Stewart Home's Blog, page 9

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I was asked to answer these questions for an event in Barcelona and having done so figured I might as well post them here too. You couldn't make it it!

1. When were you happiest? I'll be at my happiest in about 10 minutes when I've answered these questions – coz then I can make another huge pot of espresso and watch yet another Godfrey Ho movie.

2. What is your greatest fear? That the list I have of Godfrey Ho movies is complete and that before long I'll have watched everything he ever made. Fortunately not even Godfrey Ho can remember all the films he made and there's a good chance of many more being added to the 150 we know about.

3. What is your earliest memory? Going to the Isle of Wight by ferry when I was 2 years old. It was raining.

4. What is the trait you most deplore in yourself? My modesty. I feel I need to be more egotistical.

5. In what historical time would you have liked to live? I like the times I've lived in best – and would only want to live in London (or possibly New York) at any time. I wouldn't mind going back to the 1960s for the music, the 1970s for the feeling the whole political system was going to collapse (but then it feels like that again now), and the 1980s for seeing Godfrey Ho movies as they appeared at the point this director was most prolific.

6. Ever been in a fight? Of course! No idea how many.

7. Where do you stand politically? Ultra-left.

8. What do you owe your parents? I can thank my mother Julia Callan-Thompson for my intelligence and good looks, and great stories to tell people about her life as an original mod and then in the 1960s counterculture. Also my great taste in music, since my mother was listening to cool modern jazz all the time she was pregnant with me. I don't know who my father is so I probably don't owe him anything – but I reckon he owes me a big bundle of used notes!

9. Who would you invite to your dream party? Pamela Anderson, Jennifer Lopez and Godfrey Ho, among others.

10. If you could edit your past, what would you change? I wouldn't have gone to see Joy Davison who are a lousy band and unfortunately I knew what I was doing when I went into the gig. I definitely wouldn't have seen The Police either, but they were a last minute substitution among the support acts when I went to see The Brian James All Stars in 1978 (and I did go to the bar and turned my back on them when they played). I can't be blamed for seeing The Police because I didn't know I was going to see them when I went into The Electric Ballroom – but I wish I hadn't seen them.

11. When did you last cry, and why? In 1971 when I lost a ten pence piece down a drain. We'd only just had the change in the UK to decimal currency and I thought it was a fifty pence piece, which is why I cried.

12. What is the closest you've come to death? Sitting in the Bethnal Green Museum of Childhood in east London one winter day. I was leaving my body behind and entering this golden tunnel of light and thinking how great it was to be dead, when one of the museum attendants shook me awake and asked me if I was alright. I was very disappointed to still be alive coz death seemed like it was a groove sensation!

13. What do you consider your greatest achievement or quality? My ability to talk endless and without any prompting – even when I'm standing on my head!

14. What song or songs would you like played at your funeral? "Burn, Baby, Burn" by Mel Williams.

15. Why and when did you decide to start talking about yourself? As soon as I could speak – so when I was about a year old. I didn't have a reason then, it was just intuitive. Now it's a case of I started doing this in 1963 so why the hell should I stop?

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

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3. If you’re into the late-seventies Boston band The Nervous Eaters and you realise I’m just riffing on their tune “You’ve Heard These Chords Before”….

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

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Love Comes In Spurts: Stewart Home interviewed by Jesús Rocamora

This is an interview i did with the arts editor of Spanish newspaper Público a month or two ago. I figured I'd let enough time pass to run it here for English readers since it was translated for publication in Spain….

Rocamora: The writer and journalist Kiko Amat says in the introduction to Memphis Underground's Spanish edition that it is a "book of ideas" – a philosophical novel. Is it a political book? In what sense?

Home: Everything is political. The conventional bourgeois novel is conservative and is all about reproducing the ideas and subjectivities of the dominant class – that is why it is so concerned with what is euphemistically called 'character'. And while bourgeois novels don't reflect the world we live in, they exhibit an obsession with realism, naturalism and nineteenth-century ideas about narrative because these are the distortions and blinkers through which the ruling class wish us to misperceive the world. Just breaking with such nonsense is political – but the way way issues such as housing in London are addressed in the book is even more explicitly political.

Rocamora: The story is fragmented. In this sense, Amat invites readers to read your books as "a serial of radical and fascinating articles about all kind of concepts, cults and ideas" that interests you. Which ideas or concepts did you want to write about?

Home: Among other things I wanted to demonstrate that literature was dead – I didn't so much want to write about this as show it! The opening of the book is a parody of the kind of mediocre writing that is currently popular in the UK, then I slam into a description of a map that is obviously inspired by the French nouveau roman. The juxtaposition was intended to be humorous but at the same time I think it illustrates very well that what passes as contemporary literature today was old-fashioned and out-dated fifty and more years ago. But I feel showing these things is more interesting and powerful than simply providing an explicit written denunciation of them.

Rocamora: And what effects do you want to evoke in reader's mind with this kind of fragmented narration?

Home: I'm crediting the reader with intelligence and imagination, as well as giving them more freedom than they'd find in the dead literature of the ruling class. The reader can fill in gaps and the juxtapositions can be funny, beautiful or startling. Readers can take them any which way they want. While I'm not interested in realism, the fragmented style I use is in fact closer to what we experience in daily life than conventional literature. Our minds flip from one thought to another, we flick through channels on TV and move from stories about the massacres in Homs to documentaries on the sex life of rare sea species, and from that to gymnastic and cycling competitions, and on to shopping channels and chat shows. Such flipping from one thing to another can be done like a sleepwalker, or it can be done critically.

Rocamora: Aren't you interested in making literature in a traditional way? What 'tricks' or 'vices' don't like you in the literary tradition?

Home: This question reveals a lot about how backward literature has become. I think it unlikely you'd ask an artist why they didn't want to paint like Goya or Velázquez. Certainly when I talk about the art work I do in galleries I'm never asked questions like this. People understand that visual art has moved on over the past few centuries. Why would I want to write like nineteenth-century novelists such as Charles Dickens or Jane Austin? Aside from the fact that I find such writing both boring and reactionary, those who still produce superannuated prose of this type are expected to behave as if they are dull and square (which since they mostly are obviously isn't a problem for the sad sacks still writing nineteenth-century literature today). The public image of the serious writer requires that they don't do the sort of things I like to do – such as standing on my head and reciting passages from my books when I appear in public. By way of contrast I like Goya and Velázquez but there is no point in painting like them now – they did their own period very well and we have to (un)make art for our own.



Rocamora: Another remarkable features in Memphis Underground are these long descriptions about streets and houses, in which you write as a map or (sorry for my insolence) a GPS, as well as detailed description of daily acts, like shaving or cooking scrambled eggs. What roles do this features play in your writing?

Home: I explained the map before as an invocation of the nouveau roman – when I was teenage I read through lots of modernist literature by the likes of Alain Robbe-Grillet, Claude Simon and Nathalie Sarraute. Such descriptions serve to break up the text, change it's texture and challenge traditional notions of what it is entertaining and worth reading. It reflects the interest in the everyday that you can find in discourses as diverse as fine art and sociology. And also I find it side-splittingly funny!

Rocamora: And what role does sex play in your writing? Why are sex and pornography so present in Memphis Underground?



Home: Sex and pornography are very popular. On the internet, in films, in books, in magazines, at home and even on the street. Indeed, many of the Spanish women I've got to know intimately are very fond of fucking in the street – so I think it's useful to have a lot of sex in my first novel published in Spanish, coz the Spanish women who'll read it will know I'm not uptight and it will alert them to the fact that if they get it together with me then they'll have a really good time! I also like to use repetition to structure my writing and sex is very repetitive – and I can dig that!

Rocamora: You wrote Memphis Underground in 2004, and in its pages we can find social references, about the British youth, pop culture, business and some 21th century's ways of life. Do you think Memphis Underground can operate as a social reflection of your country at the present time? Are you trying to reflect your society?



Home: I think you end up reflecting the time you live in whether you want to or not. People writing traditional literature reflect the fact that too many people are living in the past albeit without necessarily knowing this…. I want to consciously reflect the times I live in and right now – I want to show up what's wrong with this world and the direction we need to move in to make positive change. One thing we need to do is put an end to nation states. I find the very existence of England and the United Kingdom utterly ridiculous and am keen to do away with all nation states in the very near future.

Rocamora: From nothern soul to urban tribes, in what ways are you interested in pop culture?

Home: I think it's important to understand pop culture historically – so my interest goes back to things like true crime writing of 400 and more years ago, people like the sixteenth-century English writer Robert Greene. When you look at pop culture and so called 'high' culture then you can see that they interpenetrate and mediate each other – one would not exist without the other. So while I prefer popular culture to high culture I want to abolish them both and create a new communist culture without hierarchies.

Rocamora: Why do we still distinguish between high culture and pop culture?

Home: Because we live in an alienated capitalist society that creates false divisions…. proletarian revolution will necessarily be an overflowing of all such canalisation.

Rocamora: You wrote Memphis Underground with first person voice. How biographical is it? In general, how much of real experience is there in your literature?

Home: My sex life is very toned down in my books, but in general I'm not just drawing on my own experiences but on everything I've seen or heard, it's based on the experiences of people I know as much as my own. Truth is a slippery construct but in fiction we can approach truth more closely than through documentary writing. Memphis Underground is, of course, completely biographical because it is an accurate record of the keys I hit on my computer as I was writing it. This is a new type of autobiography, one stripped of all romantic and personal content.

Rocamora: Why do you interviewed yourself as a part Memphis Underground?

Home: I've long promoted myself as 'an ego-maniac on a world historical scale' and any ego-maniac worthy of the name would want to interview themselves way more than anyone else. I thought it would be funny to do this too. Although actually the interview is a mash up – a series of questions I put to someone I interviewed for a magazine cut against the answers I gave to an interview for a completely different publication.

Rocamora: Do you believe in some kind of global conspiracy or maybe it's only a trick, a game, as narrator? I think, in this sense, in this kind of writing and that of authors like Pynchon (who uses magical elements in his stories) the reader is being invited  to "play" with the veracity of the story.

Home: I don't think there is any kind of global conspiracy but the idea that there is can be used in fiction to point up the absurdity of this idea. People who get seriously involved in conspiracy theory and who believe they can uncover 'the truth' end up crazy (if they weren't already mad when they set out on this path). When I write fiction about conspiracy theory I want to show it is useless. There is no need to uncover hidden truths about who controls the world – our oppression under capitalist social relations isn't hidden, and conspiracy theories are a distraction from the ways in which we can remake society.

Rocamora: Which authors do you like?

Home: There are many but Lynne Tillman, Kenneth Goldsmith, Barry Graham, Bridget Penney and Darius James, would be a few contemporary names among those that write fiction in English.

Rocamora: "Nostalgia is the future", says the main character near the beginning of the book. Do you think cultural industries are exploiting consumers' nostalgia to survive in 21th century?

Home: Nostalgia is not a good thing because it it is conservative – there is no golden age in the past, we have a world to win. The main character is fictional, he is therefore able to express opinions with which I'd disagree. That's one of the things I like about fiction, it allows you to explore a broad range of subject positions.

Rocamora: Sorry if it is a personal question: how is a day in your life, from when you wake up until you go to bed?

Home: Every day is different. Some days I get up and go to the gym, others I start writing or working on gallery stuff after eating breakfast. My meal times vary every day too. Tonight I was at the pub with three friends who work for different London publishers, the night before I went to a poetry reading, the night before that I stayed in. That said, most days I spend an hour or two walking the streets so that I can meet some hot Spanish girls. It isn't difficult as there are a lot of Spanish girls in London. One of the more curious Spanish women I met recently works professionally as a porn actress under the name Snake Girl. She has a snake tattoo on her body and is what as known as a fetish model and actress. I was just standing outside a pub in Soho when I got introduced to her. However, while there are lots of hot Spanish girls in London, there are even more in Spain, which is why I always enjoy visiting cities like Barcelona. My days are varied and I have to travel quite a lot – for example I went to New York three times over the last four months, and many other places too. And it's as easy to meet hot Spanish girls in New York as it is in London! But when I'm not meeting hot Spanish girls I'm mostly eating, writing, drinking or working out in the gym.

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

Cyber Sex With A Bot Girl: It Was Bound To End In Disappointment!

"Amy Hastings" sent me a friend request on Facebook on 12 February 2012. I think "she" had four or five friends by the time I accepted. She didn't have a profile picture or any other photos up on "her" page. I waited to see what happened next and wasn't particularly surprised when "Amy" sent me an unsolicited message. Here it is followed by my and "her" replies:

Amy Hastings on February 13: I have some really erotic photoz, but I can't post them here. Do you have an email or mobile number I can send them to? That is if you want to view them.

Stewart Home on February 13: I wouldn't want to view them if they contain anything illegal or feature anyone under the age of 21. If you can clarify what these are and assure me that they don't feature anyone under 21 then I may be interested. Thanks.

Amy Hastings on February 15: I relaly (sic)  am turned on so I put tgoether a page clcik (sic) to http://*************** betetr (sic) sign up clarfiy (sic) you're 18+ ok giong (sic) to in aasp (sic) my usernmae (sic) is missE934 see u three (sic)

Stewart Home on February 15: Sorry but if this isn't dodgy can you please answer my questions. Are you able to assure me your pictures don't feature anyone under 21 or anything illegal? Until I know that I won't go and look at them. If you don't answer my questions then I will assume that the material in question is illegal. Thanks.

When after 10 days I heard nothing more from "Amy" I unfriended her. "She" still didn't have a profile picture but by this time had 50 friends. I haven't checked out the link "she" sent me as I wasn't interested in her 'erotic photoz': I was just curious to see to what extent 'she'd' engage with me – and if 'she' had I would have gone on to tell her I found the number of typos in her messages a huge turn off and to insist politely but firmly that 'she' needed use a spell checker to sex 'herself' up!

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

Here Come The Kung Fu Clones by Carl Jones (Woowums Books)

"Here Come The Kung Fu Clones" is a book about the superabundance of Bruce Lee imitators who attempted to fill the void created by the Little Dragon's death in 1973 with movies such as "Bruce Lee Against Supermen", "Bruce Lee His Last Days, His Last Nights", "Bruce Lee Fights Back From The Grave" and "Bruce Lee In New Guinea". While a lot of work has obviously gone into this book, the writing is fan level and could have been much better organised. As you'd expect the focus is on summarising plot rather than critical analysis.

Bruce Li is well covered – the other Bruce Lee clones are not well served. The book really needed much more about Bruce Le and Dragon Lee who are major figures in the Brucesploitation genre.  Never forget that Dragon Lee appeared in a slew of features directed by the notorious Godfrey Ho – the Jess Franco of martial arts flicks.

I'd hoped for a more rigorous list of Brucesploitation movies than the book provides. For example, Bruce Le's "Treasure Of Bruce Lee" isn't listed with its alternative title of "King Boxer II" (the name under which it is easiest to find in the UK – where "Here Come The Kung Fu Clones" was published – thanks to a 23rd Century DVD that found its way to many a Poundland and street market stall at £1 and under a pop). Likewise, while there is a full page illustration of a video cover for what I assume is the same film under the title "Bruce and the Shaolin Bronzemen", nowhere in the book is there any information about a movie with this name. There are bronzemen in "Treasure of Bruce Lee" (which Jones mentions in his book), and the current IMDB entry for "Treasure of Bruce Le" (not Lee with two e's although that is how Jones has it and I've also seen it under that title) is illustrated with a video cover for a version of the flick under yet another alternative name: "Enter The Game Of Shaolin Bronzemen".

It's good to have the list of Brucesploitation flicks that end the text section of this book but what Jones provides needs further work. To start with the glaringly obvious, since the "A Fistful of Yen" parody section from "Kentucky Fried Movie" is included, I couldn't understand why Sammo Hung's "Enter The Fat Dragon" wasn't….

And just in case you're interested "King Boxer II" is the greatest Brucesploitation movie of all time, standing head and shoulders above the likes of "Clones Of Bruce Lee" and even "Bruce Lee His Last Days, His Last Nights" AKA "Bruce Lee and I" – thanks in large part to the fighting midgets who battle Bruce Le! I doubt Jones would agree with me, although he seems to like "The Treasure Of Bruce Lee", he's definitely batting for Bruce Li!

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

Here Come The Kung Fu Clones by Carl Jones (Woodwums Books)

While a lot of work has obviously gone into this book, the writing is fan level and could have been much better organised. As you'd expect the focus is on summarising plot rather than critical analysis.

Bruce Li is well covered – the other Bruce Lee clones are not well served. The book really needed much more about Bruce Le and Dragon Lee who are major figures in the Brucesploitation genre (don't forget that Dragon Lee appeared in a slew of features directed by the notorious Godfrey Ho – the Jess Franco of martial arts flicks).

I'd hoped for a more rigorous list of Brucesploitation movies than the book provides. For example, Bruce Le's "Treasure Of Bruce Lee" isn't listed with its alternative title of "King Boxer II" (the name under which it is easiest to find in the UK – where "Here Come The Kung Fu Clones" was published – thanks to a 23rd Century DVD that found its way to many a Poundland and street market stall at £1 and under a pop). Likewise, while there is a full page illustration of a video cover for what I assume is the same film under the title "Bruce and the Shaolin Bronzemen", nowhere in the book is there any information about a movie with this name. There are bronzemen in "Treasure of Bruce Lee" (which Jones mentions in his book), and the current IMDB entry for "Treasure of Bruce Le" (not Lee with two e's although that is how Jones has it and I've also seen it under that title) is illustrated with a video cover for a version of the flick under yet another alternative name: "Enter The Game Of Shaolin Bronzemen".

It's good to have a list of Brucesploitation flicks but what Jones provides needs further work. Likewise, given that the "Fistful of Yen" parody section from "Kentucky Fried Movie" is included, I couldn't understand why Sammo Hung's "Enter The Fat Dragon" wasn't….

And just in case you're interested but "King Boxer II" is the greatest Brucesploitation movie of all time, standing head and shoulders above the likes of "Clones Of Bruce Lee" (thanks in large part to the fighting midgets). I doubt Jones would agree with me, although he seems to like the movie – he's definitely batting for Bruce Li!

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

Weasel coffee – made from beans eaten and shat out by wild weasels!

Pho is a small chain of family owned Vietnamese cafes. They have 5 branches in London and one in Brighton (UK). There are two branches in the west end, one in Clerkenwell, and one apiece in the Westfield shopping centres in Shepherds Bush and Stratford E15. Their food is both good and modestly priced but it was only recently that I noticed they sold weasel coffee for £5.95 a cup. This struck me as cheap for the world's 'most expensive' coffee – since I remembered reading newspaper articles a few years back about how the brasserie at the Peter Jones department store in London's Sloane Square was selling a single cup of this rare brew  for £50 (US $79.00) a cup.

Pho offered the following description of the coffee in their menu: "For the more adventurous try one of the rarest coffees in the world exclusive to Pho in the UK – Chon Ca Phe aka Weasel coffee. This coffee is eaten, digested and then passed by Vietnamese weasels – a process that dramatically enhances the flavour of the deliciously tasty roasted beans! Served with or without condensed milk."

I talked to a waitress about the coffee and she said that although a lot of people expressed interest in it and wanted to ask her questions about it, not so many actually ordered and drank it. What put people off it seems is the fact that after the weasels ate the beans they then passed through their digestive tract. A weasel eats the berries for their fleshy pulp. In its stomach proteolytic enzymes seep into the beans, making shorter peptides and more free amino acids. Passing through weasel's intestines the beans are then defecated, keeping their shape. After gathering, thorough washing, sun drying, light roasting and brewing, these beans yield an aromatic coffee with much less bitterness than other types. Weasel coffee is widely reputed to be the most expensive in the world – with prices reaching as much as $160 per pound.

I'll try almost anything once as long as it doesn't entail cruelty – and my understanding was the shat out coffee beans were recovered from the poo of wild – or at least free range – weasels. At Pho the coffee came in a filter cup and I had to wait for the hot water to pass through the filter before drinking it. Since I usually drink espresso I didn't bother adding the condensed milk that came separately. The coffee was reasonably strong and definitely less bitter than I'm used to. To make a comparison with whiskies, the weasel coffee was like a smooth Speyside – whereas the  espresso I make at home is more like a smokey and fiery Islay. And yes you guessed right, Islay and not Speyside is my whiskey of choice. I don't want a smooth whiskey or coffee, I like the kick of Islay and bitter espresso.

So I'll leave Chon Ca Phe to those who are grooved by Speyside whiskey – the world's rarest and most expensive coffee is not for me! And can anyone tell me whether a reassuringly expensive £50 cup of weasel coffee is any better than one that costs £5.95 from Pho?

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

Stewart Home Gives You Better Orgasms! An Interview With Playground

This is an interview I did with Playground Magazine for translation into Spanish around the publication by the Barcelona based literary press Alpha Decay of my novel Memphis Underground. I figured I might as well run it here in English too! I'm told this interview was published about ten days ago but the urls I was sent to it don't work – so I can't link you to the Spanish version here….

Playground: First of all, I'd like you to tell me about the place you are at the moment, answering these questions. What things do you have around (is there a cup of coffee, a little pencil, something like that)?

Home: I'm sitting at a desk in a flat in east London. I've got a laptop with a keyboard and a mouse plugged into it. The computer is sitting on a pile of books. Also on the desk is a lamp, a half drunk cup of green tea (it had coffee in it before I finished that and made the tea), a 2012 diary, a few pens, and a DVD copy of the old school movie "Kung Fu Vs Yoga" which I bought in a bargain store on Broadway in Manhattan a couple of weeks ago and haven't gotten around to watching yet.

Playground: Let's talk about John Johnson. Where does his (in so many ways, filthy) life come from? Do you feel him like a sort of an alter ego?

Home: When writing fiction I draw on elements from my own life and the lives of other people I know – but also from books, the media and folklore. John Johnson can thus be viewed as containing elements of me – but my life is much filthier than that of the narrator of this book. Ultimately John Johnson is an everyman figure rather than me.

The name John Johnson has his origins in folklore and folk song. The name comes from a recursive English language rhyme entitled "Yon Yonson". This is often sung in a Scandinavian accent. If recited in American or British English the name Yon Yonson would be pronounced "Jan Jansen" or "John Johnson." The song is sometimes credited to Jan Sophus Jansen (1870–1953). Jan Jansen (pronounced Yon Yonson) was born in Amager Denmark. In 1893 he emigrated to Berlin, Wisconsin (USA), where he first worked in a lumberyard and later as a carpenter, cabinetmaker, and wood pattern maker. Jansen was known to sing his namesake song while playing the concertina as he walked the streets of Berlin: "My name is Yon Yonson/I come from Wisconsin/I work in a lumberyard there/Everyone that I meet/When I walk down the street/Says "Hello! What's your name/And I say: My name is Yon Yonson…" (repeated again and again).

It has also been claimed the song has its origins in the Swedish play "Yon Yonson" (1899). The play was set in a Minnesota lumber camp (Minnesota is a neighboring state to Wisconsin – and part of "Memphis Underground" is also set in Minnesota). The song has appeared in many places including Kurt Vonnegut's novel "Slaughterhouse 5" and the single "Yon Yonson" by Canadian post-punk band The Dave Howard Singers. A friend of mine in London was very fond of The Dave Howard Singers and often played the track when I visited him in the late eighties. So I chose a metafictional name for the narrator of the book – because he isn't simply me, he's everyone!

Playground: When did you start writing "Memphis Underground", and why?

Home: I probably started writing the book in 2002 or 2003. I don't remember exactly – I do know I finished it several years before it was first published. I wrote it before my novel "Tainted Love" which was published in English in 2005. I started it because I wanted a challenge, to construct a novel in a different way to anything I'd done before (there is quite a lot of variation in the ways my different books are structured). I'd always liked the sci-fi device of alternating chapters with the same character at different stages of their life, and I thought that would be a good way to do a mash up of different styles without being explicitly science-fiction. I mashed in the music I was listening to as I wrote the book by including the song titles as chapter headings. There were non-formalist concerns as well, since I wanted to address the housing situation in London among other things. And I guess I also wrote "Memphis Underground" because I'd finished my previous novel "Down & Out In Shoredtich & Hoxton."

Playground: In this novel music plays a significant role, like in all of your work. I heard you wanted to be in a band more than becoming a writer. Tell me how music has influenced your work (this specifically, but also the rest) and your life. And why the band idea didn't work out.

Home: I only started writing because I wanted to get free records and to get into concerts for free, so when I was teenager I began penning music reviews. Some people told me I was a really good writer and I should concentrate on that… but I was more interested in playing music than prose.

When I was teenage I played in bands at small venues around London, and I was okay on the bass, but then I realized that guitar players tended to have better looking girlfriends than drummers and bassists, so I switched to guitar. That was a mistake musically because although my bass playing and rhythm guitar playing were alright (I wasn't a particularly good musician – but then that isn't really an issue in a lot of rock and pop bands), my lead guitar came out back to front. I'm never sure if I'm right or left handed (as I do some things one way and some things the other). I learnt to play bass and guitar right handed, and I think I should have learnt left handed when it came to lead but by the time I realized this it seemed like too much effort to start learning to play guitar from scratch again as a left-hander. Eventually I just stopped playing music, although I still listen to a lot of music. I'd have probably rather been a singer but my voice is weak – it was always my dream to be able to sing like Aretha Franklin, but like most people I just can't.

Music influences my writing in many ways. Records create a mood and I like a driving beat when I'm working so I also feel like I'm being propelled forward with the book as well as in my life. But then, of course, I use my knowledge of music in different ways. The rhythm of my sentences in English is important to me. They have to flow when they're read aloud, so I try to get that from the monster beat of the tunes that groove me. Also I use parts of the history of popular music in my books. For example, my first novel "Pure Mania" parodied the London punk scene of the 1970s. And of course I've also written a non-fiction book about punk "Cranked Up Really High". But I've also always listened to a lot of soul and funk. I'm not stuck on just one genre of music.

Playground: Reading "Memphis Underground", the first writer that comes to my mind is Hubert Selby Jr (specially that Hubert Selby Jr of Last Exit to Brooklyn, all this Queen is Dead stuff), because of the self-controlled rage and the (in cases) filthy way you describe everything… Is him one of your favourite writers? Can you tell me your favourite ones? (I was thinking about Irvine Welsh as well).

Home: I read "Last Exit to Brooklyn" when I was teenage but nothing else by Selby and he's not important to me as a writer. My first novel was published four years before the first book by Irvine Welsh came out, so he couldn't have been an influence. What I like about Welsh is that he gets up the noses of the literary establishment in London because he's not some upper class twit, but beyond their working class setting his books aren't particularly to my taste as I don't particularly like his prose style. I always wanted to used a clipped journalistic prose style while combining elements of both pulp and experimental fiction. You can see that in writers like William Burroughs or Kathy Acker. However, my biggest sources of inspiration when I started writing fiction were 1970s British youth culture novels by writers like Mick Norman (real name Laurence James) and Peter Cave, whose style I set out to cross with that of people like Alain Robbe-Grillet and Georges Perec. A British experimental writer who particularly grooves me is Ann Quin, and my book "69 Things To Do With A Dead Princess" begins as a riff on her first novel "Berg'.

My reading is quite wide, so when I was younger I ran through a lot of pulp authors like Clark Ashton Smith and Abe Merritt. Also forgotten genres such as future war are an influence on my novels and in books like "Red London" I was drawing on largely forgotten writers and works such as "Angel of the Revolution" by George Griffith and "Hartmann The Anarchist" by E. Douglas Fawcett. Other writers I really like would include Clarence Cooper Jr., Blaster Al Ackerman, Calvin C. Hernton, Michael Moorcock and, of course, Karl Marx. My reading is wide ranging and so it would be a mistake to think only a few big names influenced me, it is more whole genres than indivudals that I'm drawing on. And I'm also influenced just as much by film.

Playground: You talk about an anti-ego narrative, but you include an interview with yourself in the middle of the book… It's the whole thing a big joke to the literary establishment?

Home: The interview you mention is a mash up. I took the answers from an email interview I'd written in reply to questions from a fanzine and replaced their questions with the things I'd asked a really dull and ttalentless singer when I'd taped an interview with him at the request of a third party. I think that is a way of saying that rather than being unique most cultural figures are interchangeable and that most music and books simply don't matter…

I have repeatedly described myself as "an ego-maniac on a world historical scale." My problem with most egotists is that they take themselves so seriously they're not able to be as egotistical as I am. I'm unsure what you mean by "an anti-ego narrative," so it is difficult for me to respond to that part of your question. I can't recall saying anything along these lines – although possibly you mean something within "Memphis Underground" (but if that is the case this is an example of my fiction and I often have characters express things that I personally would not agree with).

Playground: I've heard you are not a big fan of Martin Amis and Salman Rushdie… Did you meet them? What kind of things you didn't like about them?

The first thing that is wrong with Rushdie and Amis is that their writing is awful. They are typical of the talentless hacks promoted by the English literary establishment. Both are products of exclusive schools and Oxbridge, and neither have anything to say worth hearing either. They don't know the first thing about how ordinary people live and they don't know how to write. I'm lucky in that I've never met Amis; but one time when I'd won a prize from the Arts Council of England, Rushdie was handing out the money for them. He spoke to everyone else who'd been given a writing award that year, but not me, which I found very funny. I didn't want to speak to him – or even meet him –but I did want the money.

Playground: Johnson feels like a fake person when pretends to be a middle-class guy, why are you so worried about middle-class?

Home: I'm not worried about the middle class, I just find them uninteresting culturally and in every other way. They also side with the bourgeoisie in its conflicts with the working class. I just wanted to show the middle-class as I see them, in other words as a bunch of tossers.

Playground: In the book you also talk about the concept of the ghetto and the suburbs. In terms of music, what kind of music de you think people of the ghetto would listen? And the suburbs people?

Home: That would all depend where in the world they were. But, for example, in south London a lot of people listen to dance music genres like grime. But then a lot of people in England are being displaced from the city into the suburbs, and in that way London is becoming more like Paris, so probably people are listening to grime in the suburbs as well.

Playground: Talking about music, which are your favorite bands at the moment?

I don't go and see many bands these days. The music scene in London isn't as interesting to me now as it was in the late seventies when I used to go to rock concerts roughly four times a week on average. Then in the eighties there were still good American bands coming over like Chuck Brown and the Soul Searchers. Now there isn't so much worth seeing. The bands I see these days are mainly people I know personally like Chicks On Speed or Luke Haines. I saw Billy Rath's Street Pirates recently because he was using a friend of mine, Chris Lowe. as a pick-up drummer. Billy Rath had been out of the music scene for a long time and I'd last seen him playing bass in Iggy Pop's backing band in London in 1979! The Street Pirates mostly played songs from his old band The Heartbreakers. I spent more time listening to old soul records from the sixties and seventies these days than anything else. Although I still also listen to a lot of electro and rap from the eighties, and minimal and hardcore techno from the 1990s. I don't listen to that much rock music any more.

Playground: What were your top ten albums of 2011?

Home: I don't really like to do chart listings, and there weren't ten new albums I really liked released in 2011 anyway. The only album I can remember writing sleeve notes to last year was 'Wyrd" by Brend – which is an amazing experiment in crossing over dance beats and Scottish folk music orchestrated by Glasgow based DJ and producer Guy Veale. That is definitely a stand out release, but although I did the sleeve notes last year, it wasn't issued until last month, so it is a 2012 release!

Playground: Best song ever is…

Home: Always the last one I played, which right now happens to be "Soul Galore" by Jackie Wilson, but give me a couple of minutes and it will be something else.

Playground: Tell me the name you imagine for that band you want to get it when you were a little kid…

Home: The band name I always wanted to use when I was younger, but could never get the rest of the group to agree to taking on was The Teenage Pricks. In one band the singer objected on the grounds she was a girl and not a guy and she wasn't teenage anymore either…. Which all seemed a bit literal to me!

Playground: Do you usually listen to music when you're writing? If so, does music shape the way you place the words, helps to find a rhythm?

Home: Yes, as I explained above.

Playground: I read you've said that these days in London youth culture is far less visible than it used to be twenty or thirty years ago, can you figure out why?

Home: I'm not sure I said that about youth culture, it seems more likely I was talking about subculture. Youth culture is everywhere, it is ubiquitous and that's partly why subculture has largely disappeared. Gentrification has changed a lot. Kids find it difficult to afford living in London, so do most people, but if you've been around a long time you're more likely to have found somewhere relatively cheap to rent. The other factor is everything is instantly available now via the internet, so kids can get into something new every day or hour or minute. This means they're less likely to evolve a unique style of their own over time. But you see youth culture in the form of sportswear brands all over London, it's completely mainstream.

Playground: You state on your website that one of your motivations is blurring the lines between artistic mediums and literary genres. What do you hope your readers' gain from this blurring of the lines? A new type of genre, a "non-genre"?

Home: A precursor of what we'll all gain from revolutionary activity, the overflowing of capitalist canalization and the realization of our species being. It isn't a question of being this or that, we can be everything at once. An end to the separations that characterize our social alienation under the current system of anti-social relations. Genres will disappear too!

Playground: What were your motivations to create the Neoist Alliance?

Home: To make trouble and have a bubble bath (laugh). This anti-group was also a way of confronting the question of communist organization, something I'd been involved in debates about since the 1970s. What happened was that a bunch of us in London all created one-person 'groups'. So there were things like The London Psychogeographical Association, The Association of Autonomous Asttronauts and Decadent Action. That meant the person who constituted the group could organize an action and those who constituted other groups could choose to get involved with that action or not, but didn't have to take any responsibility for it.

Playground: I've read you hate capitalism (you define yourself as a communist). What do you think about the economic collapse these days?

Home: The collapse of capitalism goes back a long way, don't forget the USSR was also a capitalist state despite it's phony rhetoric about being Marxist. So the euphoria the western bourgeoisie expressed about the collapse of the USSR was at best short sighted. You can't expand economically indefinitely, so capitalism was bound to collapse. The important thing now is to organize a non-hierarchical world where everyone gets what they need, rather than a few having far more than they deserve while millions starve to death.

Playground: The way the world should run, according to Stewart Home, is… (Imagine there are no rules and you can choose a new way to make the world run).

Home: I don't want a world run by one person or an elite. The only sensible way to organize is by everyone collectively working together.

Playground: Are you writing now? Or working on any new project? Please, tell us about it.

I recently finished a novel called "The Nine Lives of Ray The Cat Jones" based on the life of one of my relatives who was a burglar. He made the front pages of all the British newspapers in 1958 when he escaped from Pentonville Prison in London, but many of his court cases were also reported in the UK press. Ray Jones always stressed that the reason he stole from rich people was as act of class war. So having finished that book I'm doing a humorous plagiarized work about the artist David Hockney's time at The Royal College of Art in London.

Playground: Give us a reason to read "Memphis Underground" RIGHT NOW.

Home: It will give you better orgasms, improve your blood circulation and make you roar with laughter too!

Playground: And, finally, what can readers and audiences expect from you in the future?

Home: Anything could happen in the future, so they should expect the unexpected!

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