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Stewart Home Interview Part Three

Starting with Come Before Christ and Murder Love, Stewart Home’s books saw quite a departure from his skinhead-influenced early novels. He started experimenting with different approaches to forms of anti-novels in books such as 69 Things to Do with a Dead Princess, Memphis Underground, The Nine Lives of Ray the Cat Jones and most recently Art School Orgy. In this last part of our interview we talk about these different approaches and how they undermine literature as we know it.

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1996Break/Flow 1
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Break/Flow in the Shadow City

Break/Flow in the Shadow City is the introductory text by Howard Slater for the first print edition of Break/Flow from 1996.
‘Break/Flow is an autonomous publication that hopes to function in several spaces simultaneously. Though inspired by music, theory, politics, and the literary, it is intensified enough to follow trajectories out of these never once isolatable spheres and inhabit the connections between them. The record is read. The text is played. The historic expands into the present.’

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1996ArticlesBreak/Flow 1
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Alexander Trocchi and Project Sigma

Over the years, Alex Trocchi’s importance to British underground culture has been sorely neglected. The only published biography deals with Trocchi solely as a literary figure and skims over his association with the likes of Wallace Berman, Guy Debord, RD Laing, William Burroughs, Michael X and others. Rather than restrict Trocchi to this literary classification and berate him for never having come up with the goods after a promising start, it is better to take him on his own terms: as an energised cultural catalyst, one interested in meta-categorical (r)evolt, the insurrection of a million minds.

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SIGMA PORTFOLIO No.5 (1965)

Document: Sigma Portfolio No.5 from 1965 as reprinted in Break/Flow 1 (1996), written by Alexander Trocchi.
‘Since we are concerned to know how we behave, we shall exploit every reproductive technique (audio-video), integrating it as discreetly as possible into structure and decor. Obviously, the original “box-office” must be imperfect and very limited, but it should open soon into a theatre of operations in the country (our “shadow city”) and eventually into civilization if our historical judgement is correct.’

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