Ashford, James. “What is Hauntology?” The Week, 31 October 2019:
[…] And away from politics, “at its most basic level, it ties in with the popularity of faux-vintage photography, abandoned spaces and TV series like Life on Mars”, said writer and academic Andrew Gallix in The Guardian in 2011.
“When you come to think of it, all forms of representation are ghostly,” he added. “Works of art are haunted, not only by the ideal forms of which they are imperfect instantiations, but also by what escapes representation.”
Mardell, Oscar. Review of Love Bites: Fiction Inspired by Pete Shelley and Buzzcocks, edited by Andrew Gallix, Tomoé Hill and C.D. Rose. 3:AM Magazine, 27 October 2019:
[…] And it’s not only time that is out of joint. Andrew Gallix’s ‘Operators Manual’ begins with the haunting passage:
I live on a trap street. One of those fictitious roads cartographers add to their maps in order to confound plagiarists. Have I confounded you now that you have found me? Found me here, of all places — a non-existent one.
Gallix’s piece is, among other things, a masterstudy in place as palimpsest, a setting defined by what is elsewhere. […]
Here are some more highlights from the review:
Like the band that inspired them, the pieces collected here share an obsessive focus on the ordinary, lovingly cataloguing its mundane, glamourless, and frustrating weirdness. They document the awkwardness and the hilarity of human relationships, and of love in particular — the way it violates and completes our everyday lives, and the way it transcends the gender divisions by which those lives are often structured. The singularity of the source, in other words, has begotten wonderful issue. Love Bites is about as far away from the linear or sentimental retrospective as you can get. This is no starry-eyed tourist guide to some bygone era; think of it as a ghost-hunting manual for The End of History. It will be a hard — perhaps impossible — act to follow. And whatever comes next is destined to look like a parody of an old routine.
It contains 35 short stories inspired by the late Pete Shelley and Buzzcocks courtesy of:
Emma Bolland, Victoria Briggs, Tobias Carroll, Shane Jesse Christmass, David Collard, Sarah-Clare Conlon, Lara Alonso Corona, Cathleen Davies, Jeremy Dixon, Sharron Duggal, Wendy Erskine, Gerard Evans, Javi Fedrick, Mark Fiddes, Andrew Gallix, Meave Haughey, Tomoé Hill, Richard V. Hirst, David Holzer, Andrew Hook, Tom Jenks, Jonathan Kemp, Luke Kennard, Mark Leahy, Neil Nixon, Russell Persson, Hette Phillips, Julie Reverb, C.D. Rose, Lee Rourke, Germán Sierra, Beach Sloth, NJ Stallard and Rob Walton.
Strong contender for one of my favourite anthologies … ever. Almost 600 pages containing some of the most enlightening, complex, and intriguing authors of the present day. Swap the Brexit blues for this red, white, and blue marvel. It is impossible for me to choose a particular highlight, albeit the introduction alone is worth the full price of the collection. A masterpiece.
A big thanks to Des Lewis for his very generous review of my short story (“Celesteville’s Burning: A Work in Regress”) that features in We’ll Never Have Paris:
And, if many of the previous stories in this not-Paris book had not been quite so inspiring as they have been, then I would have thought this excellent Gallix story was the sole reason why I was MEANT to read this massive book (a book that I picked up at a whim!) — from the “Zut, zut, zut” of Marcel Proust to the Putain! Putain! Putain! of Sostène Zanzibar, this work is an astonishing delight. Zanzibar is a writer with a chequered career, a sexual fling with a young lady journalist etc., a rivalry with another exponent of the writerly or filmic arts, car chases across Paris, and much more. Yet, the biggest delight was his John Cage connected search for a tune within silence, or vice versa. And his publication of blank literature. (…) I LOVED this story. And so much more to tell you about it.
You will find all of Des Lewis’s real-time reviews of We’ll Never Have Parishere and there.
On 15th August, I was interviewed about We’ll Never Have Paris (Repeater Books) for Fernando Augusto Pacheco’s programme, The Stack, on Monocle 24 Radio. The interview was broadcast two days later. You can listen to my segment here. Full programme below.
What Soho Wore. 15 July-25 September 2016, The Photographers’ Gallery London.
From July 2016, Nina Manandhar, photographer and founder of What We Wore archive project, will be in residence at The Photographers’ Gallery mapping the hidden cultural history of Soho through people’s photography and stories. As independent clubs and shops are increasingly lost from the centre of the city, What Soho Wore explores the area’s rich cultural history and the role that photography has had within the multiple scenes, movements and communities that have made Soho what it was and is today.
The images and stories will be presented on The Media Wall, online and during a final discussion event on 18 September.
[This picture of me (left) and my mate Yannick, taken in September 1981, was part of the exhibition and the book that had preceded it. It also appears in the video below.]