Will Self

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Liver: Sunday Times review

May 31, 2010

“A bravura collection of short stories about a much-abused human organ”

Will Self is rightly admired for the sheer energy of his writing, his pyrotechnic wit and wordplay, and his willingness to experiment with genre and narrative. He is also criticised as ill-disciplined, self-indulgent and more concerned with style than substance. These strengths and weaknesses are both on display in Liver, which he characteristically subtitles A Fictional Organ with a Surface Anatomy of Four Lobes. This is not simply a fancy way of saying the book consists of four interrelated stories: “surface anatomy” is a technical term for the description of features that can be discerned merely by looking at, rather than dissecting, an organism. So, is there more here than meets and dazzles the eye?

Livers feature largely in the first three stories: being destroyed by alcohol in Foie Humain, colonised by cancer in Leberknödel, and devoured by a vulture in Prometheus. They disappear from view in Birdy Num Num, the least satisfactory story, which instead describes a group of drug addicts waiting for their fix, and is narrated by a virus. The book nevertheless ends where it began, in hell – and this is perhaps its real subject.

To read the rest of the review, visit the Sunday Times here:

The unbearable lightness of being a prawn cracker

May 31, 2010

This week’s Real Meals column from the New Statesman:

Circa 1969 the only restaurants in Britain were Chinese ones – or at least, that’s the way I remember it. They had placid aquaria in their front windows and strange, liquidly bubbling music was piped through their dimly lit interiors; the piquant aromas of chicken and sweetcorn soup, Peking duck and sweet-and-sour pork balls rolled across the dusty-red carpets, while the staff padded to and fro with the soundless self-effacement of sorcerers’ apprentices. To us kids, Chinese restaurants were all the fun of the fair as we faffed about with chopsticks and contemplated the unbearable lightness of being a prawn cracker; but most exciting of all, the arrival of the food was preceded by the lighting of a candle inside a tabletop heater. What was this? As a child, I assumed it was of a piece with shrines and gongs and burning paper money at funerals – another figure in the strange chinoiserie of suburban London.

Of course, once we had read Timothy Mo’s brilliant novel Sour Sweet, we all understood what a performance the standard British Chinese had been all along: the cuisine a dockside fusion designed for the barbarians’ uncouth palates, and the obsequiousness actually wary indifference. But where are the Chinese restaurants of yesteryear? I search for them high and low, on provincial bypasses and in the armpit of brutalist shopping centres – and still I cannot find them.

I don’t mean that there are no longer Chinese restaurants; it’s just that they no longer tend to an archetype. Just as the quintessential “Indian” seems to have died out some time in the mid-1990s, so the “Chinese” went extinct a decade before that. Perhaps both depended for their genre status on first- and second-generation immigrants operating in a more monochrome society.

Nowadays, at the hipper end of the spectrum, there are eateries with names like New Culture Revolution, which are all blond-wood benches and rubber floors – Scandinavian echt dangling in a basket of rice noodles. In fact, New Culture Revolution is the name of a small chain of Chinese restaurants – or “noodle and dumpling bars”, as they style themselves. Whenever I pass by one, I wonder if its owners – who I assume aren’t Chinese – are quite aware of how crass this ascription is, playing as it does upon mass internecine murder. It is on a par, surely, with calling a salt-beef joint Yo-ho-Shoa!, or a borscht and vodka set-up Gulag-it-Down.

I will never eat at New Culture Revolution, but I’ll eat at just about any other Chinese restaurant I can. I cherish Chinese food above all others, and find it comforting to the point of making me weep – as if I were thrusting my head between the great warm dumplings of an ancestral mother spirit. This Oedipal passion dates back to one afternoon around 1977 when I went up to the West End with a gaggle of friends and we ended up eating at Poon’s Wind-Dried Duck Company in Soho.

This was an altogether different experience from the pork balls of the previous decade. Poon’s was a bustling establishment crashing and banging up four storeys of a narrow terraced property on Lisle Street. The food was at once plainer and more tangy than the usual Anglo-Cantonese fare, and the waiters were bracing in their open contempt for their clientele. So began a lifetime of regular eating in Chinatown, during which I have patronised just four restaurants: I shifted my business from Poon’s to the cheaper Man Lee Hong some time around 1981, and then to China China on Gerrard Street. I stayed put there for two decades until, around three years ago, I rounded the corner to discover that it had transmogrified into an all-you-can-eat buffet.

Oh, woe! What is it with the all-you-can-eat buffet? The marginal unit of preference between healthy plenitude and disgusting gluttony should be evident to anyone who has reached their majority, so all such establishments can possibly represent is a society gorged with its own contempt for impoverishment. That the Chinese should operate them here is ironic, given that their homeland has suffered from terrible famines within living memory.

Still, I was reading this week that “peak food” could soon be reached, so we may live to see all-you-can-fight-to-the-death-for buffets. As for me, I switched to the Canton 30 yards away in Newport Place, and there I remain.

Scrapping Trident

May 27, 2010

The latest Madness of Crowds column from the New Statesman:

At a Sunday lunch in the ‘burbs of north London, the kids run amok around a play fort in the garden that resembles a pocket Alamo; meanwhile, us grown-ups dissect chicken, then use our teeth to suture it to our stomach linings. In the febrile atmosphere of the power vacuum enveloping us – the infinitesimal gap between Gordon and Dave – all seems at once momentous and trivial, as if every question one asks were a request that Bertrand Russell pass the salt. The subject of Britain’s Trident nuclear deterrent comes up, and our hostess – who, while by no means stupid, has fewer political bones in her body than the chicken – ventures: “But if we were to get rid of it, what if Iran gets the bomb?”

Mrs S patiently explains that, were this eventuality to arise, it might be reasonably accorded Israel’s responsibility – as it is their avowed desire – to unleash mega-death on the bearded fanatics of Qom (and a few million innocent bystanders). But I’m gone already, dived deep under the incorruptible Atlantic, down into the depths, where the Vanguard-class ballistic missile submarine describes its quadrangular course across the ocean floor. I consider the crew, who have no contact with the outside world for three months at a time; I meditate upon the captain of this supercharged giant black dildo who, acting on the orders of Gordon – or David – would unleash missiles armed with multiple nuclear payloads.

For that’s the sop to the submariners’ consciences: they may push the button, but they will never know the point of impact, except in the eventuality that Gordon – or David – is himself carbonised, in which case the captain must read the personal letter from the prime minister of the day, which reposes in the safe, and which will authorise him to fire at his own will. What will the captain do, I ponder, if David succeeds to the premiership? Will he leave off his boxing of the seas to return to HM Naval Base Clyde, at Faslane and pick up a new letter, or is he instructed to take it on trust?

Either way, this rusted link in the chain of command encapsulates all the corrosive psychosis of that most insane of collective delusions, the national security doctrine known as Mutually Assured Destruction, or by its entirely apt acronym – Mad. While it may be true that in the cold-war stand-off between the US and the USSR, Mad prevented the annihilation of both empires (and, following the diversification and ramping up of weapon systems, the collateral destruction of the entire world) by making a nuclear first strike suicidal, there’s no reason whatsoever for Britain being Mad, any more than there is for Sweden, or Senegal.

Indeed, it’s fair to say that by taking Polaris from the States, and thence Trident (both systems having been developed in the US and the technology leased to us), successive British governments have also taken a job lot of mass paranoia. After all, while Gordon or David may delude himself that he’s entirely independent when it comes to vaporising Moscow – or Tehran – the fact of the matter is that no such action could ever be taken without Barack’s say-so.

I often observe the effects this extreme double-bind has on the British national psyche. I see it in the vain posturing of our politicians on the international stage; I see it in the state-sanctioned death cult of our armed forces; and I see it most poignantly in comfortable suburban homes where, when replete with Sunday lunch, someone idly considers the necessity of wiping millions of people off the face of the earth as a reasonable exercise of self-defence.

But that was then – and this is now. With the Bullingdon boy in No 10, and the camp Yorkshire slaphead in the Foreign Office, I quite appreciate the pressing need to extract the country from the maw of bankruptcy. Still, there is such a thing as killing two birds with a single stony inaction: scrapping Trident would save a shed-load of money, while also puncturing once and for all the fantasy that Britain remains a world power.

It would be the political equivalent of the entire country downing a bracing draft of Largactil, and starting to recover from the post-traumatic stress disorder of the 20th century. As any good therapist could tell Dave, confronting reality is the first step towards positive mental health – but then positive mental health isn’t why Dave went into politics, is it?

Werner Herzog tribute

May 25, 2010

As Werner Herzog releases Bad Lieutenant: Port Of Call – New Orleans, Will Self pays tribute to a maverick director whose work pits humanity against the elements – and watches the elements win. You can read the article here in GQ magazine.

Warren Zevon liner notes

May 20, 2010

Will Self’s liner notes for Genius: The Best of Warren Zevon (2002):

What I do is this; I leave the city and go about 50 miles away to a town in the county of Wiltshire called Swindon. This place has a bit of a joke reputation in England; it’s our dinky version of Motown, with a Honda factory and no Berry Gordy – but that’s besides the point. I have a friend there who keeps my alternative identity stashed in the back room above his shop (which sells model trains, cars and aeroplanes to serious hobbyists; but that too is besides the point). It’s a small room with a tired atmosphere, the single bed covered with a quilted nylon spread that hangs down to the floor. From the window you can see a stack of car tyres piled up by a chainlink fence and two small boys poking a dead frog with a length of bamboo.

All the years I’ve been going there and the boys have remained the same. In a freestanding wardrobe there’s a dark suit, a white shirt, a dark tie, dark socks, dark shoes, a tan raincoat and white underwear still in its cellophane wrapping. In the pocket of the suit there’s a cheap leather wallet with £500 in it and a driving license in my own name. I pay my friend generously to keep this stuff there and when, after one of my strange interludes, I return it – broken down and threadbare and soiled – to clean what can be cleaned and replace what has to be replaced. The key thing is that whenever I feel the urge I can quit the city, go there, and reassume my identity. Travelling as myself I can then return to London and seek out Laurie, a Soho transsexual prostitute with whom I’ve been conducting a strange affair these past 20 years or so. Laurie has been pre-op, then op, then post-op, then he/she strikes out once more, back across the hormonal torrent, breasting the flow. He/she has changed gender so many times now that her body has the crinkly desiccated feel which punks’ hair acquired in the late 1970s when they dyed it a different colour every day of the week.

But this is … well, you guessed … besides the point. Our affair has long since ceased to have much of a sexual component, instead it centres almost entirely on the music of the inspired singer-songwriter Warren Zevon. All we do, Laurie and I, is sit cross-legged (increasingly difficult at our age), opposite one another, on the sad, dun, worn carpet or her bedsitting room and listen to the exhaustive collection of Warren Zevon records that we’ve acquired over the years. Occasionally we’ll also fondle items from our collection of Zevonalia (old tour badges and T-shirts, a guitar strap, even a pair of our hero’s trademark über-nerd glasses). Three storeys below the open window of Laurie’s little room the workaday city mutters and smarms and preens itself, but inside all is sonorous and light. Occasionally a john will tap on the door and enquire ‘business?’ In a frail, found-out voice, but she’ll just ignore the interruption.

As Laurie’s often said to me, ‘I only prostitute myself for the money.’ Why Zevon? I hear you ask, and the answer is simple, we met in Lee Ho Fook’s, Laurie and I, in the summer of 1978, when Zevon’s song Werewolves of London was getting airplay, and the serendipity was inescapable. Now when we meet up it’s always in Lee Ho Fook’s where we have the same dim sum dishes (for those of you Zevonians unable or disinclined to visit London I can tell you that there is, in fact, no beef chow mein on the menu), while renewing our intimacy. Here is Laurie and mine’s assessment of the best — to date — of Zevon’s output, which you now hold in your hot/cold/tepid (delete as applicable) little hands. Poor Poor Pitiful Me is very much my choice, a carefree blend of raunchy guitar and bizarrely inappropriate self-pity, complete with Zevon’s trademark sotto, flatly-declarative admission of culpability: ‘I don’t want to talk about it.’ French Inhaler is Laurie’s track, evoking perfectly — with its rousing, almost anthemic chorus, and its nicotine-stained verses — the way ingenues are sucked up and then evacuated by the naked city.

Carmelita with its surprisingly whimsical take on heroin addiction belongs, indubitably, to me. I think it’s the prettiest song about heroin addiction I’ve ever heard, and with my own two-decade-long addiction to songs about heroin I should be in a position to know. Hasten Down the Wind is a good old-fashioned love story, and like many whores, Laurie remains surprisingly romantic about relations between the sexes. I personally think the song appeals to her/him because of the line ‘he’s hanging on to half her heart’, which I imagine makes her/him think of one of those transitional moments. Werewolves of London is mine by right. When I first began eating in Lee Ho Fook’s it had a rose pink stucco frontage, overlain with a palimpsest of flyers for gigs at the Marquee Club, dance glasses, and trichological treatments.

Those were in the old days of London’s Soho, before the streets were pedestrianised, and when the district was seedy, dangerous and mundane all at once. Come to think of it’s still exactly the same, except that now Lee Ho Fook’s have capitalised on being immortalised in song and there’s a poster of Zevon in the window, looking as boyish as ever. If you sit inside and look in one of the numerous mirrors, you can see his winsome features staring back at you, as if he were joining you for mixed meat dumpling, glutinous rice in lotus leaves, and hot and sour soup. Roland the Headless Thompson Gunner, a strange eulogy to a 1960s mercenary, is one of the darkest songs I’ve ever heard, and as for the final line I should imagine there are entire interdisciplinary schools of study dedicated to its interpretation. Laurie, who evinces no such scruples, says she merely find it ‘catchy’. Excitable Boy is one of mine, and I think vintage Zevon. It’s a jolly, rollicking slice of up-tempo Gothic insanity about a young fellow who in our enlightened age would surely be on the appropriate medication. Send Lawyers, Guns & Money has the air of an incantation, and begins with the Zevonian equivalent of an existential leap: ‘I went home with the waitress … ’ As for the hook, isn’t this the very crux of the human condition? Play it All Night Long reminds Laurie of his previous lifetime as a dirt farmer south of the Mason-Dixon Line. I’m inclined to believe him on this point, as he’s the only believer in metempsychosis I’ve ever known who doesn’t claim to have had an illustrious incarnation.

A Certain Girl sees Zevon at his most aw-shucks, gee-whizz, god-darn, five ‘n dimey as a singer and songwriter. It’s his schtick to make like he doesn’t realise the reason people won’t introduce him and this girl as anything but friends, when he knows full well it’s because this girl is a guy. At any rate, that’s what Laurie says. Of course, if this were a Bruce Springsteen song ‘The Boss’ would shout it out loud and prosaically: ‘What’s her name? Sheldon (ahhh….)’. I understand that Zevon and Springsteen once had a competition to see who was the biggest patriot by reciting from memory contentious Supreme Court judgments. Zevon — naturally — won, and got Baja California as his prize. Looking for the Next Best Thing demonstrates once again Zevon’s ability to go where no other contemporary lyricist will dare to venture. ‘Don Quixote had his windmills, Ponce de Léon took his cruise.’ Only Zevon could pen this, let alone sing it with the absolute conviction of a man who has himself attempted to circumnavigate Florida.

Boom-Boom Mancini is one of those songs rooted in the living American tradition of folk music that English people such as Laurie and myself can’t get our heads round. Zevon’s father was a boxer, mine was an academic, Laurie’s worked as a clerk in a utility company. I ask you, who’s likely to write the song? Detox Mansion is mine all mine. When I was in rehab in the mid-80s my counsellor was a waxen-faced young man who told me in great seriousness: ‘They call us brain-washers here, but we have to wash your brain — because it’s dirty.’ Which rather demands the rejoinder: ‘I washed my brain last night and today I can’t do a thing with it.’ Zevon’s take on the whole talking cure nightmare comes complete with withdrawing guitars and primal screams. Not for the fainthearted. Reconsider Me, heralded by ringing bells as our hero attempts the impossible. Splendid Isolation features a harp line that drives us right out into the sticks, or up into the air. Sitting in Lee Ho Fook’s eating little spicy penile sausages (interesting how these transcend all cultural differences), this track, listened to on a personal stereo, effortlessly turns me into the kind of toe-tapping, silently gurning person I hate. Raspberry Beret. You have the artist formerly known as Prince, on the walls of Lee Ho Fook we have the artworks formerly known as prints. Things to do in Denver When You’re Dead. Why does this city seem so minatory? On the face of it the place is airy, spacious and stands like an urban colossus bestriding the continental divide. Yet my memories of it include a vomiting bookseller in my bed at the Brown Palace Hotel and listening to creepy identical twins (one psychically dominating the other), playing four-handed Bach. It seems Zevon feels the same about the place.

Searching for a Heart is a painful ditty for Laurie and me. On the face of it our relationship is doomed to be a mesalliance – and yet it’s persisted longer than any of the others in either of our lives. Perhaps because heart didn’t enter into it, we too can go on searching. Mr Bad Example is a reeling kind of polka. Never before — I feel certain — has so much cupidity been detailed in such a jocose manner. Mutineer is a song based on a non sequitur, and establishes once again that while contiguity is never proof of causality in the physical world, it invariably is in the emotional one. I was in the House when the House Burned Down, Zevon sings and then ‘Albert Einstein was a ladies’ man, working on his universal plan / He was making out like Charley Sheen … ’ A moody invocation by one genius juxtaposing two others … Do In reply to: really mean that? Did you light a candle? Did you put on Kind of Blue? Irony, sophistication and faded allure braid together like the strings on Genius, and this album leaves us with memories as tangible and yet insubstantial as the cigarette still floating in a sunlit room when the smoker has left.

The truth is that Zevon’s art is close to that of a novelist — with every song he writes he constructs a complete and durable imposture, which is why, I suppose, Laurie and I like his work so much. And when it’s all over and the final track has played, she puts away the vinyl and the CDs and the tapes, while I take my leave. I have to walk to the station, take the train, walk from the station, strip off my clothes, pick up my other life where this one left off. If only everything were quite so complicated. Rest assured — so long as you listen to Warren Zevon’s songs, it is.

Will Self, Soho, London, 2002

Walking to Hollywood

May 19, 2010

Bloomsbury filmed Will Self in a teaser for Walking to Hollywood – a mixture of fact, fancy, memoir and invention – which was published on September 6 2010.

“Walking to Hollywood is an extraordinary triptych in which Will Self burrows down through the intersections of time, place and psyche to explore some of our deepest fears and anxieties with his characteristic fearlessness and edgy humour.

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“In the autumn of 2007, Self became ill with an Obsessive Compulsive Disorder. The first part of the book is ostensibly the account of a curative journey to Canada and the USA, but in fact the record of a nematode’s progress, as the worm of obsession – with scale and packing and the ‘stuff’ of our lives – bores through a mind in extremesis. It is a journey that leads to three suicide attempts.

“On his return to England, Self put himself in the care of Dr Zack Busner, one of the originators of The Quantity Theory of Insanity. As the symptoms of OCD diminish, the obsession with his own inability to suspend disbelief in narrative art forms takes over. Self convinces himself that film itself is dead and becomes determined to find the murderer of the medium he once loved. ‘Walking to Hollywood’ is the story of his week-long 120-mile circumambulation of Los Angeles which led to his abduction by members of the Church of Scientology, a passionate affair with Bret Easton Ellis, and mortal combat with the reanimated corpse of Walt Disney.

“Back in London, the writer recovers from his flamboyant psychosis of the summer, only to become aware of a new malaise. Prey for some years to ordinary amnesia, Self now realises he is in the early stages of Alzheimer’s. However, remembering that Holderness in East Yorkshire has the fastest-eroding coastline in Europe, the writer decides to take a 40-mile walk over a weekend in late July, a walk akin to a magical rite and one that no one would ever be able to replicate.”

Belgo: Mussels from Brussels

May 19, 2010

The latest Real Meals column from the New Statesman:

A long time ago, when I could still bear to eat in social contexts, I attended a dinner at London Zoo given by the Royal Zoological Society. I was seated beside an expert on crustaceans who told me two things: first, that the fattest and tastiest crabs lifted in Cromer, north Norfolk, were found in the proximity of the town’s sewer outfall pipe; second, that he and his crustacean-expert pals liked to go on holiday to Belgium, where they would go from one moules frites joint to the next, challenging each other to identify the greatest number of parasites in any given kilo of mussels. Strangely, they never tired of this little game.

The parasites were entirely harmless – but still, there’s always something a tad suspect about mussels. To my mind, they’re rather like oysters that have been working out too much and hitting the sunbed as well – sinisterly tanned and toned. Still, my mother was very fond of moules marinière and used to cook them for us – no mean feat in England in the 1970s, when often the only fish available came in the form of Shippam’s paste. There’s something hugely inspiriting about a great, foodie waft of freshly boiled mussels: they smell at once nutritious and piquantly dirty. If raw oysters are the cunnilingus of gastronomy, then mussels are … well, best not go there.

In the mid-1990s, when I was the Observer’s restaurant critic, I was packed off to review a new restaurant called Belgo that had opened in Covent Garden. The gaff was subterranean and steely-clad. There was one room with long refectory tables, at which diners sat to be served by waiters dressed up as monks. The menu was heavy on the muscle-bound bivalve, and there was also a substantial carte featuring obscure Belgian beers brewed by real monks and a selection of Dutch genevers. These latter came in shot glasses set in depressions carved out of wooden paddles wielded by the monk-a-likes – so, it was an open incitement to get horrifically pissed on gin, which we duly did, and the evening ended … well, best not go there either.

I remember thinking at the time that the Belgo schtick was pretty much the apogee of themed restaurants; a sort of Blade Runner-meets-Trappist vibe prevailed that required only dry ice – or clouds of incense – to achieve total inauthenticity. If you had told me then that, 15 years down the line, Belgo would have several branches bedizening London, together with several more belonging to a subsidiary chain called Bierodrome, well, I’d have licked a tonsure in the top of my own head. Ho-hum. Such is the queer cavalcade of history.

It’s doubtful whether Belgo/Bierodrome qualifies as a Real Meals subject, as you could spend your whole life in Nuneaton or Nairn never clapping eyes on one of these joints. But that’s just the point: people need to be warned. An innocent provincial lad or lass, unsuspectingly treading the
streets of the Great Wen, and finding them not only not paved with gold, but also lined by Belgian-themed restaurants, could be severely traumatised.

Jaded as I am, I still felt pretty nervous entering the Belgo in Holborn the other evening. Still, I’d arranged to meet my god-daughter there – she’s fashionably wheat-intolerant and we needed to talk.

Actually, it turns out that the other Belgos don’t tog their staff in habits, and the interior was pretty standard for a mid-price eatery: tables, chairs, bar, etc. Not only that, but the staff were absurdly solicitous. The young woman who served me my starter of black pudding and apples told me about the blood pudding made in her native Hungary – later, I found out she’d just written a dissertation on Virginia Woolf. Frankly, that’s more social intercourse than I’d reckon on in an average month.

Bea – my god-daughter – chose moules marinière to start, while I had a kilo of Thai-style mussels for the main event. They were fine, although by no means overwhelming. Bea’s main-course salmon was overdone – but isn’t it always? As for desserts, I like sugar as much as the next 25 morbidly obese men who’ve had gastric bands fitted, but the cheesecake was still way too sickly. We finished up with espresso and mint tea. The bill came to 60-odd quid. All in all, it was an anodyne, mid-price, themed Belgian restaurant experience – not the heart of darkness I’d feared.

Words of advice for (elected) people

May 13, 2010

“Obviously the most important duty of our new prime minister is to acquaint himself with the circumstances of those whom he is about to immiserate. I suggest a brisk tour of the horizon of poverty and deprivation in order to ready him for the wielding of the axe. Why not begin with Orwell’s Down and Out in Paris and London? As an ex-public school boy he may find it easier to empathise with an Old Etonian on the skids – alternatively, Orwell’s The Road to Wigan Pier gives a journalistic – if still convincing – portrayal of what life is like for a working class deprived of both work and a social safety net. For a more elegiac account of poverty, try Knut Hamsun’s classic Hunger – the title says it all.

“Of course, it’s also important that the prime minister have some sympathy for all the non-doms and oligarchs who are hitting the skids – poor lambs. He should read (or, dare I say, reread) F Scott Fitzgerald’s The Great Gatsby, in order to grasp the febrile lustre of wealth (something I myself have long since ceased to suspend disbelief in).

“Supposing that there may be some attempt to rebuild a more equitable Britain after the recession, David Kynaston’s Austerity Britain gives a good picture of the swings and roundabouts of the Atlee administration as it tried to forge the welfare state with severely depleted public finances. Alternatively, the prime minister might like to keep his eye on how deep the roots of the current imbroglio actually are, and he could do this by dipping into some of the utopian fiction of the late 19th century. I particularly recommend Edward Bellamy’s Looking Backward 2000-1887, which was one of the bestselling novels of its time, yet is now utterly forgotten. Bellamy looked forward to an enlightened state capitalism in the Boston of the 2000s – now we look backward to benighted free-market capitalism. Bellamy’s hero slept for over 100 years due to a mesmerist’s accident – we seem to have slept for the past 30 years due to an accident in mass-hypnosis.

“Most importantly, though, the incoming premier needs to grasp the war-making follies of his predecessors, and the consequences of such unbridled imperialism both domestically and on those bombed back to the stone age. The great postwar Iraqi novel has yet to appear – probably due to the lack of paper, publishers etc – but until it does, why doesn’t the prime minister bite down on Kafka’s In the Penal Colony? It’s only a short story – so it won’t keep him from his red boxes – and it perfectly captures what happens when inexorable, righteous bureaucracy encounters yielding flesh and blood.

“It’s said that when prime ministers enter Downing Street they are confronted by terrible realisation. So, why not read Oliver Sacks’s Awakenings, his classic account of how the drug L-dopa awoke victims of the post-first world war encephalitis lethargica epidemic in the late 1960s? This will get the PM in the right frame of mind to deal with a reality that he and his party have been strenuously in denial about throughout their election campaign.

“Lastly, I do think all folie de grandeur could be usefully vitiated by a read of Nicholson Baker’s The Mezzanine, which hymns the ineffable longeurs of a paper-pusher’s lunch hour – because, when all’s said and done, any prime minister is just another office worker, like most of the rest of us.”

Read the rest of the Guardian’s Advice for a new government here.

The madness of outer-underwear

May 9, 2010

The latest Madness of Crowds column is here:

The other day I was walking with a brace of my children up the steep road that approaches Brighton Station from North Laine when I observed a long, dark, liquid rivulet flowing down the pavement, and then a young man, blind drunk, and hobbled by his jeans, which were at half-mast. I pointed out to the boys the paradoxical purity of the line of pee – it’s unusual to see an entire urination so graphically demarked – and then the high-fashionableness of the dosser, whose boxer shorts were fully exposed.

Whence comes this rage among young men to hoist their underwear up above their outerwear? A rhetorical question: we know it comes from da ghetto, and we know also – or can easily deduce – why it comes from there: young, poor African-American men were in no position to afford the full designer fig mandated from the 1980s on, so they opted for the pants alone and then made a fashion statement out of pulling rabbit’s ears of Klein or Hilfiger from behind their waistbands.

There’s also, I think, the curious constraint on the legs the fashion demands – is this not a subconscious allusion to a post-industrial and trans-generationally idle workforce? Especially when combined with carpenter jeans that have never been near joinery, the punchy boxer shorts seem an ironic statement of the form: “There is no striding work available for the likes of me, so I will stumble about the place, fettered in a denim-and-cotton chain gang.”

To suggest that any given style of dress is folly is surely the height of tendentiousness – after all, is it not the case that the fripperies of every generation appear surpassingly absurd to the dandies of the last?

When I summon up memories of beseeching my mother to sew flowery inserts into my jeans to create exaggerated flares and, a mere three years later, trying to force my feet through the eight-inch cuffs of drainpipes, well, it makes even the most priapic of codpieces, the most erect of coxcombs, the tightest of corsets and the most steatopygic of bustles seem tame.

And yet … and yet. I still can’t get over the outer-underwear; every time I see a young chap hoick up his jeans so that a little cloudy puff of underpants issues from the waist it occurs to me that many thousands of other young men must be doing exactly the same thing at precisely the same moment.

It’s like that, style, isn’t it? No matter how many newspaper supplements there are, how many magazines, and how many TV shows telling you what thong you should part your arse cheeks for, there still seems an instinctive and herd-like impetus to changes in habiliment: one day you see someone looping their scarf in a certain way, the next you notice that everyone is looping their scarf like that. Fashionistas prate on endlessly about clothing as a means of expressing individuality, but it takes only a decade to elapse for us to look back and see that we were as undifferentiated as buffalos in our recherché hides.

However, it wasn’t until I sat down to write this piece that my own underlying neurosis concerning exposed male nether garments became clear to me: like Freud en train to the completion of The Psychopathology of Everyday Life, I realise that it is within the tucking-in of my own psyche that the underlying dirt is to be found. My father had a singular lack of personal modesty: he would wander around the house stark naked, a sock in one hand, while querying in fluting tones: “Has anyone seen my other sock?”

Even in public he found it hard not to breach the taboo of common decency. His own nether world, for as long as I knew him, consisted of elephantine grey flannel Oxford bags, and even more elephantine flannel underpants, usually of a distempered hue. As this ensemble was lashed in place by a thin leather belt, Dad often got discombobulated, and on these occasions he would, quite unselfconsciously, un-belt, unfasten and unzip his trousers, then rearrange these wads of cloth.

So it is this, the memory of the primordial outer-underwearer from da ghetto of the London School of Economics, that I am trying to repress when I see all these fellows flaunting their pants. It is not the madness of the crowd that this illustrates – but one of my own.

A saucy Maurice Chevalier in the making?

May 9, 2010

“I set out on my great adventure to the wilder shores of linguistic competence only six weeks ago – and yet already I feel I’m floundering. Those who read my earlier piece will recall that I had opted for the Berlitz method in order to take my French from the three-year-old-getting-along level: ‘Train station, where, go now, please?’ to one where, by the autumn, when I have a new book out in France, I would be at least capable of conducting a basic press interview.”

The rest of the second part of Will Self’s attempt to learn French is ici.

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