Indecipherable Chicken-Scratch Squiggles

Sam Mills had the good taste to choose “Celesteville’s Burning: A Work in Regress” as part of her contribution (5 February 2021) to A Personal Anthology, a fine series curated by Jonathan Gibbs.

‘Celesteville’s Burning: A Work in Regress’ by Andrew Gallix

Sostène Zanzibar, a successful novelist based in Paris, is suffering a midlife crisis and struggling with creative inspiration. When the journalist Loren Ipsum comes to interview him, they embark on a love affair that ends in humiliation for Zanzibar, who then descends into crisis. The prose is beautifully crafted, the story a wonderful mixture of literary satire, erudite references, superb puns and zingy one-liners, and jokes that made me laugh out loud — Zanzibar’s ex “publicly pooh-poohed his cunnilingus technique, comparing the result as a series of ‘indecipherable chicken-scratch squiggles’”. As the story progresses, there is a shift in tone from comic to poignant and the ending is dreamy and bittersweet.

First published in The White Review, and available to read online. Collected in We’ll Never Have Paris, Repeater Books, 2019.

Loren Ipsum – The Movie

This short film, by Julie Kamon, is based on an extract from my novel-in-progress, Loren Ipsum. The music and soundtrack are by Also Known as Ariel (aka London-based Argentine author Fernando Sdrigotti). Readings by Susanna Crossman, S.J. Fowler, Stewart Home, Sam Mills, and C.D. Rose.

The film was published by 3:AM Magazine on 13 January 2021. It premiered on Carthorse Orchestra, David Collard‘s online literary salon.

“From the opening shot (a stylish nod to Jacques Demy) this is a wonderful, assured, immersive ten minutes in which sound, text and image align perfectly. Repays multiple viewings” – David Collard.

Also Known As Loren Ipsum

Also Known As Ariel (aka London-based Argentine author Fernando Sdrigotti) has kindly composed this eerie soundtrack for a forthcoming video (by Julie Kamon) showcasing an extract from my novel-in-progress Loren Ipsum. More soon.



You can also find it on Spotify.

On Mooning Considered as One of the Fine Arts

I have a short story — “On Mooning Considered as One of the Fine Arts” — in ZenoPress’s latest annual anthology, Zahir: Desire and Eclipse.

Here is the publisher’s blurb:

Zahir: Desire and Eclipse is a new collection of writings including essays, poems, experimental texts and short stories. This issue features works by both established and emerging artists and writers.

The starting point for this new anthology is the short story by Jorge Luis Borges ‘The Zahir’. Zahir is an Arabic word that indicates a concept or object that obsesses man, to the point of making him lose touch with reality. The Zahir at first may appear insignificant, it insinuates itself into the mind and invades it occupying every corner. It becomes an obsession that can only be freed by going to meet it, looking for it and making it one’s own forever.

Within the realms of poetry, essays and short stories, this anthology explores how the Zahir — something both very serious and vaguely absurd — sticks on our minds and refuses to be shaken. The aim is to consider how its cultural meanings are produced and how it shapes and resonates in our imagination, as well as causing consequences in various aspect of life. Each work investigates how the Zahir allows itself to be a screen onto which we project our anxieties and desires and functions as a mirror in which we see ourselves reflected.

Featuring works by:

Andrew Dyer, Andrew Gallix, Annie Q. Syed, Anthony Etherin, C.C. O’Hanlon, David Roden, Emma Bolland, Flowerville, Genese Grill, Geoff Saunders, Iris Colomb, Julia Rose Lewis, Kate Wakeling, Octavia Bright and Rushda Rafeek.

Edited by Christian Patracchini.

The Quiddity of Andrew Gallix

The multi-talented Sam Mills has done my portrait (as part of a series of writers’ portraits). The beauty of it is that she’s actually managed to make me look good! This is the second draft. Sam said, “I found it easier to draw your eyes when I realised you have similar eyes to Lucian Freud, who I’ve also been sketching (his ghost kindly sat for me…)”.

Sam Mills: “Evidence: if you compare this photo of Lucian Freud with you, I think you have a similar profile, with regard to long lashes/slant of lips? Something similar somewhere”.

Sam Mills: “It’s a colourful pic because you look very vital, with a lot of sun and shukra in your skin, but a close look suggests a jaded edge, as though you’ve not had much sleep or you’ve been imbibing or something (!). Anyway, I was struggling with another portrait & found myself drawing it; here is the half-finished sketch”.

The Hippest Man in Paris

I have written a piece in homage to the late Marc Zermati for the Guardian. Great photo by Catherine Faux of Zermati with Joe Strummer in Paris back in 1981.

Marc Zermati, who died of a heart attack on Saturday at the age of 74, was a true underground legend: a national treasure France had never heard of and probably did not deserve. Rock Is My Life — the title of a 2008 exhibition celebrating his career on the radical fringes of the music business — would serve as a fitting epitaph. . . . [A]s one of the earliest champions of punk his importance in rock history cannot be overstated; if cut, he would have bled vinyl…

The Quarantine Hotline

Gallix, Andrew. The Quarantine Hotline, episode 6. Interview by Fernando Sdrigotti. Minor Literature[s], 2 June 2020.

Topics discussed: 3:AM Magazine, making something out of nothing, punk, money and literature, and the myth of Paris.

Listen to Fernando Sdrigotti‘s great questions! Listen to me repeating ‘you know’ over and over again!

(Picture by Grant Hutchinson.)

We Were So Turned On

Hochreiter, Susanne. “‘We Were So Turned On’: Reflections on Queer(ing) Past and Memory.” Sexual Culture in Germany in the 1970s: A Golden Age for Queers?, edited by Janin Afken and Benedikt Wolf, Macmillan Palgrave, 2019, p. 48:

The ghosts that we hear represent what Jacques Derrida referred to as ‘hauntology’ in his Specters of Marx: The term refers to the situation of temporal, historical and ontological disjunction in which the apparent presence of being is replaced by an absent or deferred non-origin, represented by ‘the the figure of the ghost as that which is neither present, nor absent, neither dead nor alive’, as Andrew Gallix puts it (Gallix, 2011). . . . Many or even ‘all forms of representation are ghostly’ as Andrew Gallix puts it in his article: ‘Works of art are haunted, not only by the ideal forms of which they are imperfect instantiations, but also by what escpes representation’ (Gallix, 2011).

[PS I’m afraid the first quote is actually me quoting Colin Davis.]