Even as far back as the late 90s an aura of spirituality and/or neurotic existentialism still
clung to the writings of Kafka. Re-reading his short stories at this time revealed an author
acutely sensitive to the psycho-social dynamics of power and resistance as these are
encountered in an everyday life not solely restricted to the world of work and bureaucratic
institutions. This version includes three appendices that have never appeared on line.
This text was written in early 1999 at a time before the upswing of anti-capitalist protest at
Seattle, Prague, Genoa and at the Carnival against Capitalism in London. However, its far
from exhaustive critique of Left groupuscules inaugurated a long term writing and research
project that, combining psychoanalysis and literature to reassess capitalist social relations,
has gone by many names over the years: Micropolitics, Psyche-Pol, Affective Class etc.
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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Introduction to and interview with writer Ronald Sukenick, whose novels play with form, notions of time and the very ‘idea’ of the novel just as their characters experiment with identity, place, power and relationships. By Howard Slater from Break/Flow 1, 1996.
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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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On Anti-Oedipus by Gilles Deleuze and Félix Guattari subtitled Schizo-politics for Scallies from Break/Flow 1, 1996 with a short intro 2024.
In the aftermath of the Poll Tax rebellion sense of ‘disenchantment’ was rife. For Howard Slater the key zone of investigation became what could be termed Marxist-Freudianism and an ongoing engagement with Deleuze & Guattari’s Anti-Oedipus was pivotal.
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The main text from Praxis Newsletter 7 from 1995 was originally titled Break the Circle and was reprinted with a short update in the first issue of Break/Flow in 1996.
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Titled Messages to the Majors these are the record reviews from Break/Flow 1, mostly written by Flint Michigan and a couple by Christoph Fringeli – and one by Michel Foucault!
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Joe Meek, a pioneering independent music producer, created the hit “Telstar” in 1962 using innovative techniques like overdubbing and echo in his home studio. Known for his experimental approach, he produced the avant-garde concept album *I Hear a New World*. Meek’s career ended tragically in 1967 when, plagued by paranoia and legal issues, he killed his landlady before taking his own life.
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