprivileged, etc]”. The reasons I do this involve some of the bigger payouts in the book so I can’t spoil it.

INTERVIEWER

Your story covers quite a bit – from economic doctrine, religion, right through to the idea of reality as a simulation, and Artificial Intelligence. These are topics that have captured the imaginations of writers, and readers, for years. What is it that draws you, specifically, to them?

ALEXANDER

Well, many of these are sort of chosen constructs for the purposes of the book. So I just chose them because they were necessary. If we take the empathy angle, economics is just a way to understand and regulate (aggregate) human behaviour and empathy, religion is a way to find both outside community and internal purpose or interpretation of one’s feelings and desires, the study of artificial intelligence (meaning what they now call “general intelligence” and not just machine learning) is an attempt to define what it is that goes on in our head that we call intelligence and how would we recognise it in a machine. It’s basically trying to define what it is to have a mind. The simulation thing in the book is this kind of creeping nightmare monster opposite – what if other people are not like you, and it’s all just a simulation and you, and possibly the AI that simulates you, are the only ones who have free will or real thoughts and feelings and so on. It’s supposed to sound cool and kind of Matrix-y at first, in that the realisation is sold as kind of liberating because you can do whatever you want and you’re the most important person in the world, but when you really understand all its implications and realise it means you are alone, and trapped, in a real and serious prison that there is no way out of, it’s meant to be terrifying. It’s sort of meant to be the logical endpoint of a culture that emphasises extreme individuality and calls it “freedom”.

So the topics of the book have been sort of thematically chosen. It then became clear that it had to be set in the future, to give me a bit more narrative room and tools to play with, and voila, VZ was born.

INTERVIEWER

In your mind, are we living in a simulation? If not, how do we make sense of our reality?

ALEXANDER

Kind of depends what simulation means. I don’t think anyone is actually directing society to see what would happen with given parameters, so I don’t think we’re literally living in a simulation.

But at the same time, we do live a kind of dream – in Europe and in the US at least, and probably elsewhere too. There’s a great book that everyone should read (though it’s a bit academic) called Everything Was Forever Until It Was No More, about how people in the Soviet Union both absolutely knew the whole system was bound to come crashing down any day, but also absolutely could not believe it when it actually happened. A lot of people are like that with Western-style corporate capitalism now, everyone knows it could come crashing down on our heads any day now and that you cannot have infinite growth in a finite environment. Some people I’ve talked to who really had ring-side seats at the time thought it was already happening in 2008. Like, seriously, people who really knew what was going on thought it was all going down. And maybe it did, we just put it on life support and think that everything was fixed but actually we’re just hanging on more and more artificial and drastic life-support. But at the same time, we really cannot imagine any other reality despite the fact that corporate capitalism of any form that we would recognise has only been around for about 150 years, and has effects like distributing more resources (and I mean a lot more) to people who take photos of their bums in bikinis than to the rice farmer they are standing in front of and using as props. And the farmer’s job is literally to feed other people. I mean it’s nuts if you think about it, which is why most people don’t – and that is the dream we project onto our corneas.

So we kind of self-simulate (as the actress said to the bishop, ba-dum-psst).

INTERVIEWER

How did you go about writing VZ, what was your process?

ALEXANDER

Some of the first ideas were sketched out over a long period of time. Like I remember going past an old school that was being torn down and seeing the mangled rebar and concrete and, like a blackboard miraculously standing in the middle of it that still had some text or numbers, and thinking “what if someone bombed this place last night and they’re just disguising this as a demolition/construction site because they don’t want people to panic?” i.e., what if there’s a war going on and nobody knows it. Then I started poking at the idea a couple of years ago, writing up all kinds of things that would have to happen for that to be true and playing with it. Like, who would want to do that, how would they actually do it, why would they want to do that, why do countries even go to war and so on. The simplest scenario of how to approximate the effects of war on a population without the population realising it’s going on ended up looking not too different than the basic operation of certain economic doctrines (which were, funnily enough, the reason the school was being torn down in the first place). So I thought this was interesting enough to do a whole book on, and it kind of grew from there.

This past year or so I’ve been sort of financially secure enough to just sit and write out all the ideas, and so that’s what I did. There is very little process to it, except just to do the best you can and just keep doing it, every day. I got a good kick start when my wife went away for about three weeks on a work thing, so it was just me and my dog and we went a bit feral in our flat, with me writing the first maybe 30-40k words of this book. From there it was safe to just keep going and see where the text takes you. Some days (maybe most) are really infuriatingly difficult but you just have to show up and keep writing, and when the draft is done you rearrange it and reorder things and take a deep breath and do it again. When you’re confident that you can do no more on it, try to find an editor. Either a professional one, or just a friend who likes books (and you).

I promise you, it will only be done when you’re sick of it.

INTERVIEWER

Looking around at current trends in writing and publishing what are your thoughts and feelings on the publishing industry? And how would you advise aspiring writers to break out onto the ‘scene’?

ALEXANDER

Oh boy. This might become the longest answer anyone has given you, feel free to stop reading at any point.

Advice? Write a book that is less than 300 pages (so aim for like 70k-90k words, definitely don’t go over 100k or you might as well not write it), have a single, or max two main characters and the story will be about how she/they arrived again at the place she/they left and saw it for the first time. Do a plot where there’s a set-up, a challenge, a crisis, a point of no return, a point of transformation, a climax and a neat resolution. Have an interesting, marketable persona (and remember, the word ‘persona’ literally means ‘mask’, something you hide your true self behind) and have people mistake you for the main character, so they think they’re buying you when they buy the book.

Industry rant begins (feel free to skip, but I promise I’m going to use “mama-bird” as a verb):

You know, I really think we’re in a sorry state with literary fiction and (big) publishers are making it so much worse by trying to make it better. Basically, they’re looking for the lowest common denominator and want a story that is easily understandable and fits a conventional structure. Theoretically this is because they want a wide potential audience, but actually means the end result will be this bland compromise that interests precisely nobody and the only creative parts are the details or casting. It’s a business so they need products that sell, I get that, but I also think people are genuinely sick of the neat narrative arcs because those arcs simple and predictable and kind of stupid. Just look at the stories that people are actually going nuts about – Game of Thrones had way more main characters and even killed off some of them really early before their arcs could be resolved, Stranger Things has a really complex plot that sits on at least 8 criss-crossing main character paths, Rick and Morty actually overtly parodies the neat arc structure and the episodes where they do it most are cult classics (like the giant heads one, or the pickle one and what have you). And these aren’t even directed to a sophisticated audience that reads a lot of difficult stuff, the way that “literary fiction” is meant to be, I’ve deliberately chosen pop-culture examples that appeal to masses of people.

So the idea that readers aren’t going to “get it” if the story is complicated is bullshit, but the publishing industry has been burned so badly that it’s now just in full damage-limitation mode, cowering in a corner and unable to take initiative, and unable to publish books that boldly take an angle and aren’t for everyone. Part of this is just structural. Agents and editors don’t have the time to read a book proposal or draft twice to understand it, they’re leafing through it together with four other drafts and while on the phone to a distributor or marketer and writing an email to Kate from Random House or something. What is really dictating content now is whether they get it, so the gatekeeper audience you’re trying to push through isn’t the person in a quiet reading nook with a free Sunday, a fresh pot of tea and a book, but the frantic time-poor editor/agent who has to make six final calls today and read 20 submissions, because that’s the person who gets to decide whether the person in the reading nook gets a chance to even see what you wrote.

The irony is that if you think about any of the biggest literary successes that people absolutely tie themselves in knots about year after year and that really pushed the art form forward, none of them conform to these stupid rules about arcs and character growth resolutions. Slaughterhouse 5 gives away the whole plot in the first chapter. Catch-22 has a new main character in every chapter and is more like a symphony than a narrative arc, in that it’s variations on a theme that build on top of each other. Infinite Jest has a huge hole where both the plot climax and resolution should be, and you just have to try to work it out from this 1000-page sensory-overload-haystack. Freedom is really weird structurally, breaks all kinds of style rules and the story happens almost entirely in the main characters’ heads. And who even knows what’s going on in Gravity’s Rainbow, but you read page-one and it makes you go ‘holy shit’. And these are just the ones that have sold millions of copies over the years, there are a bunch of others that have still sold really well that I could mention.

Readers want something they can chew, they don’t want to be mama-birded some pre-digested emotional manipulation that just tastes like cold sick. It’s an insult on their intelligence, and people can see that. People are smart, even if they’re not literature professors. So complexity is not the problem publishers think, but try to say that to a publisher.

(End of industry rant.)

INTERVIEWER

Do you have a specific ‘reader’ or audience in mind when you write?

ALEXANDER

It’s weird, it’s not really a specific reader but more like an abstract idea of one. I think of someone who has other shit to do and who you therefore have to give something to make it worth their while to read and to keep reading, but who also is kind enough not to think I’m doing this with bad motives or for myself. So someone who is willing to give you a bit of slack and wait for some payouts, but also someone that you do have to win over.

INTERVIEWER

How would you define creativity?

ALEXANDER

Hmm. I think a lot of creativity is just seeing unexpected connections or similarities. I genuinely don’t think anyone really comes up with stuff all by themselves, you feed a lot of input signal into your noodler (so, read a lot of books) and then stuff starts to come out. I can’t really define it any better than that.

INTERVIEWER

What does the term ‘writer’ mean to you?

ALEXANDER

Someone who writes, possibly as a job. Don’t be afraid to call yourself a writer. If you think it fits and feels nice, do it. Later, haters are going to show up – fuck ’em. Anyone can deny things, be one of the few people who actively assert things.

INTERVIEWER

James Joyce argued poetry was “always a revolt against artifice, a revolt, in a sense, against actuality.” In the modern world, ‘actuality’ is increasingly hard to define – we live in a culture of ‘fake news’. Many have argued that literature – from poetry through to fiction – has an element of truth to it that reality itself sometimes lacks. What role do you think stories and storytelling have in a world of ‘alternative facts’?

ALEXANDER

Well, this ‘alternative facts’ or ‘fake news’ thing is really quite alarming, but it has been going on for much longer than people think. Like, basically profit-making corporate news broadcasting is institutionally almost guaranteed to result in a lot of ‘alternative facts’. Fiction has always had a place in combatting that, and I think that’s what people mean when they say that writing fiction is making up lies to tell the truth. Serious literary fiction isn’t defeated by “alternative facts”, if anything it is tailor-made for dissecting it.

Like, nobody captured what it was really like to live in the paranoid Soviet Union better than Mikhail Bulgakov, and that book (Master and Margarita) has magic and demons and women flying on brooms and whatever. Or take Gabriel Garcia Marquez and One Hundred Years of Solitude – that book is mental but really captures the surreal reality of South America, where a (North) American fruit company can slaughter people just because they wanted a five-minute rest break or something, and your whole life just feels like it’s part of a repeating cycle of exploitation and bloodshed that goes back to colonial conquest. And also 1984, Catch-22 and Slaughterhouse 5 about the lies that accompany and protect war and totalitarianism – these are all born out of cultures of ‘alternative facts’.

I don’t think it’s a coincidence that peoples that have really been through the shit-mill write very strange stories, because there are topics that can only ever be approached at an angle and those are the topics that “fake news” or “alternative facts” aim to hide from us – war, killing, suffering, and the pointless causes thereof. Some of the analytical terminology we use to dissect and understand what is going on with “fake news” now is actually from these books. Like I can totally imagine someone in South America saying that what is going on in Venezuela is a real Macondo, or that debating semantics when people are in concentration camps at the US border is a move from the Newspeak Playbook. These books help us understand what it is that we’re really looking at, gives it a language, and that is one of literary fiction’s purposes.

So I think now the antidote to “alternative facts” is what it has always been – serious, literary fiction that explores these topics. My book tries to do that, I’m sure a lot of others do too. Like just to mention one, Lucy Ellman’s recent, 1000-page Ducks, Newburyport is exactly the kind of genius strange fiction that helps us dissect what is going on right now.

INTERVIEWER

Could you write us a story in 6 words?

ALEXANDER

REVOLUTIONARY GOVERNMENT REVEALS: FLORIDA NOT REAL.

INTERVIEWER

Could you give your top 5 – 10 tips for writers?

ALEXANDER

  1. If you can’t write today, read today.
  2. Read everything. Even the back of a cereal box, or Ayn Rand.
  3. Try to learn from everything you read. Why is this character saying this? Is she saying it to the other characters, or to you? Is that good? What do you like about this cereal box or Atlas Shrugged? Can you pinpoint the thing that makes you want to read on (or watch another episode of Stranger Things or whatever), or the thing that makes you want to stop reading (or watching)?
  4. Don’t try to “write a book”. Try to write a good story, write good sentences, describe things accurately, make characters that come alive.
  5. Writing a novel is a really ineffective strategy to become rich and famous, but it’s great for other things.
  6. In the end, it’s just a book. If it doesn’t sell, or doesn’t do well, or people don’t like it, just write another one.

Quick fire round!

Oooh shit, okay, I’m ready!

INTERVIEWER

If you could be any animal other than a human, what would it be?

ALEXANDER

A dog in a good home. (You can tell I’ve thought about this one before.)

INTERVIEWER

Favourite book/author?

ALEXANDER

Uuuuhhh Slaughterhouse 5! George Saunders!

INTERVIEWER

Critically acclaimed or cult classic?

ALEXANDER

Jodorowsky’s Incal. Any movie you’ve seen since 1980 has ripped it off.

INTERVIEWER

Most underrated artist?

ALEXANDER

Kafka!

Shit, he’s not exactly unheard-of is he. Well he was really underrated in his lifetime? Kafka is the Einstein of writing, he changed the game and we’re still working out the implications. Maybe I just feel bad for Franz-Kafka-the-person.

No, scratch that, Tove Jansson! Tove Jansson is the lady who wrote the “Moomins” books, nobody has ever heard of her but if you actually read the books (not the comics) they are actual-goddamn-motherfuckin’-genius. Read a few and let’s, like, get high together I’ll talk your ear off about what I think is going on in them.

INTERVIEWER

Most overrated artist?

ALEXANDER

Right now, Sally Rooney. I read Normal People and genuinely could not see what was special about it, no matter how hard I tried. And I honestly did try. I thought it was for kids. The Ross and Rachel story, with millennials, set in Ireland. I’m even really paranoid that I might just be thinking this because she is roughly the same age as me and I’m just a sour grape, but I honestly think this fuss will blow over.

INTERVIEWER

Who is someone you think more people should know about?

ALEXANDER

Hasek, the guy who wrote “Good Soldier Svejk”, I forget his first name. Jaroslav? Anyway, the name is not important.

INTERVIEWER

If you couldn’t tell stories or write – what would you do?

ALEXANDER

Oh man, I’d probably die. I’ve done this despite getting beaten up and laughed at and someone even burned my arm with a cigarette once for it, I used to write like it was this shameful secret thing that I just couldn’t stop doing. I’m still weirdly secretive about it for no real reason.

Or maybe I’d do philosophy. Or maths.

INTERVIEWER

Do you have any hidden talents?

ALEXANDER

I play a mean jazz flute. Not even kidding.

INTERVIEWER

Most embarrassing moment?

ALEXANDER

Oh Jesus, there are so many. I once made a real fuss about paying too much for a coffee in a Starbucks in Illinois, only to realise that the list prices don’t include tax in the US. I was very jetlagged, it was 5am. I apologised profusely.

Or one time my dog stole a stranger’s shoe that the person had left on the grass behind the goal during a football game, and ran around with it all over the pitch, being chased my me and eventually everyone in both teams so they could get the game started again. He’s one slippery dog, he had the best 10 minutes of his life.

INTERVIEWER

What’s something you’re particularly proud of?

ALEXANDER

I and this other writer Zia Haider Rahman (who is way more successful, he wrote In the Light of What We Know) are starting this project where we help disadvantaged kids in London with writing. We haven’t done our first classes yet but I’m genuinely proud of where we’ve got so far. Stay tuned.

INTERVIEWER

One piece of advice for your younger self?

ALEXANDER

You will get everything, everything, you ever wanted when you were 14. Try not to let it crush you.

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“Gripping and thoughtful”, new UK movie, ‘Sink’ set for DVD release

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Sink “gives a vibrant voice to protagonists who have otherwise lost their language and their power” (read our review of Sink here on Nothing in the Rulebook). 

Sink, the debut feature-length film from writer, director and actor Mark Gillis will be released on May 27th, following a cinema run that drew critical acclaim from The Guardian, The Independent, Empire and (of course) Nothing in the Rulebook, among others.

The movie 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.

Battling the disruption and instability of working Zero Hours contracts, Micky is ultimately driven to do something completely out of character to try and keep his family together. What thereafter follows, thanks in no small part to the incredible performances of the cast, particularly Martin Herdman in the lead role, is a gripping and thoughtful story that stays with you long after the credits roll – providing a stirring critique of the world we live in.

Having been compared by reviewers with the Oscar-winning film I, Daniel Blake, it is perhaps unsurprising that there is a political aspect to this film. Indeed, in a a recent original, in-depth interview with Nothing in the Rulebook, director Gillis said:

“There is a political angle and that kicked off my wanting to tell the story. I live in the area where the film is set and there are pockets of people leading very challenged lives. There are also the skyscrapers of Canary Wharf, looming up seemingly at the end of the road.  So you have people whose lives have been changed beyond recognition living in the shadow of the institutions directly responsible. They committed crimes on an industrial scale, yet nobody has been prosecuted. It made me question where we are with that; if people who benefitted so hugely from the system can do that with impunity, can we condemn somebody for doing whatever’s necessary to stay afloat?”

Having shown at film festivals across the UK, as well as in New York, the DVD release of Sink has been hotly anticipated.

To whet your appetites even further, check out the trailer below:

Creatives in profile: interview with Mark Gillis

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Mark Gillis has been combining writing, performing and directing since his university days (where he studied Biochemistry). As an actor, he has worked extensively in the theatre, most recently playing Agrippa in Antony & Cleopatra with Kim Cattrall and Michael Pennington (Chichester). As a member of the RSC he performed in As You Like It, Macbeth and Troilus and Cressida during seasons at Stratford and The Barbican. He played Mark in the Irish premiere of Mark Ravenhill’s play Shopping and F***ing. He co-founded and was artistic director of the touring production company LPC, with whom he produced and directed several European tours of modern classic plays such as Waiting for Godot, The Caretaker, The Importance of Being Ernest and GB Shaw’s The White Lady. And he has appeared in several television and film roles including: Silent Witness, The Bill, Emmerdale, Grange Hill, Eastenders, Holby, The Brittas Empire, Absolute Hell, Prick, Jean Moulin, Either/Or, Going Home and An Ideal Husband. Most recently he plays Mr. Hogg Diggins in the Channel 4 comedy Lee & Dean.

There’s a lot of creative stuff to talk about here, but we’re here today to talk primarily about his debut movie, 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.

Produced by Oscar-winner Mark Rylance (who says you will find yourselves “immersed” in it), Sink has received glowing reviews (including one from us, of course), following its screenings at cinemas across the UK.

But what does it take to produce a movie independently, particularly in a current climate that so clearly favours the established corporate behemoths over individual creatives? It was a pleasure to catch up with Gillis to find out.

INTERVIEWER

Tell me about yourself, where you live and your background/lifestyle

GILLIS

I live in Brockley, South East London (the film was shot here and in nearby New Cross/Deptford). I’m an actor who has been writing seriously for about 10 years. I have also directed in the theatre and have made short films. Sink is my first feature as writer/director.

INTERVIEWER

Is film making your first love, or do you have another passion?

GILLIS

I suppose most of my work has been as an actor in the theatre so that would be an equal passion.

INTERVIEWER

Who inspires you?

GILLIS

Donald Glover

INTERVIEWER

Can you talk us through how the process of taking your debut movie, Sink, from spec-script to fully-fledged film reality?

GILLIS

It was never really a spec-script in that sense. I’d had the typical experience of scripts being developed (unpaid) and getting very close to being made, then failing because the money didn’t match the cast (in both directions). When I was writing Sink, I realised we could make it very cheaply; I knew exactly who I wanted to cast (I’ve worked as an actor with all of them), I knew who’s flat we could borrow, etc., etc.. So I decided we’d just go ahead and make it ourselves. We did a crowd-funder and various small investors came in. We made it for £35K, which is nothing for a feature; BUT that was only possible with EVERYONE working for deferred fees and profit share. Everybody on the film from investor to runner was party to the same financial framework.

Of course, it’s all very well making your film, but at the end of the process you’re back at the brick wall; the first thing distributors ask is “who’s your lead actor.” Without a star name the vast majority won’t watch the film. So it’s very tough. We got lucky – a well known producer saw the film and badgered her distributor to watch it. They picked us up for a limited theatrical release which meant we could get Press reviews (virtually impossible if you haven’t got a distributor who is part of the Film Distributors Association who run the week of release screenings). So although all films are a collaborative process, this one REALLY was, in effect everyone working on the film was an investor in it, literally; they will only get paid once the film shows a profit. That’s a very humbling fact for me.

INTERVIEWER

In Sink, we follow the lives of those who have been dispossessed by the processes of modern capitalism. There’s a clear political angle to the film; yet for all that, it’s also intensely human, and character-driven. As a screenwriter and director, how do you tread the line between potentially competing focuses; the political and the human?

GILLIS

There is a political angle and that kicked off my wanting to tell the story. I live in the area where the film is set and there are pockets of people leading very challenged lives. There are also the skyscrapers of Canary Wharf, looming up seemingly at the end of the road.  So you have people whose lives have been changed beyond recognition living in the shadow of the institutions directly responsible. They committed crimes on an industrial scale, yet nobody has been prosecuted. It made me question where we are with that; if people who benefitted so hugely from the system can do that with impunity, can we condemn somebody for doing whatever’s necessary to stay afloat? It also made me angry enough to want to write something! But if that’s all there is, there’s no point writing a screenplay. Write an essay or an article. There has to be a story and for that there must be characters.

At the start I was intrigued by these three generations of men; Micky, his father and his son.  Principally it was the way the relationship to work had changed over those three generations; Micky was once a skilled worker who can now find only menial, zero hours jobs; his father has only ever known skilled manual work and his son has never really had a relationship to work. That’s a massive change in working class men’s lives and a theme I was eager to explore. Then it’s a question of whittling away until you find the core story and that was Micky’s.

If scenes are trying to force in a particular political idea, they will immediately stick out (and ultimately be cut out during the edit). Every scene must move the story forward in some way, while planting enough of the politics that the guiding themes are catered for.

Sink MJS

Three generations of men: Micky (left, played by Martin Herdman, leads his father and son through their local neighbourhood)

INTERVIEWER

What is your personal take on the current political climate, and how does it affect the stories we tell?

GILLIS

I really hope we are not in as bad a state as I think we might be in. I think the current ease with which the fundamental structures of democracy are being dismantled is terrifying. I am trying to have some sense of hope but the precedents for these early warning signs are so clear, I feel we’re sleepwalking into autocracy. It seems all the requirements are in place. If we don’t want that to happen, I guess it’s down to us to speak up.

INTERVIEWER

How do you feel the characters in Sink would react to the unfurling narrative around the Brexit process?

GILLIS

It’s so weird for me, because Sink was written and shot before the referendum was even tabled. SO much has changed. I’m a remainer.  I’m slightly glad I didn’t have to decide whether to make Micky a leaver or not. I’m still not sure how he would have voted. It would have been up to me to decide whether I make the character I created reach the decision I want him to, or whether I would be entirely true to what HE would have done. And I’m still not sure which way round that would have been. I do know that an awful lot of people who have felt entirely left behind after 30 odd years of neo-liberalism voted Brexit. Perhaps Micky was one of them. But that makes me a bit upset.

Fr M Kitchn

A Brexit voter? Sink was written and shot before the EU referendum in the UK, so we’ll perhaps never know which way Micky would have voted.

INTERVIEWER

Looking around at current trends in film making, what are your thoughts and feelings on the movie industry. And how would you advise aspiring film makers to break out onto the scene?

GILLIS

Obviously we live in the age of the huge franchise. There’s nothing wrong with that, some of them are great movies. What we might be losing is the middle ground; it’s either massive budgets that only the studios can bring together, or the tiny (in film terms) budgets that are somehow drawn together by financial jiggery pokery based around tax credits. Or people making films themselves on no budgets. It seems to me this isn’t a sustainable business model.

Outside the public funding bodies (and even with their involvement) each film has to start afresh to raise its finance. Add to that the current surge in high end TV which has lead to crew shortages and therefore higher rates, it’s difficult to see where the film industry can be heading. And yet, films still get made. I don’t know an answer. I’m still trying to figure it out myself.

As to what advice to give, I think the most important thing is spending time getting the script right. However you get the film together, it will be the script that brings people on board or makes them pass. It’s getting the right people in to the project that will get the film made. It all starts and ends with the script.

INTERVIEWER

Do you feel any ethical responsibility as a film maker?

GILLIS

I think there is an ethical responsibility not to create work that simply reinforces a negative. By the same token (in an equal and opposite way) there is an ethical responsibility to create work that examines the negative – that pulls it apart and provides a new viewpoint on it.

But it’s not for the film maker to dictate how that work must be received. There has to be room for the “wrong” view to be taken – otherwise you haven’t created something truthful.

INTERVIEWER

In terms of screenwriting, what do you think is most important to keep in mind when writing your initial drafts?

GILLIS

What happens next.

INTERVIEWER

Do you have a specific audience in mind when you write and direct?

GILLIS

I really try not to.

INTERVIEWER

How would you define creativity?

GILLIS

The focussing and entrapment of energy

INTERVIEWER

What does the term ‘director’ mean to you?

GILLIS

Depends which director you’re talking about.

INTERVIEWER

James Joyce argued poetry was “always a revolt against artifice, a revolt, in a sense, against actuality.” In the modern world, ‘actuality’ is increasingly hard to define – we live in a culture of ‘fake news’. What role do you think movies have to play in a world of ‘alternative facts’?

GILLIS

It’s strange isn’t it, that we head more and more towards finding truth in stories; in made up events. And yet, that is where truth is found. I’m very interested in the effect that Reality TV has had on our psychology. Even the title is a lie. It isn’t reality, everybody knows what they’re doing because there’s a camera there and they know they can watch it later. So we’ve spent 20 odd years saying that a fabricated reality is the truth. It’s kind of delicious (if it wasn’t so disgusting) that a “star” of the genre becomes the most powerful man in the world. Trump has spent his life lying – his whole ego is based on a lie that he was responsible for creating the financial success he’s had (multi-million dollar bankruptcies notwithstanding), instead of being gifted it on birth.

Can movies be a bulwark against lies? Absolutely. They can tell the truth because they are set free from the constraints of the market place (hang on, weren’t we just saying that the film industry can’t work because it’s not a sustainable business model?). They can show what humanity can be at a time when real life is coughing up its dregs. There’s an enormous role for movies (for ALL storytelling), I think now more than at any point in my lifetime.  Stories could pull us back from the brink. Will anyone listen though?

INTERVIEWER

Could you tell us a little about some of the future projects you’re working on?

GILLIS

I have two other screenplays, one about a man discovering how his own acceptance of being gay has been affected by events from a previous generation and a story about a charity that goes rogue to be able to carry out its real work. I’m also working on a couple of TV ideas because that’s all anyone wants to hear about.

INTERVIEWER

Could you write us a story in 6 words?

GILLIS

He made his own way back.

INTERVIEWER

Could you give your top 5 – 10 tips for screenwriters?

GILLIS

I know it’s a hoary old cliché but just keep writing. And then keep re-writing. Find readers you trust, listen to them and be willing to really start again if necessary. There are all sorts of gut wrenching machinations that come from giving up what you’ve sweated blood over. But sometimes it can be an amazing release.

  • Watch the trailer for Sink here below: 

Creatives in profile: interview with Joana Ramiro

Joana Ramiro

Joana Ramiro is a journalist, writer and political commentator.

Born in Lisbon, in 2006 she moved to London, and in 2010 she became one of the founders of the National Campaign Against Fees and Cuts, as well as its Chief Press Officer. Since then, she has covered the occupation of Tahir Square in Cairo during the 2011 ‘Arab Spring’, as well as the 2015 Greek elections and the Calais refugee camp, among numerous other pieces of foreign correspondence.

Domestically, she was the first reporter to cover the fight of Focus E15, a group of London single mothers campaigning to be rehoused, after being evicted from a hostel by Newham Council in 2014. She has reported from a series of mass demonstrations, occupations, deportations and strikes, focusing on the effects of austerity policies in British society.

As a political commentator, Ramiro has been featured on Channel 4 News, BBC and LBC radio, as well as debates against fellow pundits Peter Oborne, Michael White and Peter Hitchens.

At a time when the truth is under attack – when journalists are attacked and maligned by those in power and those online, while Silicon Valley siphons off advertising revenue and amplifies untruths for profit – supporting, and hearing from, independent journalists is increasingly important. So Nothing in the Rulebook were incredibly pleased to catch up with Ramiro to bring you this following interview.

INTERVIEWER

Tell us about yourself, where you live and your background/lifestyle
RAMIRO
 

Hi, my name is Joana Ramiro and I’m a freelance journalist and writer based in London. I carry a Portuguese passport and was educated in a German school. My dad’s Angolan. It was all a big melting pot back at home and I try to keep it so in my adult life too (not hard, given that I live in the capital of melting pots).

INTERVIEWER

Is journalism your first love, or do you have another passion?
RAMIRO
 

It wasn’t my first love but it should have been. As a child I wanted to be an actor but when I hit puberty my ambitions got thwarted by the usual patriarchally-instilled insecurities about my looks, weight, and general lack of self-worth. I then went and studied advertising but it wasn’t very satisfying as I needed something a little more academic at that point. So, to compensate the lack of enthusiasm for my degree, I started doing a political blog and getting involved with campaigns I always felt an affinity for. Things like justice for Palestinians and an anti-cuts campaign at my university. That then grew into the student movement of 2010/11 where I was the founder and press officer for one of the main campaigns (National Campaign Against Fees and Cuts). I went back to uni in 2010, did a postgrad programme in politics and then a masters in Middle East politics, went to Palestine and Egypt (during the occupation of Tahrir Square) and a few years later got a full time job as a journalist at a small daily called the Morning Star. A week in I thought: “Goddamn! Why haven’t I been doing this all along?!”

INTERVIEWER
Who inspires you, and why? 
RAMIRO

Great journalism inspires me and I think of the greats of old and sometimes wonder if it’s still possible to do that kind of work. Journalists of past and present like Martha Gelhorn, Ryszard Kapuściński, Svetlana Alexievitch, Clare Hollingworth and Paul Mason inspire me every day to speak truth to power.

INTERVIEWER

What is the role of journalists today, in an era of ‘fake news’ and accusations of media bias? 

RAMIRO
 

The role of a journalist at any time is to speak truth to power. To me that means looking at the balance of forces and asking yourself “Who is being exploited, oppressed, or used in this situation?” and then write about it. Much is said about media bias vs unbiased journalism and in the end, you’ll find, the judgement is always in favour of whoever is in control of the narrative. There’s always a bias in journalism because there’s always a bias in our societies. A good journalist asks herself in who’s favour is that bias and writes about what the effects of such bias might be. Who benefits and who suffers under X state policies? Who benefits and who suffers under Y ideology? From there, a journalist’s role is to shine a light on what is in the dark. 

INTERVIEWER

When covering complex political issues and discourse, how do you navigate the challenge between communicating an issue or subject clearly and effectively, while also bringing the necessary balance and nuance and critical thought required to ensure the piece has real genuine value? 

RAMIRO

Good prose is written simply but at length. Unfortunately, it seems that while writing simply is still cherished in our media landscape, length is going increasingly out of style. A dangerous precedent if you ask me. You can’t explain the complexities of war in a 250 word article or in a 2.30min piece. You can’t explore the nuances of the Venezuelan political conundrum in a series of Tweets. We need to start investing in long-form journalism, not only in the case of what is usually called “long reads” but as a matter of journalistic norm. If people will deadscroll through 5min inspirational videos they will watch a 5min piece about Cape Town’s Day Zero. 

INTERVIEWER

Do you feel any personal responsibility as a journalist
RAMIRO
 

Of course. That’s why I refuse to work for xenophobic and migrant-bashing publications (we all know who they are). I wouldn’t go as far as condemning all that do – many colleagues work wherever work is available because they’ve got bills to pay – but given the choice I’d rather not write than enable or legitimise far-right opinions and rhetoric.

INTERVIEWER

To what extent has current political discourse and debate sidelined other important issues facing the world; such as catastrophic climate breakdown?

RAMIRO

I don’t think it has. Not least because the current political discourse might include disgusting people like Viktor Orban and Tommy Robinson, but also includes inspiring voices like Alexandria Ocasio-Cortez (who does speak aplenty about climate and a Green New Deal).

INTERVIEWER

In an age of increasingly low incomes for journalists, and with funding models of traditional media corporations often favouring the large, Murdoch-owned papers over other independent news outlets, how can aspiring journalists break onto the scene while maintaining their journalistic integrity and any moral standards they may need? 

RAMIRO

Alas, it often seems nearly impossible and all the more so for young journalists who aren’t white middle class men  living in London. It’s good that places like the Guardian have programmes targeting this but more needs to be done. I suspect media reform is the way to go in order to tackle all these problems. Not to be too on the nose, but the Labour Party’s proposals on media reform announced last year would be a pretty decent start. 

INTERVIEWER

What’s your analysis of the state of both politics and journalism today? Where are we heading?

RAMIRO
 

God, I’d be a millionaire if I had the answer to that question. Can you imagine what the City would pay me for that sort of consultancy?! 

INTERVIEWER

What’s next for you personally? Any exciting projects we should know about? 
RAMIRO
 

I’m doing a lot of exciting things this year, but one of those I’m having a lot of fun at is my show Red Hacks. It’s a series of conversations with renowned journalists about being a leftwing journalist in a neoliberal world and it’s hosted by the Politics Theory Other podcast. The latest episode is with New Statesman deputy editor George Eaton. Do give it a listen 🙂

Quick fire round! 

INTERVIEWER
Vehicle of choice: Brexit battle bus or Corbyn bicycle
RAMIRO
 
Bicycle always! I have my own and it’s called Belinda.
INTERVIEWER
Curl up with a book or head to the movies? 
RAMIRO
 

Going to the movies in London is extortionate (unless you go to Peckhamplex in Peckham – £4.99 any ticket any day), so I’m gonna say curl up with a book. That would probably be my default choice anyway.

INTERVIEWER

Critically acclaimed or cult classic? 
RAMIRO
 

Always the classics. Casablanca is a masterpiece in far more ways than it’s known for. Same could be said about To Have and Have Not (I’m not just stanning for Humphrey Bogart, I promise).

INTERVIEWER

Who is someone you think people should know more about? 
RAMIRO
 

Erika Lust. She’s a feminist porn film maker and a champion of talking about women’s desire openly and outside of the liberal-cisgendered axis. Plus her stuff is simply beautiful to look at. I’ll be interviewing her soon. 

INTERVIEWER

Do you have any hidden talents?
RAMIRO

I can sleep anywhere under any circumstances, which is very handy for a journalist. Also, in a better world I would have spent more time singing in a more professional way. My brother (who’s an actual musician) and I have a few amateurish projects but I never seem to have enough time to invest in it properly or as much as I’d like to.

INTERVIEWER

Could you write us a story in 6 words?
RAMIRO
 
Fuckbois. That’s why she was single.
INTERVIEWER
Could you give your top 10 tips for aspiring journalists?
RAMIRO
 
  1. Go to the place, talk to the people. Don’t just write a story from whatever you saw on Twitter or whatever an expert commented on.
  2. Always carry a recorder (most phones will have one nowadays) and don’t forget the batteries (or keeping your phone charged).
  3. When taking pictures in a controversial or dangerous situation always carry two memory cards for your camera. Fill one of them with faff/tourist pictures of the place. Carry the one with the journalistic pictures in your sock or bra. Don’t cross checkpoints or police lines with a camera full of “incriminating” material. 
  4. Always carry cigarettes. Even if you don’t smoke. They’re incredibly handy appeasers, bargaining chips, conversation starters, bonding props. Odd, I know. But it works. 
  5. Learn the art of conversation. Everyone will get the same quotes if they ask the obvious questions. Make it your business to be more than a question machine. Offer something back, even if just a shown interest in what your subject has to say. 
  6. Advice I was given (part I): Start writing your piece as if following the sentence: “Guys, guess what?…”
  7. Advice I was given (part II): Read what you wrote out loud at least once. It really helps you catch otherwise unnoticed typos, grammar errors, generally weird sentences and such.
  8. Invest in a transcription programme (I hate hate hate transcribing). 
  9. Read! Read fiction. Read old books. Read theory. Read as widely as you can. Follow it up by listening to music or watching movies on the same theme (in my family we call this “a festival”). Learn the joys of immersing yourself in something other than what is labelled journalism. Good journalism is done with knowledge wider than that. 
  10. Journalism is team work. George Orwell relied on many many people he never mentioned in his books (true story – not just using this as a metaphor for the case in point). Acknowledge that and use it. Help others and ask for help. Reject the idea that journalism is a rat race. Reject the idea that work is a rat race for that matter. Revel in cooperation. It will make you a better journalist, if not even a better person. 

The duty of writers

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Our world faces catastrophic climate breakdown. True facts are now described as ‘fake news’, and biased media reported hailed by pseudo-Nazis as gospel truth. Political turmoil is growing as inequalities deepen across so many dividing lines in society. In such times, a challenge facing us all as artists, creatives and writers – but also simply as human beings – is to examine what role we ourselves have to play.

We have previously written about the need for writers to tackle the subject of climate change in their poetry and novels and non-fiction accounts – while we have also paid tribute to Ursula Le Guin’s rallying cry for all writers to imagine new alternatives to our capitalist system.

But what exactly is our duty, in these times, as writers and creatives? What stories do we need to tell?

What is the story of the world?

Fortunately for us, guidance on this question can be found from the minds of great writers – living and dead – who have pondered this precise topic. In East of Eden, for instance, Steinbeck opens the book’s 34th chapter with a mediation on the most fundamental foundation that sits beneath this essential question: if we have a duty to describe the stories of the world that matter, what exactly is the story of the world? Steinbeck writes:

“A child may ask, “What is the world’s story about?” And a grown man or woman may wonder, “What way will the world go? How does it end and, while we’re at it, what’s the story about?”

I believe that there is one story in the world, and only one, that has frightened and inspired us, so that we live in a Pearl White serial of continuing thought and wonder. Humans are caught — in their lives, in their thoughts, in their hungers and ambitions, in their avarice and cruelty, and in their kindness and generosity too — in a net of good and evil. I think this is the only story we have and that it occurs on all levels of feeling and intelligence. Virtue and vice were warp and woof of our first consciousness, and they will be the fabric of our last, and this despite any changes we may impose on field and river and mountain, on economy and manners. There is no other story. A man, after he has brushed off the dust and chips of his life, will have left only the hard, clean questions: Was it good or was it evil? Have I done well — or ill?”

Understanding human beings

In an earlier journal entry, Steinbeck even suggests that tackling the injustices in the world is not even possible if the writer first doesn’t understand the human beings who exist within it. He opines:

“In every bit of honest writing in the world… there is a base theme. Try to understand men, if you understand each other you will be kind to each other. Knowing a man well never leads to hate and nearly always leads to love. There are shorter means, many of them. There is writing promoting social change, writing punishing injustice, writing in celebration of heroism, but always that base theme. Try to understand each other.”

In a similar vein, the novelist Zadie Smith argues that to believe anything can bring about fundamental change is in fact naïve – and to honestly understand what drives the world forward (and how to subtly shift perceptions) you have to first appreciate the motivations of humankind. In a speech given in Germany in 2016 after receiving a literary award, she says:

“People who believe in fundamental and irreversible changes in human nature are themselves ahistorical and naive. If novelists know anything it’s that individual citizens are internally plural: they have within them the full range of behavioral possibilities. They are like complex musical scores from which certain melodies can be teased out and others ignored or suppressed, depending, at least in part, on who is doing the conducting. At this moment, all over the world — and most recently in America — the conductors standing in front of this human orchestra have only the meanest and most banal melodies in mind. Here in Germany you will remember these martial songs; they are not a very distant memory. But there is no place on earth where they have not been played at one time or another. Those of us who remember, too, a finer music must try now to play it, and encourage others, if we can, to sing along.”

Yet within this, Smith sees no reason not to use art – and writing in particular – to reshape narratives, to influence others, and ultimately keep striving for that which we are all searching for, especially in these sometimes dark times: human progress, and illuminating the path ahead on which we can strive to make a better world. She says:

“History is not erased by change, and the examples of the past still hold out new possibilities for all of us, opportunities to remake, for a new generation, the conditions from which we ourselves have benefited… Progress is never permanent, will always be threatened, must be redoubled, restated and reimagined if it is to survive.”

On the protection of democracy

Smith’s line of argument calls upon all of us to continually work to reimagine and challenge existing political and social structures. This calls to mind the thoroughly excellent arguments of that legendary titan of literature, Walt Whitman, who, in his collection Specimen Days, calls on all free-thinking people to continually challenge and probe the status quo. Whitman writes:

“I can conceive of no better service in the United States, henceforth, by democrats of thorough and heart-felt faith, than boldly exposing the weakness, liabilities and infinite corruptions of democracy.”

What it interesting here is how Whitman lived through times that do not sound dissimilar to our own. He saved lives through the Civil War, witnessed the “miserably-waged populations”, the corrosion of idealism and collapse of democratic values into corruption and complacency. Yet the great American poet faces this dispiriting landscape with a defiant optimism, arguing that this is in a way the most countercultural act of courage available to us:

“Though I think I fully comprehend the absence of moral tone in our current politics and business, and the almost entire futility of absolute and simple honor as a counterpoise against the enormous greed for worldly wealth, with the trickeries of gaining it, all through society in our day, I still do not share the depression and despair on the subject which I find possessing many good people.”

Ultimately, Whitman notes that the only way to preserve democracy in America is also to preserve nature (to hark back to our call to tackle the catastrophic breakdown of our climate for a moment here). And, as current US President Trump and his collection of lunatic criminals in the Republican party continue to show flagrant disregard for the planet and its natural environments, this is a thought that is well worth revisiting. Whitman writes:

“American Democracy, in its myriad personalities, in factories, work-shops, stores, offices — through the dense streets and houses of cities, and all their manifold sophisticated life — must either be fibred, vitalized, by regular contact with out-door light and air and growths, farm-scenes, animals, fields, trees, birds, sun-warmth and free skies, or it will morbidly dwindle and pale. We cannot have grand races of mechanics, work people, and commonalty, (the only specific purpose of America,) on any less terms. I conceive of no flourishing and heroic elements of Democracy in the United States, or of Democracy maintaining itself at all, without the Nature-element forming a main part — to be its health-element and beauty-element — to really underlie the whole politics, sanity, religion and art of the New World.”

Truth above all

Of course, it is easy to present arguments in favour of protecting the world and become downhearted when these are dismissed by the despots around the world – from Trump in the US through May in the UK, Putin in Russia to the incompetent National Liberal coalition in Australia – and ignored as being part of some fabrication or over-exaggeration of ‘progressives’ (as though we would feel foolish if we were to accidentally be fooled into creating a better world for nothing). ‘Fake News’ is everywhere, as we are all told. Here, it feels fitting to draw upon inspiration from legendary journalist Rebecca Solnit, who presses upon us our need to continue to stick to accuracy and truth when writing stories. In her collection of essays, Call them by their names, she writes:

“Precision, accuracy, and clarity matter, as gestures of respect toward those to whom you speak; toward the subject, whether it’s an individual or the earth itself; and toward the historical record.”

In an era of ‘alternative facts’, where language is increasingly used for malicious purposes, Solnit strives to persuade us of the importance of calling things as they are:

“To name something truly is to lay bare what may be brutal or corrupt — or important or possible — and key to the work of changing the world is changing the story.”

More than a century after Nietzsche contemplated truth, lies, and the power of language to both conceal and reveal reality, Solnit writes:

“There are so many ways to tell a lie. You can lie by ignoring whole regions of impact, omitting crucial information, or unhitching cause and effect; by falsifying information by distortion and disproportion, or by using names that are euphemisms for violence or slander for legitimate activities, so that the white kids are “hanging out” but the Black kids are “loitering” or “lurking.” Language can erase, distort, point in the wrong direction, throw out decoys and distractions. It can bury the bodies or uncover them.”

Breaking the narrative

Ultimately, Solnit calls on writers to continue to strive towards that goal of truth – for exposing the truth, using language that is accurate, that lays bare the reality of situations. Through truth, she argues, we can break and reshape narratives and stories that have been spun by the powerful against the powerless – and hopefully move toward a world where the only thing that is fake is Trump’s hair. She writes:

“The writer’s job is not to look through the window someone else built, but to step outside, to question the framework, or to dismantle the house and free what’s inside, all in service of making visible what was locked out of the view. News journalism focuses on what changed yesterday rather than asking what are the underlying forces and who are the unseen beneficiaries of this moment’s status quo… This is why you need to know your history, even if you’re a journalist rather than a historian. You need to know the patterns to see how people are fitting the jumble of facts into what they already have: selecting, misreading, distorting, excluding, embroidering, distributing empathy here but not there, remembering this echo or forgetting that precedent.

Some of the stories we need to break are not exceptional events, they’re the ugly wallpaper of our everyday lives. For example, there’s a widespread belief that women lie about being raped, not a few women, not an anomalous woman, but women in general. This framework comes from the assumption that reliability and credibility are as natural to men as mendacity and vindictiveness are to women. In other words, feminists just made it all up, because otherwise we’d have to question a really big story whose nickname is patriarchy. But the data confirms that people who come forward about being raped are, overall, telling the truth (and that rapists tend to lie, a lot). Many people have gotten on board with the data, many have not, and so behind every report on a sexual assault is a battle over the terms in which we tell, in what we believe about gender and violence.

[…]

Future generations are going to curse most of us for distracting ourselves with trivialities as the planet burned. Journalists are in a pivotal place when it comes to the possibilities and the responsibilities in this crisis. We, the makers and breakers of stories, are tremendously powerful.

So please, break the story.”

You heard it here first, comrades. So, what are you waiting for? Get breaking!

If youd like to contribute to our site – and show off how good you are at breaking narratives – please contact us.

 

 

 

 

 

 

Why is BoJack Horseman so popular? Simple: it’s real

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If you’re reading this article, the likely reason is that you’ve seen the name BoJack Horseman and clicked on a link somewhere out in the wilds of the internet or social media. You’ve recognised the name and it’s peaked your interest. Why have you heard that name? Simple – because since BoJack Horseman was released in 2014, it has gained critical and popular acclaim – showered in praise for the way it skilfully probes existential anxiety, interweaving zany, offbeat comedy with sometimes sly humour, as well as intensely sad or ‘dark’ moments. It’s popular, in other words; and for good reason: it’s real.

That a cartoon show about a substance-abusing middle-aged horse feels like the most real thing many people have seen for so many years says more about our current cultural malaise than we might like to admit. But it doesn’t make it any less true.

One of the factors that makes BoJack feel so real – so relatable – is the fact that the characters in the show must face the consequences of their actions. No character is “too big to fail” (in the way the banks that crashed the global economy were allowed to carry on Scott-free while the average person has had to shoulder the burdens and crises they created). As Arielle Bernstein writes in an article for The Guardian:

“Throughout the series, we see child BoJack, eager and wide-eyed in his little sailor suit, being verbally abused by his mother and father. But while the series encourages us to see BoJack’s own self-absorption as a response to a traumatic childhood, it also insists that BoJack not be given a free pass. In his heart of hearts, BoJack is never a “bad guy” per se, but his thoughtless choices often have very real impacts on everyone around him.”

Yet, while this is an admirable aspect of the show – that it has created extremely well-rounded characters who we can relate to – the true ‘realness’ of the show comes from the way it counters other aspects of our current society.

The power of the image

Firstly, we must consider the use of images in both the show and in our culture – and the way in which BoJack Horseman subverts what Lacan would term ‘natural’ images with referent – or ‘signified’ images. At its very basic, this is ultimately a joke about the fact that we are all animals – the playful humour of seeing a golden Labrador wearing a v-neck t-shirt, rocking aviator sunglasses and being obsessed with the skunk from next door is funny and surreal. There is also a clear use of Lacanian mirror imagery between BoJack and his ‘inverted mirror’, Mr. Peanutbutter. Mirrors can also be found between the ‘real’ BoJack and his TV personality on 90s sitcom Horsin’ around, as well as his TV detective character, Philbert – and during this portrayal the mirror line blurs completely in Episode 11, “The showstopper”, in which we all witness a very real “crossover episode”, to coin a favourite line from the show. Once again, visual and symbolic mirrors abound in series five episode 7, when we meet not BoJack, but ‘Bobo the Zebra’.

Yet for all BoJack’s surrealism and superficial escapism, the heart of the show carries messages that, simply, resonate with audiences. The escapism that BoJack and his cohorts pursue is the same that we ourselves seek. That it feels ‘honest’, and ‘true’ is often conflated as being ‘dark’ – as though the idea of a person who doesn’t quite feel that everything is okay within themselves, despite being rich and famous, and takes actions that are nearly always morally ambiguous or questionable, is in someway only explainable if we describe it as “dark”. Doing this, however, otherises such concepts and thus fails to recognise that the real reason the show has such an avid following and has picked up such critical acclaim is because the ‘dark’ aspects of the show aren’t dark at all – they are in fact extremely relatable, particularly for anyone who has ever found that their entire construct of societal expectations has been built around lies meant to satisfy shareholders; not to satisfy our egos or our real natures or purposes. Indeed, when faced with this realisation and reality, the actions that BoJack pursues, the depression, the anger, anxiety, denial, etc. – these become not only normal or relatable, but actually natural reactions to an extremely unnatural world and society.

In an excellent documentary series, The Century of the Self, Adam Curtis explains how, since the 1960s, there have been attempts by both psychiatrists and those in power to make us feel as though certain natural human responses to life are the symptoms of serious psychological or mental disorders. This is partly because the financial, marketing and operational models on which capitalism – and particularly consumerism – relies, have been built on the ideal of human beings as rational, self-serving, individuals. This, of course, flies in the face of evidence that suggests human beings are quite often irrational, altruistic members of communities, tribes and societies as a whole.

Living in a world in which we are told that to feel sad is a sign of a serious mental disorder; in which we are told we can only ever aspire to satiate our own desires by buying more and more things, despite the fact that we are ultimately just searching for real, meaningful connections with other people, places us all in an existential crisis that is vividly and expertly portrayed in BoJack Horseman.

Again, images are important here. In both societies (that of BoJack’s Hollywoo and our own world), materialism – and the images that go with it – run rampant. Consumerism is the order of the day; and both TV show and our reality are subject to the fact that consumerism as a socioeconomic is fundamentally built upon the engineering of desire through psychological manipulation, which is achieved by using images – including advertising and peer pressure – to make us inclined to purchase more and more stuff.

Why does this matter? Being bombarded and overwhelmed by images that are not real – that lack any substance beyond activating something in us that makes us feel empty and fuels our desire to consume, ultimately creates a genuine emptiness and aching for reality. As David Shields notes in Reality Hunger: 

“Living as we perforce do in a manufactured and artificial world, we year for the ‘real,’ semblances of the real. We want to pose something real against all the fabrication.”

The problem with materialism

BoJack lays bare the problem with materialism and consumerism in a way precious few TV shows have dared to do.

An impressive body of academic research suggests that materialism, a trait that can afflict both rich and poor, and which the researchers define as “a value system that is preoccupied with possessions and the social image they project“, is both socially destructive and self-destructive. It smashes the happiness and peace of mind of those who succumb to it. It’s associated with anxiety, depression and broken relationships.

Depression, anxiety, broken relationships; socially destructive and self-destructive. Remind you of anything?

There has long been a correlation observed between materialism, a lack of empathy and engagement with others, and unhappiness. But research conducted over the past few years seems to show causation. For example, a series of studies published in the journal Motivation and Emotion in July showed that as people become more materialistic, their wellbeing (good relationships, autonomy, sense of purpose and the rest) diminishes. What’s more, as we are repeatedly bombarded with such images through advertisements, and constantly described by the media as consumers, we become more selfish, and more likely to act and behave in the ways large corporations need in order to make continual disgustingly large profits.

The irrationality of society

For years, then mainstream cultural programmes have adopted the use of imagery and story narratives to support and reinforce the myths that keep them in power and maintain the status quo – to help the consumerist models function; and to keep us spending money, buying more things – all in the ultimate pursuit of our supposed individual happiness.

There are obviously numerous problems with this – not least from a moral perspective. Yet events in recent years have markedly laid out some of the flaws in this approach.

In the first instance, the collapse of the world financial system (triggered in part by massive acquisition of unsustainable personal, individual debts) and subsequent global recession has forced millions of people in Western Society to live in times of extreme austerity. Among many other (perhaps more pressing) issues with this – such as child poverty, rising crime, inequality, – the era of low wages and job scarcity or insecurity that has been created by the austerity model has made it impossible for people to actually exist and function within the previous consumer system as they had been told to. In other words, they had been denied the means with which to participate in the consumerist culture. How can you buy the latest deluxe car when you can’t afford to heat your own home or pay your rent?

Without the means to participate in consumerism, people have started to recognise that the society in which they live, and the dreams they have been told to pursue, are in fact not recogniseable, achievable, or real. The reality of their situation is that the entire system has been broken – and so a world which continues to expect them to accrue personal debt in order to buy the latest fashion trend is not a world in which they can be rationally expected to live.

Beyond the fiction of reality

This all, ultimately, leads us back to BoJack – a world in which to be self-aware is often to become self-destructive. To recognise the faults in the world can lead to despair (because you can’t hope to change things); but also in which ignoring reality and going along with societal pressures is to sacrifice any true sense of identity. Indeed, those characters which lack depth or sense of realness are those who lack any self-awareness – a ‘Ryan Seacrest type’, for instance; a character with so little identity he is only a trace (again to use a Lacanian term) of somebody else. In this world, the most natural response is one that does not seem ‘natural’ – as the system would like you to believe – but rather, to respond to a system that is entirely broken by becoming broken yourself; or reacting to the impossibility of the ask placed upon us as individuals by coming to impossible conclusions (see any of Mr Peanutbutter’s whacky ideas for starters here). The show feels real because the characters are negotiating a broken society that mirrors our own. As Slavoj Zizek has noted: “beyond the fiction of reality lies the reality of the fiction.” We are drawn to the reality of the fiction (in this case, a television show about a celebrity horse) because it is what Lacan would describe as the signifier of something we inherently lack in our own world: reality and realness. We experience so few ‘real’ images, that ones that signify truth – the reality of our situation – become precious and to be treasured.

Ultimately, this helps us more effectively bond with the characters and empathise with them. This is important – particularly in a world in which reports of loneliness are skyrocketing – because it illustrates how BoJack Horseman becomes nourishing, even redemptive; we become less alone inside because we recognise that our reaction to the impossibilities of the world is not confined to our own skulls. BoJack Horseman, then, helps us become less alone inside.

And that’s why we need it.

Book review: The study circle, by Haroun Khan

Nothing in the Rulebook’s resident book reviewer Tom Andrews digs into ‘The study circle’, by Haroun Khan, published by Dead Ink Books.

The Study Circle

This debut novel by Haroun Khan follows two friends from a South London council estate. Ishaq is devout and well educated, a regular at the titular Islamic study circle. His education at a university may give him a way out of the brutal poverty of the estate. His friend Shams is less fortunate and is obliged to make ends meet anyway he can, even if the means are not entirely legal or safe. The pair are caught between the gentle and wise Ayoub, the leader of the study circle, and Mujahid, who justifies his own criminal activities with radical politics and mangled religion.

Khan, writing from some personal experience, gives an unrelentingly grim portrait of the estate. It’s a hopeless and forgotten place, where violence is never far away, and the police are more of a threat than a source of protection. Choices and opportunities are impossibly limited; the characters wonder if it is possible for them to ever truly leave the place behind. Again and again, it is emphasised that outsiders simply do not understand the everyday challenges faced by young people in such an environment, abandoned and alienated while at the same time demonised and discriminated against by the society they live in.

This is a very timely, of the moment book that deals with issues of Islamophobia, racism and poverty in modern Britain. Unfortunately, it doesn’t deal with them in the context of an always engaging novel, but sometimes heavy-handedly in the form of extended essay passages between minimal slices of here and now events.

The last third of the novel is the first time that I had any sense of interest in what would happen next, any sense of drama. This welcome change of pace redeems at least some of what has come before, but how many would persevere to this point? It is not a long novel, but it would benefit from some editing.

The writer himself admits to feeling uneasy while writing this and says, ‘There is a lot I have said here that people can take issue with.’ That’s unavoidable when dealing with such heavyweight issues of race, religion and class. It certainly gave this reviewer uncomfortable things to ponder.

About the reviewer

tandrews

Tom Andrews is a Genetics graduate and book lover based in Somerset. He has previously attempted music and game reviews. He tweets at @jerevendrai 

Familiar history: fascists attack bookstore in London

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With news that a small group of fascists have attacked an independent bookstore in London, it is easy to feel this may be a case of history repeating itself.

Bookmarks announced on 5 August that the store and its staff were attacked by “far right protestors wearing masks” the previous evening.

The owners of the store remained defiant, writing: “We will not let this happen! Never Again!”

Although physical damage to the store and its staff was minimal, the escalation in tactics deployed by right-wing protestors to specifically target a bookstore will appear to many to be a worrying turn of events.

burning books

Nazis burning books in Germany

Watching the video of the attack – described as “an ambush” by one individual recording the video who appears to have the intellectual ability and wit of a rotting dog turd – certainly makes for troubling viewing.

Nothing in the Rulebook‘s very own Professor Wu said:

“Nothing in the Rulebook has previously cautioned against comparing the rise of extreme right wing groups in the US, the UK, and western Europe to the rise of fascism in the early 20th century. Yet, as a creative collective (indeed, one which even has the word ‘book’ in our name), attacking a book store is where we draw a line.

There are too many similarities between events taking place today and those witnessed by those generations before us who were forced to live through the horrors of fascism; of persecution, censorship, suppression, restriction of individual liberties, and, ultimately, genocide.

Independent bookstores like Bookmarks play a crucial role in investing in new ideas and voices to counter the prevailing cultural winds. Attacking places that allow truly free expressions of thought that seek to illuminate new ways of thinking speak to the fear those on the right have of genuine intellectualism. It is a clear sign that they fear the power of the written word; that they wish to disengage with what it represents (creativity; enlightenment; knowledge) so vehemently that they are willing to turn to violent, extreme methods of breaking free from its potential to influence and persuade those who are not so ignorant as them. Such violence is a sure sign for concern.

We now find ourselves in an age where the largest bookseller in the world pays virtually no taxes. Although Amazon allows micro-genres of fiction, such as Dinosaur Erotica, to flourish, it is no friend of the free-thinking liberal, or indeed anyone who would like to see the power of language used to fight the ignorance that threatens to bloom across the world.

At its heart, this attack was an attack on freedom of thought; not simply freedom of speech. The far-right often accuse the left of using political correctness to censor them; yet they are the ones attacking independent bookstores.

We therefore wish our comrades in Bookmarks and in independent bookstores across the world solidarity, success, and friendship. And we urge all readers to sign up to the Bookmarks solidarity event planned to take place in London. More than that – we urge you all to go out and buy books; to read books; and to go out and write them. Fascists wish to silence us, but we will not be silenced.”

The Poetry of The Communist Manifesto: a combination of past and present

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What would have happened if Karl Marx had become a poet? In this article, Peter Raynard takes The Communist Manifesto to new, poetic levels. 

The Foundation

“Capitalism has subjected the country to the rule of the towns. It has created enormous cities. Capitalism has agglomerated population, centralised means of production, and has concentrated property in a few hands.”

As many readers will know, Karl Marx wrote these words, but used the term ‘bourgeoisie’ instead of capitalism. The words were swapped in a 2012 lecture by John Lanchester (he of Whoops, and Capital) marking Marx’s 193rd birthday, to show how prescient he was in describing the structure of capitalism and the way in which it changes the landscape.

But as well as Marx’s prescience, he has also been lauded for his literary style of writing. In Robert Paul Wolff’s book, ‘Moneybags Must Be So Lucky: on the literary structure of Capital’, he references Edmund Wilson who likens Marx to the great ironist, Swift.

“Compare the logic of Swift’s ‘modest proposal’ for curing the misery of Ireland by inducing the starving people to eat their surplus babies with the argument in defence of crime which Marx urges on the bourgeois philosophers…: crime he suggests, is produced by the criminal just as ‘the philosophers produce ideas, the poet verses, the professor manuals,’ and practising it is useful to society because it takes care of the superfluous population at the same time that putting it down gives employment to many worthy citizens.”

Where Marx may have used satire in Capital, The Communist Manifesto is more of a Promethean tragedy; or as has been argued, Marx is more of a dialectical Promethean;

“the idea or practical conviction that what is made can be unmade, what is bound can be unbound by purposeful action. It is the sober acceptance that stealing fire from the gods will have serious consequences that will ultimately lead either to the emancipation, or the annihilation, of humanity.”

The Combination

Karl Marx had two great loves in his late teens, which he put into practice by joining two social clubs when at the University in Bonn; the first was the Tavern Club, which his father disapproved of because of the prevalence of drunken duels (it’s said that Marx did in fact engage in a duel); the second, was the Poets’ Club, of which his father did approve. Writing to his father however, his love of poetry was superseded by the events around him, ‘I had to study law and above all felt the urge to wrestle with philosophy.’ I wonder what impact he would have had, if he became a poet.

But as we all know, he didn’t and some twelve years later, he wrote The Communist Manifesto. However, the mix of prescience, satire, and tragedy in theses writings seemed to me to be the perfect ingredients for a poetic response.

In January this year, I was introduced to the poetic form of coupling by Karen McCarthy Woolf. The form is a poetic response to a piece of text, where the poet divides up lines of prose and responds with lines that include rhyme, repetition and assonance. I took a paragraph of the Communist Manifesto. I decided to explore the form further; writing the Preface, then Part One, and so on, until three months later I had matched 12,000 words of Marx’s masterpiece with roughly the same amount of my poetic own.

Drawing on a wide range of references, I have tried to situate the Manifesto in a variety of contemporary cultural places, in particular to emphasise the dialectic nature of the text, in the form I am presenting. This is complemented by a series of images, again matching the bound with the unbound. As far as I am aware, this is only the second poetic response (after Brecht) to the Communist Manifesto.

Below is a sample of the book, where Marx is describing the rise of the bourgeoisie:

Extract from The Combination

(rise of the bourgeoisie)

The feudal system of industry, in which industrial production
a set of pipes excavated from the intestines of serfs

was monopolised by closed guilds, now no longer sufficed
because the human body parts were too emaciated

for the growing wants of the new markets
who were still yet to discover the delights of the flesh

The manufacturing system took its place.
robots of various stomach sizes, blustered and bulged their way ahead

The guild-masters were pushed on one side by the manufacturing middle class
something the middle class did very passively aggressive like

division of labour between the different corporate guilds
confraternity contracts between belligerents, some say

vanished in the face of division of labour in each single workshop
atomising systems turning the metal of men into powder

Meantime the markets kept ever growing, the demand ever rising.
man-sized tissues no longer required, as it was nothing to be sneezed at

Even manufacture no longer sufficed
hands took to the machine not the article of craft

Thereupon, steam and machinery revolutionised industrial production
playthings of the mind, exponential change in fortunes, spin the wheel

The place of manufacture was taken by the giant, Modern Industry
all hail the shibboleths of mammon and their bloody tongues

the place of the industrial middle class by industrial millionaires
poor souls in the middle playing catch and missing

the leaders of the whole industrial armies, the modern bourgeois
come and have a go if you think you’re hard enough

Modern industry has established the world market
connecting cracked palms that never shake hands

for which the discovery of America paved the way
with their independent isolationist do-what-I-say

This market has given an immense development to commerce
so fly high my sweet nightingales of the east, you bulbul song birds

to navigation, to communication by land
enabling the troops of civilisation and Sodom to rape for progress

This development has, in its turn, reacted on the extension of industry;
a cleaning up if you will of virulent middle-aged faces

and in proportion as industry, commerce, navigation, railways extended
like a pop-up book with a mind of its own

in the same proportion the bourgeoisie developed
maturing like cancerous cheese on a wood-rot board

increased its capital, and pushed into the background
its nodules of self-aggrandisement, displacing

every class handed down from the Middle Ages
and so say some of us, and so say some of us, for

We see, therefore, how the modern bourgeoisie
the one percent to you and me

is itself the product of a long course of development
yes, yes, yes, we know what you meant

of a series of revolutions in the modes of production and of exchange
round and round we go, where will we stop – hold on, I know!

Each step in the development of the bourgeoisie was accompanied
by the ‘gertcha’ of Chas and Dave eulogising the end of days and

by a corresponding political advance of that class
who still dance on this parliamentary isle to Milton’s ‘light fantastick’

An oppressed class under the sway of the feudal nobility
as it was, as it is, as it was always meant to be

an armed and self-governing association in the medieval commune
oh for those lazy, crazy anarchistic days, sat around a smoky haze

here independent urban republic (as in Italy and Germany)
where townsmen gave purchase to their rights with moneyed fists

there taxable “third estate” of the monarchy (as in France)
the 98% of us scrapping over a share of bronze medal

afterwards, in the period of manufacturing proper
the threads of stratification began to untwine

serving either the semi-feudal or the absolute monarchy
the Naxalites of India can tell you a thing or two here

as a counterpoise against the nobility,
it always comes down to standing, back straight!

and, in fact, cornerstone of the great monarchies in general
whose spines were now curving to the submittal

the bourgeoisie has at last, since the establishment of Modern Industry
with all its rising fallacies and clocking on palaces

and of the world market, conquered for itself, in the modern representative State
the porous borders of innovative disorder

exclusive political sway.
you turn if you want to, but the old lady of England, is not for turning

The executive of the modern state is but a committee
with their bingo numbers to hand & Saturday night covers band

for managing the common affairs of the whole bourgeoisie
so not the main party to make us all free

About the author of this post

Peter Raynard Photo (6)

Peter Raynard is the editor of Proletarian Poetry: Poems of Working-class Lives (www.proletarianpoetry.com). He has written two books of poetry, his debut collection Precarious (Smokestack Books, 2018) and The Combination, a poetic coupling of the Communist Manifesto (Culture Matters, 2018), available here.

 

References:

Barker, Jason (2016) EPIC OR TRAGEDY? KARL MARX AND POETIC FORM IN THE COMMUNIST MANIFESTO, (sourced here)

Lanchester, John (2012) Marx at 193 (LRB podcast)

Nicolaievsky, Boris & Maenchen-Helfen, Otto (1933) Karl Marx: man and fighter (Pelican Books)

Wolff, Robert Paul (1988) ‘Moneybags Must Be So Lucky: on the literary structure of Capital’ (University of Massachusetts Press)

Brexit books: 10 titles to look out for in post-Brexit Britain

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As the unstable and chaotic conservative government of the UK stumbles ineptly toward a ‘no-deal’ Brexit, UK citizens have recently been given assurances that there will be “adequate food to eat” in the event that the UK leaves the European Union in the style of so many drunken British louts after a Thursday night at the bookies: vomiting a half-eaten kebab onto the floor while simultaneously shitting themselves, then trying to stand up straight in order to flirt with an attractive passer-by, who on closer inspection appears to be a big pile of rubbish.

The fact that Britons will not be starving in the event of a no-deal Brexit may sound reassuring. Yet given the fact that the electorate was promised a land of cake and honey, rather than tinned liver and spam, as well as perhaps as much as £350 million a week extra to spend on their National Healthcare Service, these latest mutterings from Whitehall represent a bit of a climb down.

The whole charade got the team here at Nothing in the Rulebook thinking about how a no-deal Brexit may affect other parts of British life. As we prepare to live off a diet of potatoes and humble pie, we have put together a short list of book titles you can expect to see in post-Brexit Britain.

Publishers, take note!

  1. “Where is mummy now?” – A light hearted children’s book explaining the intricacies of citizen deportation to under fives.
  2. “1000 amazing recipes for powdered eggs” – Who needs Jamie Oliver when you can make all the types of powdered eggs you like with this fabulous cook book (which is also, incidentally, made out of powdered eggs).
  3. “Mogg and friends” – Children’s book for early readers following the adventures of Mogg the cat and her friends as they fend for themselves in the desolate city streets, feeding on litter and the dregs left behind by the former United Kingdom, including the decaying remains of Jacob Rees Mogg’s nanny.
  4. “Low expectations” – Welcome to the Dickensian streets of London, 2019, where orphans live in abject poverty surrounded by the sick and dying masses who no longer have a healthcare or welfare system to support them.
  5. “War and more war” – An epic tale of the Russian oligarchs who run and control Britain. Featuring duals between old racists bigots.
  6. “Our dignity is missing” – post-modern book that would have won the man-booker prize, if it weren’t just a paper front cover stuck to a mirror.
  7. “A brief history of 7 lies” – 2000 page thriller charting the ways a small cabal of old white men were able to convince the British population that facts and logic no longer mattered.
  8. “The liar and the unicorn” – Hilarious romp featuring Boris Johnson as a unicorn who learns not to trust every world despot when he is eaten bottom first by a large orange slug with an uncanny resemblance to Donald Trump.
  9. “No pride. More prejudice” – It is a truth universally acknowledged, that only rich billionaires who store their money in off-shore tax havens can be in possession of a good fortune.”
  10. “What do you mean, we can’t print any more books because we need the paper for kindling? No, don’t write that stop writing that there’s no paper anyway stop typing also you’re fired, everyone here is fired, we’re all fired, there aren’t any more jobs just save yourselves” – release date TBC.

 

Any titles we’re missing? Add your own in the comments below!