Will Self

  • Books
    • Will
    • Phone
    • Shark
    • Umbrella
    • The Unbearable Lightness of Being a Prawn Cracker
    • The Undivided Self
    • Walking to Hollywood
    • Liver
    • The Butt
    • The Book Of Dave
    • Psycho Too
    • Psychogeography
    • Dr Mukti And Other Tales Of Woe
    • Dorian
    • Feeding Frenzy
    • How The Dead Live
    • Tough Tough Toys For Tough Tough Boys
    • Great Apes
    • Cock And Bull
    • Grey Area
    • Junk Mail
    • My Idea Of Fun
    • Perfidious Man
    • Sore Sites
    • The Sweet Smell of Psychosis
    • The Quantity Theory Of Insanity
  • Journalism
    • The Big Issue
    • Daily Telegraph
    • Evening Standard
    • The First Post
    • GQ
    • The Guardian
    • High Life
    • Independent
    • London Review of Books
    • New Statesman
    • The New York Times
    • Observer
    • Prospect
    • The Times
    • Walk
  • Radio and Audio
  • Television
  • Appearances

Jony Ive: The Genius Behind Apple’s Greatest Products – review

January 24, 2014

“Quoting his subject’s words at the head of the chapter on the design and development of Apple’s iPhone, Leander Kahney makes Jony Ive sound oracular: “When we are at these early stages in design … often we’ll talk about the story for the product — we’re talking about perception. We’re talking about how you feel about the product, not in a physical sense, but in a perceptual sense.” Throughout his biography of Apple’s design magus for nigh on the past two decades, Kahney comes at Ive’s notion of the “narrative” of a product time and again, but it’s this formulation that most closely approaches the metaphysical, seemingly suggesting that all those iMacs, PowerBooks, iPods and iPads that Ive has been responsible for mind-birthing should be considered not as mere phenomena, but actual noumena; for, what else can he mean by “perceptual” — as  distinct from “physical” — if not some apprehension of how the iPhone is in itself, freed from the capacitive touch of our fingers?

“You may find this rather too high-flown for a mobile phone — or a laptop, or a tablet computer for that matter — but when it comes to Apple and its products the sky is no limit: in 2012, the company founded 36 years earlier in the garage of a Californian bungalow by Steve Jobs, Steve Wozniak and Ronald Wayne, reached a market capitalisation of $660bn, surpassing the record set by Microsoft in 1999 and making it the most valuable publicly traded company ever. It is in the perception (and I use the term here in an ordinary language, non-Ive sense) that Apple piled up this mountain of pelf not simply by flogging clever electronic gizmos, but by somehow altering global consciousness, that the company’s own identity finds its fullest expression. Other tech giants may have their schticks — Microsoft slick and savvy, Google cuddly and approachable, Facebook brash and sophomoric — but only Apple claims to have elevated its marketing strategy to the status of a transcendental aesthetic.”

Read the rest of Will’s review of the book at the Prospect website here.

On Patrick Keiller

January 22, 2014

There’s a 4,000 word essay that Will Self has written about Patrick Keiller and his new book, The View from the Train: Cities and Other Landscapes, at the London Review of Books website here. Will is going to be talking about Guy Debord with Patrick at the LRB bookshop in London tomorrow and there should be a podcast available soon after to listen to.

‘A crowd of one nutter: Prince Harry’

January 17, 2014

Someone asked me to go to Antarctica in November – it was a press junket, an 11-day cruise leaving from southern Argentina. I don’t normally go a-junketing; to my way of thinking, it takes being a hack – which is bad enough – dangerously close to the icy and treacherous waters of marketing and public relations. I don’t have any objection to joining the 35,000 or so tourists who head for the Antarctic each year; it’s hardly that big a crowd and there’s nothing delusional about wanting to see for yourself one of the most beautiful landscapes on earth, and it beats sitting in your cold, leaky gaff waiting for a private contractor to cut off your state benefits.

No, I only put on my judgemental hat for a crowd of one nutter: Prince Harry. He set off for the South Pole in early December, accompanied by the obligatory entourage of limbless ex-servicemen (and women), the aim being to show that limbless ex-servicemen (and women), and lame unemployed princes, are all capable of inspirational levels of achievement. It’s difficult to know where to begin when it comes to unpicking this giant bezoar – or should I say pseudo-bezoar – that’s stuck in the British gastrointestinal tract.

In a country in which ex-servicemen (and women) – whether limbless or not – have disproportionately high levels of all the following: unemployment, mental illness, drug and alcohol addiction, homelessness and familial breakdown, how on earth is the realisation that Prince Hal and pals have made it to the pole going to help one jot?

What these folk need are decent job prospects, homes at genuinely affordable rents and consistent welfare. What they get is the capricious compassion of charity and the example of “achievements” confabulated for them out of the most threadbare tropes of imperialist delusion. For the British loyalist the South Pole will always remain a proving ground: we was robbed – they still madly and impotently believe – by a gang of horn-heads who had the temerity to go properly equipped, using effective techniques (most of them learned, mark you, from the lowly Eskimos) that included that ultimate atrocity: feeding their sledge dogs to . . . their other sledge dogs. Damn it all, you cannot possibly consider a man who’ll watch such dog-on-dog action any kind of adventurer – let alone a victorious gentleman.

So it is that even after half a century of painstaking revisionism by the likes of Roland Huntford, the Scott debacle remains embedded in the national gut as a splendid example of pluck, fortitude and self-sacrifice, instead of a criminal one of officer-class arrogance, cravenness and homicidal ineptitude. But the really important thing to remember about this ill-fated expedition is that it prefigured, in miniature, the grotesque “sacrifice” of British lives that came two years later in the killing fields of Flanders, where the manufacture of limbless  ex-servicemen was conducted as if on an assembly line. Perhaps the most pitiful addendum to the whole sorry business of British polar exploration was the fate of Shackleton’s men, who, having survived the loss of their ship in the Weddell Sea in August 1914, made it across the pack ice to Elephant Island, from the isolate wastes of which they were finally saved, only for many of them to return to Europe just in time to get killed in the First World War.

This year will be wall-to-wall remembrance, and the British state, which excels in co-opting dissident voices to its oxymoronic ideology of post-imperial imperialism, will have a field day propagating the bizarre double bind that while the First War was a dreadful business, it nevertheless produced some excellent poetry, and of course it remains the case that Dulce et decorum est pro patria mori. Seen from this angle, His Dumbness was simply the vanguard of a great horde of bonkers militarists. We’re at a curious juncture in our island story: despite being defeated in almost all the theatres it has engaged in over the past decade, the British army has never been held in higher popular esteem. This isn’t down to state, it’s a function of a populace who subconsciously view our troops not as puissant warriors fighting for a noble cause but charity cases in the making, just like themselves.

A Point of View: It’s Always the Others Who Die

December 10, 2013

You can listen to Will Self’s latest A Point of View broadcast on Radio 4 here, or read it here.

I love Germany

November 29, 2013

“The time comes in any upright British male’s life when he needs to have made his peace with all of the following: his homosexuality, his dress sense, and Germany. The first two of these I got out of the way decades ago (true, I still occasionally wake up in the morning and flirt with becoming a dandy for the few short seconds before the stiff denim of consciousness descends on me), but Germany has proved more problematic.

“It doesn’t help that I’m half-Jewish, although we can make too much of this. It was the great English anti-Semite GK Chesterton who observed that the Jews are like everyone else – but more so. In which case, what can English Jews possibly be like? Only like the English – but more so. Still, as we’re succouring Krauts here, best to be up front: my Jewishness hasn’t helped when it comes to my getting gemütlich in the great liberal democracy known for a period as the Third Reich.

“In Germania, Simon Winder’s magnificently crazy circumambulation – through time and space – of Germany, its history, and his obsession with both, he writes that our shunning of the country is a ‘mutilating of Europe’s culture’, and that furthermore there comes a time, surely, when we must stop allowing Hitler’s estimation of his own country to prevail, to which all right-thinking Britishers must reply: ‘Donner und Blitzen! He has a point!’

“But Winder goes further, describing Germany as Britain’s ‘weird twin’, and while I’m not sure I’m ready to fully endorse this view, I have always thought the great joy in having identical twins – were one to be so blessed – would be to subject them to unnatural psychological experiments, and perhaps Germany’s history is just such an experiment… Then again, maybe it is Britain that’s the lab rat, a still more disturbing thought.”

Read the rest of Will Self’s Esquire article here.

The Society of the Spectacle – introduction

November 25, 2013

Will Self has written a long introduction to Notting Hill Editions’ small and beautifully formed new hardback publication of Guy Debord’s Situationist masterpiece The Society of the Spectacle, originally published in 1967.

“Never before has Debord’s work seemed quite as relevant as it does now, in the permanent present that he so accurately foretold. Open it, read it, be amazed, pour yourself a glass of supermarket wine – as he would wish – and then forget all about it, which is what the Spectacle wants.”

You can buy a copy for £10 from the Notting Hill Edition website here.

A shorter, edited version of Will’s introduction can be read here at the Guardian Review.

You can also watch The Society of the Spectacle film from 1973 here:

Real meals: Mr Bartley’s Gourmet Burgers

November 18, 2013

On the dockside in Boston I spotted Fia’s Seafood – they were offering “twin lobsters” for $28.95; I ventured in and asked if the lobsters were identical or non-identical twins. “Why d’you wanna know?” the maître d’ snarled. “Because,” I replied, “I can only perform unnatural psychological experiments on them if they’re zygotic.”

The president was in town for a speech and the area around the State House was fraught with security: state cops on cliché Harleys, FBI agents in cliché letter jackets, and, most intimidating of all, those excessively polite men in pale yellow raincoats with pig’s tail antennae dangling from their ears. I gave them all a swerve and took the Red Line into Cambridge.

Sometimes it seems to me that the relationship between American society and its fast food is as close as that of … well, identical twins. Foreigners writing on US gustatory habits have always understood the cafeteria and the lunch counter as the extension of the production line into the stomach. If you haven’t already, take a look at Louis-Ferdinand Céline’s ecstatically enraged depiction of American fast food in his 1933 novel, Journey to the End of the Night.

Emerging into the darkness of Harvard Square, I also gave the raggedy man standing by the subway exit a swerve. (His sign read “Looking for a Little Human Kindness” – how corny can you get?) The street folk were thronging about Starbucks, homing in like zombies on its smell-a-round of deceit – the odours of bread, pastry and roasted coffee that as one enters are dissipated by the cold winds of commercial calculation. In the lift down to the basement I sighed as I tapped my receipt code into the console. “They gotta do it,” an academic-looking type said, “else the homeless people trash the restrooms – they smear shit on the walls – I guess they’re really aggrieved.” I gave him an admiring glance and said, “Nice use of ‘aggrieved’.”

Back on the surface I passed by the Bridge Over Troubled Water trailer – “Reaching Out a Helping Hand to 16-24-Year-Olds” – before coming upon Mr Bartley’s Gourmet Burgers, a Boston landmark – or so its sign asserted – since 1960. Inside, the tables were covered with wood-grain laminate and the chairs were of the green plastic, lawn variety. A waiter with a T-shirt that read – wholly in innocence – “We Beat the Meat” showed me to a table. Looking around me, I saw that this was an establishment dominated by what Walter Benjamin characterised as the “vertical type” of modern consumerism: hokey old advertisements for Chesterfield cigarettes; triangular road signs that showed stick figures crawling on their knees towards beer glasses, and that were captioned “STUDENTS CROSSING”; over several tables there were small signs that said “Johnny Cash Ate Here”, or “Robert Plant Ate Here” – claims I didn’t doubt for the thousandths of a second necessary for a computerised trading system to make a ruinous interest-swap.

Mr Bartley’s menu was equally diverting; the standard seven-ounce burger came in a plethora of guises. The Obamacare was glossed thus: “Nobody knows what’s in it … ask the liberal sitting next to you”, and costed at: “$ Trillions”; while the Fiscal Cliff – “it’s here!” – was rather more optimistically priced at $13.85, for which you got crumbled bacon, blue cheese, red onion, balsamic vinegar and additional onion rings. I wish I could tell you I ordered a Mark Zuckerberg (“America’s richest geek, Boursin cheese and bacon with sweet potato fries”), which was a snip at 13 bucks – but, strange to relate, my sense of humour seemed to have deserted me. While I sipped my Coke and chewed on my standard Mr Bartley’s cheeseburger (the only novelty being that I opted for provelone) I stared about me at my fellow preppies, who, to a man and a woman seemed to be channelling Ryan O’Neal and Ali MacGraw in those early scenes of Love Story – before the crab bites.

Lucky us. Out there in the streets the chill winds blew along Massachusetts Avenue and our brothers and sisters were dunking in the trash cans for discarded donuts. As I say, I often feel that American society and American fast food are twins separated at birth; and while one has been fed on 100 per cent ground beef and French fries cooked to a golden perfection, the other has been starved, beaten and otherwise degraded. It’s an unnatural psychological experiment – nonetheless I’m sure you’ll agree that it has to be done.

A Point of View: Behind the hijab

November 16, 2013

Read Will Self’s latest A Point of View for Radio 4 here, or listen to it here.

Real meals: Jamie Oliver’s Diner

November 15, 2013

Jamie Oliver – like the poor he so adores – seems always to be with us; to be with us and to have been with us always as well, although it’s only 14 years since he first thrust his meat and two veg at us in the television series The Naked Chef. Since then, not a year has passed without some new Oliver production: cookery books, more TV, many Sainsbury’s advertising campaigns, restaurants, delicatessens, food product ranges and latterly a number of campaigns aimed at improving the eating habits of the nation, specifically its children.

Not content simply to gnaw the mound of bread he’s accumulated by giving supermarket endorsements, Oliver has committed himself to spreading the wholesome word: his Fifteen chain of restaurants aims to give a break to young folk who’re broken, by delinquency, addiction and poverty, by inserting them into the food industry as sous-chefs and so vastly improving their life chances.

It’s this combination of shameless avariciousness and a belief in the drizzle-down of oily emolument from the top to the bottom that makes Oliver the personification of modern Britain. If Terence Conran plummily taught the middle classes how to be a proper European bourgeoisie in the 1960s, 1970s and 1980s, Oliver is his worthy estuarine successor, taking the permanent foodie revolution on to that portion of the former working class who bought up the public-housing stock. Now they can borrow against their equity to buy bruschetta, while the poor saps who didn’t get their plutocratic act together poke Turkey Twizzlers through the school gates to feed their morbidly obese cuckoo kids.

Needless to say, Oliver sticks in my craw and I’d walk a cunty mile to avoid him and all his works. What this society needs is a culture that values its eternal soul above its lemon sole and a form of social justice that doesn’t depend on the tit-beating self-righteousness of charity – with all the patronising bullshit that goes along with this. Still, I don’t expect Oliver to have a Damascene conversion on these matters, not while he’s doing such a lovely jubbly.

Between the liverish columns of the brutalist former bank building at the end of Shaftesbury Avenue in London, a new outpost of Oliver’s army has been established: Jamie Oliver’s Diner. Unlike his delis and his Italian (sic) restaurants, the “pop-up” diner does indeed have a surrealistic, thrown together feel, like the chance meeting between a hand-held card reader and a PR wonk on a conference-room table.

“I know,” some bright spark must’ve said, “let’s make it a themed western dinosaur burger joint!” And verily, it was so, complete with a triceratops meat chart on the wall and weird glyphs on the ceilings that show cowboys and dinosaurs peacefully cohabiting in the sagebrush. There are hortatory slogans painted along the architrave: “Gorgeous food cooked with love and care”; “No porkies, just free-range meat”; and – most heartening, this – “If it’s not eaten, it’s composted.”

My two velociraptors had standard seven ounce burgers with various bits and pieces, Mrs Tyrannosaurus (who doesn’t usually attend these reviewing meals) went for a chicken burger and I had the Caesar salad. The food was nothing special: Mrs T said her burger tasted bitter; the bit of grilled chicken on my salad was just that – a bit about two by three inches and as wafer-thin as Mr Creosote’s mints. The boys were pissed off by the cardboard straws in their Cokes, which were weirdly absorptive. The fries, naturally, came in those dumb little zinc buckets. With “home-made” lemonade for me, a Bacardi and Coke for Mrs T and a tenner tip, the whole schmozzle cost 20 quid more than the weekly Jobseeker’s Allowance.

On the back of the paper menu, together with recipes for cocktails called Cucumber Number and Dark’n’Stormy, there’s a chirpy little missive from Jamie himself, wherein he witters on about “great food values and ethics” and “sustainable and local ingredients”, all of which leads inexorably to “yummy healthy dishes”.

There’s also a sidebar entitled “A word about nutrition”, in which the usual guff about calories and saturated fats takes on the air of a pious homily. Jamie says: “The beauty of being a pop-up is it gives us loads of flexibility to listen to what you guys want, so please let us know.” To which I can only respond: do please pukka off with your millions to Necker Island with Branson and leave us in peace, matey.

Snake Dance by Patrick Marnham – review

November 13, 2013

At the dead centre of this book’s snaking path down the friable face of human history stands Aby Warburg, a scion of the well-known banking family and a dilettante scholar at a time – and in a place – when to be so was still intellectually respectable. When Patrick Marnham writes that Warburg “mocked the keepers of academic purity as ‘border police’”, I suspect a strong sense of identification is at work. Michael P Steinberg, the translator of Warburg’s discipline-transgressing monographs on the snake dances of the Hopi, characterised his voice as one of “spiralling and endless mediation, between peoples, between pasts and presents, between the self that is known and the self that is secret”. I suspect that this, too, could be a description of Marnham’s own efforts in this book to which he would assent.

In the 1890s, Warburg travelled from his home in Florence to the American southwest with a view to substantiating theories he had about the endurance of pagan thinking in the Renaissance iconography. While there, he witnessed the snake dance of Marnham’s title, a ceremony in which the Hopi wrestle with live rattlesnakes and then expel them into the desert.

Many years later, in 1921, having sustained a terrible breakdown that Marnham hypothesises was a sort of collateral shell shock, Warburg was confined to an asylum in Kreuzlingen on the shores of Lake Constance. Under the care of the psychiatrist Emil Kraepelin, Warburg was presented with a challenge: if he could successfully deliver a lecture to an invited audience of medical staff, patients and friends, he would be released. The subject Warburg chose to lecture on was the Hopi snake dance but the interpretation he placed on it – at least by Marnham’s account – was precursive of the theories of structural anthropology put forward by Claude Lévi-Strauss decades later.

For Warburg, the snake dance was an attempt by the Hopi to master the lightning that struck down from the heavens into their desert lands, the curves of the rattlesnake being an animate symbol of lightning – its flickering tongue the fork; mutatis mutandis, in contemporary culture. Warburg identified the same electrical threat but this time from the technology of electrical simultaneity that collapsed the linear chains of causality on which the western Weltanschauung had been founded. But in keeping with Marnham’s desire to link places and peoples spirally, it isn’t simply the gravamen of Warburg’s argument that interests him: it’s the provenance of his research material, for the Hopi reservation where the sensitive scholar witnessed the primal ritual was only a few score miles away from Los Alamos, where the Manhattan Project scientists, under the direction of J Robert Oppenheimer, designed and built the atomic bombs dropped on Hiroshima and Nagasaki.

Snake Dance is short on “the self that is secret” as against “the self that is known” but its readers will learn at least this much about its author: initially interested in writing a biography of Oppenheimer, Marnham tells us that early on in his research he began to find himself quite viscerally repelled by what he was learning of his subject’s character, with its curious mixture of intellectual arrogance and braggadocio. He decided to pursue a different course – to investigate the genesis and meaning of Oppenheimer’s mind-children through a series of nuclear landscapes; New Mexico, but also the Belgian Congo, where the uranium that made the fissioning heart of Little Boy was mined; and also the exclusion zone around the nuclear power plant at Fukushima in Japan, following the meltdown after the tsunami of 2011.

Marnham, a veteran foreign correspondent with a distinguished record as both a journalist and a wide-ranging author of books about such diverse subjects as Georges Simenon, Jean Moulin and Mary Wesley, is in many ways the perfect guide for this centripetal odyssey in which all paths loop back towards a grim conclusion about the 20th century’s militarisation of technological advance. His prose is calm and unshowy, maintaining the same steady character whether recounting the terrifying course of an internal air flight in Congo or the toxic long tail that waggled out from Fukushima’s stricken reactor. He took a decade over Snake Dance, a book that is also, in part, a prose libretto for the moody and elegiac film of the same name made in tandem with the Belgian director Manu Riche. The book gives Marnham the opportunity to develop his thesis more thoroughly and less elliptically than the film, but even so it suffers from a form of post hoc reasoning that at times borders on tendentiousness.

The third person around whom Marnham triangulates his argument is Joseph Conrad, and lengthy passages are devoted to retelling the story of the novelist’s short-lived career as a Congo River steamer captain and his exposure to the genocidal fiefdom established in Central Africa by King Leopold of Belgium. Marnham’s account, in situating the Belgian Congo as the foundational hecatomb of the 20th century, can’t help but bear comparison with WG Sebald’s Austerlitz, which also makes of Conrad’s Heart of Darkness a choric link between natural devastation and techno-death.

Unfortunately – and somewhat inevitably – Marnham comes out the worse. Not only is Sebald’s lapidary prose, his masterful interfusing of the real and the fictive, superior in tone and feel to Marnham’s writing, but his form of documentary fiction is better suited to putting forward a thesis that depends less on logical deduction than a willingness to let drop one’s disbelief in the chains of causality that Aby Warburg saw as crucial to maintaining good mental health in the electrical age. In his collection of lectures On the Natural History of Destruction, Sebald also lucidly expounded the thesis that lurks behind Marnham’s text; and this is, put bluntly, that military technology has an ineluctable productive inertia. The Allied bombing of German cities in the Second World War – which many, despite the inauguration last year of a pig-ugly memorial at Hyde Park Corner, still view as a prima facie war crime – was, according to Sebald, undertaken not for strategic reasons, nor simply as a punishment meted out to civilians for their collective culpability in Hitler’s wars and deranging atrocities, but because the bombers had been built, the crews trained and the ordnance manufactured. To justify the expense of all this, something had to be done with it.

Snake Dance applies this argument to the Manhattan Project, which, Marnham demonstrates, was initiated in advance of Pearl Harbor, when the US was still at peace, and further was prosecuted by a secret directorate, answerable to no democratic mandate. Even those who might wish to defend the Hiroshima bombing as essential to end the war (and this is by no means a defensible position: the Japanese were already suing for peace) can hardly claim that it was also necessary to incinerate tens of thousands of people at Nagasaki three days later, before the Japanese government had absorbed the impact of the first use of the atomic bomb.

Although these are urgent and important matters – all the more so because the global gaze, since the fall of the Berlin Wall, has turned aside from the ever-present atrocity-in-waiting of nuclear war to concentrate its attention on the convenient and largely chimerical spectre of international terrorism – I’m afraid Marnham’s account, leaning heavily as it does on Richard Rhodes’s monumental The Making of the Atomic Bomb, adds little of substance.

Still, Marnham does have the solid virtue of boots on the ground. He writes penetratingly about the activities of the Belgian mining corporation at Shinkolobwe, speaks to the poor souls who now risk their lives to wrest a livelihood from the uranium workings deep in the jungle; and he is almost lyrical when he turns his attention to the beauty of the “America deserta” surrounding Los Alamos.

Where I found it harder to follow him was in his connection of the civil nuclear energy programme in Japan to the fomenting of the US military-industrial complex. He points out that the US government was the most persistent proponent of Japan’s programme and that the reactors – including those at Fukushima – were built by General Electric, often on woefully unsuitable sites, with the consequences that we have now seen.

In a way Marnham is simply a victim of his own clarity and lucidity: the Sebaldian contention depends for its terpsichorean effects on the numinous quality of the poetic truth that humanity has, for over a century now, been engaged in the mechanical annihilation of the thing that it loves. Put down starkly on the page as an accumulation of facts, this thesis risks being judged with the same kind of bean-counting mentality that enters unthinkingly into modern warfare as the extension of economic growth by other means.

Snake Dance: Journeys Beneath a Nuclear Sky by Patrick Marnham is published by Chatto & Windus, 352pp, £18.99

  • « Previous Page
  • 1
  • …
  • 20
  • 21
  • 22
  • 23
  • 24
  • …
  • 71
  • Next Page »

Will’s Latest Book

Will Self - Elaine
Will Self's latest book Elaine will be published in hardback by Grove on September 5 2024 in the UK and September 17 2024 in the USA.

You can pre-order at Amazon.co.uk and Amazon.com

Will’s Previous Books

Will Self - Will
Will
More info
Amazon.co.uk

  Will Self - Phone
Phone
More info
Amazon.co.uk
Amazon.com
Shark
Shark
More info
Amazon.co.uk
Amazon.com
  Umbrella
Umbrella
More info
Amazon.co.uk
Amazon.com
The Unbearable Lightness Of Being A Prawn Cracker
The Unbearable Lightness Of Being A Prawn Cracker
More info
Amazon.co.uk
  Walking To Hollywood
Walking To Hollywood
More info
Amazon.co.uk
Amazon.com
The Butt
The Butt
More info Amazon.co.uk
Amazon.com
  Grey Area
Grey Area
More info
Amazon.co.uk
Amazon.com
Junk Mail
Junk Mail
More info
Amazon.co.uk
Amazon.com
  Great Apes
Great Apes
More info
Amazon.co.uk
Amazon.com
Cock And Bull
Cock And Bull
More info
Amazon.co.uk
Amazon.com
  The Quantity Theory Of Insanity
The Quantity Theory Of Insanity
More info
Amazon.co.uk
Amazon.com
The Sweet Smell Of Psychosis
The Sweet Smell of Psychosis
More info

Amazon.co.uk
Amazon.com
  My Idea Of Fun
My Idea Of Fun
More info
Amazon.co.uk
Amazon.com
The Book Of Dave
The Book Of Dave
More info
Amazon.co.uk
Amazon.com
  Psychogeography
Psychogeography
More info
Amazon.co.uk
Amazon.com
Psycho Too
Psycho II
More info
Amazon.co.uk
Amazon.com
  Liver
Liver
More info
Amazon.co.uk
Amazon.com
How The Dead Live
How The Dead Live
More info
Amazon.co.uk
Amazon.com
  Tough Tough Toys For Tough Tough Boys
Tough Tough Toys For Tough Tough Boys
More info
Amazon.co.uk
Amazon.com
Dr Mukti And Other Tales Of Woe
Dr Mukti And Other Tales Of Woe
More info
Amazon.co.uk
Amazon.com
  Dorian
Dorian
More info
Amazon.co.uk
Amazon.com
Feeding Frenzy
Feeding Frenzy
More info
Amazon.co.uk
Amazon.com
  Sore Sites
Sore Sites
More info
Amazon.co.uk
Amazon.com
Perfidious Man
Perfidious Man
More info
Amazon.co.uk
Amazon.com
  The Undivided Self
The Undivided Self
More info Amazon.co.uk
Amazon.com
Bloomsbury  
Penguin

About / Contact

will-self.com is the official website for British novelist and journalist Will Self. The site is managed by Chris Hall and Chris Mitchell.

If you want to get in touch, you can email us at info@will-self.com

All email will be read, but we can’t guarantee a response.

PR agencies, please DO NOT put this email address on any mailing lists.

If you have a specific request for Will regarding commissions, book rights etc, you can contact his agent via agent@will-self.com

Will’s Writing Room

Will's Writing Room
– a 360 degree view in 71 photos

Recent Posts

  • Will Self’s new novel: Elaine
  • Berwick literary festival October 12
  • BONUS: Martin Amis in conversation with Will Self (2010)
  • My obsession with Adrian Chiles’ column
  • Why Read in Tunbridge Wells
  • The mind-bending fiction of Mircea Cartarescu
  • ‘The Queen is dead – and let’s try to keep it that way’
  • Why Read to be published in November
  • On the Road with Penguin Classics
  • The British Monarchy Should Die With the Queen

© 2005–2025 · Will Self · All Rights Reserved