London’s Outrage

Here is my first interview with Jon Savage. It appeared in 3:AM Magazine in June 2002:

London’s Outrage Andrew Gallix interviews Jon Savage

3:AM: You were about 23 when punk came along. When did you first hear about it and why did it appeal to you so much?

JS: Being a pop fan from the year dot: I was a teenager at the height of the mid-60s pop explosion. Wanting to rock and there being no rock. The countdown to punk was very simple: Nuggets (1972) and Hard Up Heroes (1973) rekindled interest in the hard, mutated sixties pop that you could buy in Rock On [Ted Carroll’s record shop] in 73-75 (ie Yardbirds, Kinks, Who, Them etc). Patti Smith’s Horses. Charles Shaar Murray’s article about the Ramones (November 75). The Ramones’ first album (April 76). Television’s “Little Johnny Jewel”.

3:AM: I believe you were training to become a solicitor in 1975: did punk save you from a life of tedium like bank clerk Mark Perry, for instance?

JS: Yes. It enabled me ultimately to quit the law and enter the media — another kind of hell but not that particular kind of hell.

3:AM: Unlike Mark Perry, you graduated from Cambridge University. Did your social/intellectual background prevent you from feeling totally integrated within the new scene or, on the contrary, did it help you better understand its numerous influences and appreciate it even more?

JS: Um, I would have to say that despite the influence that those three years of University might well have had on me, you would have to place 13 years of growing in Ealing, and another 8 of being a teenager in Kensington and wandering around central London. I’m a West Londoner and was acutely aware of my pop-saturated environment. So for me not to be fascinated by punk would have been stranger. Plus there is the emotional element (oh sorry, because I have a brain I’m not supposed to have any emotions) and I was totally pissed off, isolated and alienated, in 1976.

3:AM: Why did you pick up a pen rather than a guitar? Did you ever consider forming a band?

JS: No, because to be in a band, in 1977, was to go up and down the country in a van getting spat at. I don’t think so. Plus, I was working in the lawyers’ office at the time and so was unable. Steven Lavers and I had a concept band called Para — I was Para Noia and he was Para Normal — but that’s all it was. If I had been in the same situation 12 years later (like Bob Stanley of Saint Etienne) then I would have no doubt started tinkering around with samplers.

3:AM: When did you start your fanzine London’s Outrage? Were you directly influenced by Sniffin’ Glue? What were your favourite fanzines?

JS: London’s Outrage was done at the end of November 1976: went to see The Clash, saw The Sex Pistols, and did it in two days. I was highly influenced by Sniffin’ Glue, Who Put The Bomp, Bam Balam, and, on the visual side, Claude Pélieu and John Heartfield.

3:AM: Could you tell us about how you produced London’s Outrage, how it was distributed and how many copies you sold?

JS: 50 copies xeroxed. 1000 copies printed. Distributed through Rough Trade — the first one, I might add. All sold. London’s Outrage 2 (all photos and montage set in Notting Hill, Ladbroke Grave and Notting Dale) — only 50 copies xeroxed and sold.

3:AM: I was surprised to discover that Sniffin’ Glue actually had an office: did you also have a professional approach to your zine? Did you ever consider turning London’s Outrage into a more commercial proposition like Jamming, for instance?

JS: No. I always disliked Jamming because I hated The Jam and the whole point of fanzines was to construct a new verbal / visual language, not to ape the existing music media. I also thought Sniffin’ Glue lost its edge when it got ‘professional’. Plus I thought Danny Baker was an idiot, unlike Mark Perry for whom I have great respect.

3:AM: “Outrage” was a punk buzzword like “boredom” or “anarchy”, but why exactly did you call your fanzine London’s Outrage?

JS: It was already on the Sex Pistols’ flyer (for the Notre Dame Hall gig) that I converted for the front cover. Easy.

3:AM: In a TV programme a few years ago, you spoke of the influence of Sheperd’s Bush on the Sex Pistols and of Notting Hill / Ladbroke Grove on The Clash: what impact did London have on the punk scene?

JS: Well, it started in London, didn’t it? This is too wide a question. The answers are in England’s Dreaming. The one thing I would say was that London was so decrepit that 15-25 year olds could leave home and squat or find cheap flats. Obviously, this is no longer possible.

3:AM: What were the punk years like for you on a day-to-day basis? Did you hang out at Louise’s [where the Pistols and the Bromley Contingent used to hang out] in the early days?

JS: No.

3:AM: Were you a regular at The Roxy [London’s first exclusively punk club]?

JS: Yes.

3:AM: Did you shop in Sex, Seditionaries, Acme Attractions, Boy or Beaufort Market [all on London’s King’s Road]?

JS: Yes. In a way that was my introduction because I shopped in Acme and must have been to Sex before I heard the British punk groups. I didn’t shop in Boy because I thought it was naff. My friend Poly Styrene had a stall in Beaufort Market, so I used to hang out there.

3:AM: Who were your favourite bands? Do you still listen to some of them today?

JS: Ramones, Sex Pistols, early Television, early Clash, The Adverts, The Buzzcocks, The Saints, Wire, Penetration, The Slits, Siouxsie, Subway Sect, The Prefects, X-Ray Spex — the distaff side. Still listen to them today, not all the time, but I still like the energy, the humour and the strong emotions. I hated The Jam and The Stranglers: ghastly retro rubbish, old information. The point about punk was that everything should be new.

3:AM: In England’s Dreaming, you claim that punk’s gay roots were hidden as soon as the movement went overground: how important were those roots?

JS: As important as they are throughout the history of popular culture and artistic movements: damn near central. Many of punk’s original participants were gay, and much of the original aesthetic was also. There is much about this in England’s Dreaming. Gay involvement in pop culture is always downplayed, if not ignored, by scared and insecure het boys who can’t admit that much of what they love comes from queers. Well it does, so get used to it.

3:AM: How did you graduate from the world of fanzines to the weekly music press, Sounds, Melody Maker and later The Face?

JS: Quick pick up of anyone on the scene who had a brain in early 1977: in my case, thanks to Dave Fudger and Vivien Goldman. For the rest of it, read Paul Gorman’s In Their Own Write.

3:AM: How did you get on with other young, hip gunslinging punk rock critics like Tony Parsons, Julie Burchill, Caroline Coon, John Ingham or Jane Suck?

JS: This is the bitching question, right? Pass.

3:AM: Much of what you have written (on Joy Division, for instance, or the intro to The Manual) is punk-related: is it still very much an influence for you?

JS: Well, obviously. It’s not like I’m sitting here with spiked up hair or bondage strides, but I do not regret any aspect of my involvement with punk at all and despise those who, in order to achieve some illusory ‘adulthood’, deride their adolescent ideals. I think that successful adulthood depends on the integration of youthful ideals with mature experience of the world.

3:AM: Where does your obsession with pop culture (from Picture Post Idols to house music through The Kinks) come from?

JS: Being a sentient being with quivering antennae in early sixties suburbia. The Beatles hit hard, and then I saw the Kinks on the telly in summer 1964 and couldn’t believe that boys could look like girls and make such an unholy racket. Compared to the other great option, sport, this mix of glamour and perceptual subversion was so much more attractive. Football: just a bunch of people in bad clothes running round in the rain, getting shouted at. I still loathe sport culture, not the sport. I was 10 in 1963, so the whole parade of sixties pop was unfurled before my greedy eyes. I couldn’t get enough of it.

3:AM: How did you come to write The Faber Book of Pop with Hanif Kureishi?

JS: His idea. A good one, as it happens.

3:AM: Did you like him as a writer?

JS: I liked Buddha, didn’t like Intimacy at all. Ultimately, we both want quite different things.

3:AM: Why do you think it took so long for punk to have an impact on British fiction?

JS: Because fiction always lags behind music. And because the literary ‘scene’ in England is SO vile. Example: when in 1975, I left university for the world, my guides were not Martin Amis or Ian McEwan, but Patti Smith and The Ramones. They told me all I needed to know, not the overhyped products of an incredibly small, and inward-looking clique.

3:AM: Who are your favourite contemporary British writers?

JS: I don’t think in these terms. All my reading is concentrated on my work which is at present located in the 1930s.

3:AM: How did the British Film Institute’s Never Mind the Jubilee punk season come about?

JS: I was asked by Hilary Smith (National Film Theatre Head) and I said yes. I knew most of the footage because of the research I’d done for England’s Dreaming and Arena’s Punk and the Pistols programme.

3:AM: What impact do you hope it will have? Punk is often seen retrospectively through the black and white photos of the music press: maybe these films will show how colourful it really was? It might also prove once and for all that there were no mohicans back in 77…

JS: Well that’s a start! I think seeing beyond the clichés presented by lame thirty/fortysomethings (example: Never Mind the Buzzcocks — a total travesty; another example, the super-straight Nick Hornby) is extremely important: punk was wild, outcast, vicious and protective at the same time. It wasn’t boring, and it wasn’t straight (I don’t mean this just in terms of sexuality, but in a perceptual sense). It did not, initially, reinforce the dominant values. So if you’re pissed off, you might pick up some tips. You might find a bunch of outcasts coming together curiously uplifting. There is, also, some great music there (and that’s where I came into all of this). Otherwise: punk is dead. It was 25 years ago: half an adult lifetime. Bye bye.

Spank for England

Here is my interview with novelist James Hawes, published in 3:AM Magazine in April 2005:

3:AM: When you burst onto the literary scene in 96, you already seemed to be a fully-formed, fully-fledged novelist. Tell us about your writing apprenticeship.

JH: I wanted to be an actor and playwright, but I was useless at both and thus managed to end up totally lost, broke and CV-less at 27, living among smackheads, crims and slumming-it trustafarians just as the Loadsamoney late 80s were starting. I knew I couldn’t last in that world, so I went back and did a PhD, which meant I got a grant to live on (ah, lost days) and a name-tag for my life. For the next seven years I quietly close-read Kafka, Nietzsche, Mann, Musil, Hesse and suchlike. I did it seriously and straight: by 1993 I was quite a respected Young Academic, but I was also trying to write again, this time a novel. In hindsight I suppose it looks as though I half-consciously made myself a bubble where I could be paid to dissect serious writers and see how they did it. But then we all have PhDs in Hindsight.

3:AM: A White Merc with Fins was part of that whole finger-on-the-pulse-of-the-zeitgeist post-Trainspotting chemical generation/lad lit wave. Were you influenced, or at least inspired, by Irvine Welsh or any of those writers?

JH: I didn’t know anything about them. I was still working full-time as a teacher of German lit. I knew almost nothing about Eng. Lit in general (I had never read anything by Martin Amis except Money or by Ian McEwan except his first story-collection, and still haven’t). When my younger, cooler Manchester brother heard I was trying seriously to write, he sent me Trainspotting, but by the time I read it White Merc was finished and sent off to my agent. When I read it I loved it and was jealous as hell. You could tell straight away that unlike most so-called “young gunslinger” Brit writers (see next question(s)!) Welsh was not a posh North London day-school/olde grammar-school/Eton boy slumming it.

3:AM: The consensus at the moment is that Speak for England is your first truly serious work (Alfred Hickling wrote in The Guardian that you have “filled out into a comic novelist of considerable stature”) after starting off as a hip young gunslinger in the Bret Easton Ellis/Welsh mode. I think it’s becoming increasingly clear that you’ve been sending up the zeitgeist all along à la Kingsley Amis or Evelyn Waugh (who you recently described as the “only English writer” you “read and re-read for sheer pleasure”). Is the angry young man turning into a middle-aged fogy? Are you in the process of doing a John Osborne?

JH: I don’t think my writing was ever “angry” in that way. Or “young”, come to think of it. The hero of White Merc was quite explicitly a middle-class boy knocking on 30 who really only wanted “a flat with tall windows” but had gone adrift. The book took the piss out of “alternative” IRA groupies, smackheads, hippies and suchlike. I love Waugh for the LACK of foregrounded psychology in his writing — a satirical tactic which (bizarre though it probably sounds to Anglo-Saxon ears) he shares with Kafka. As for Waugh’s snobbery, see later answers…

3:AM: As Toby Clements points out in The Telegraph, the narrator’s allegiances seem to be divided in your new book, Speak for England. To what extent were you — the author — seduced by the reactionary lost world Brian Marley encounters? I mean, even if your intent is clearly satirical, it must have been quite intoxicating — liberating, even — to write the unwriteable by envisioning the Empire literally striking back, Britain withdrawing from the EU, the public humiliation of the PM’s “Best Friend” etc.

JH: Writing satire is a way of having your cake and eating it. For example, anyone who reads Brecht can hardly miss that the supposedly Bad Guys, the wicked capitalists and chancers, get all the best lines and laughs. And the more you know about Brecht himself the more clear it is that these characters are far closer to his (concealed) heart than the Good Persons. Then again (cf Waugh, too), as Nietzsche says: “What do we care about the ORIGIN of a work? The artist is only the soil and the earth — sometimes the dung and shit — from which the WORK grows!” (fx: insane cackling).

3:AM: Your analysis of the psycho-sexual roots of power is fascinating. If we “are all forever small children”, as Carl Jung surmises in the epigraph to Chapter Three (Speak for England, 95), the past is “the only real home we shall have” (ibid 335) and, consequently, we all want to go back in order to go back home. In Speak for England, the past literally comes home. The protagonist Brian Marley — who is stranded in Papua New Guinea after taking part in a Survivor-type reality game show called Brit Pluck, Green Hell, Two Million — stumbles upon a corner of a foreign jungle that is forever England, created by the passengers of a plane crash which happened in 1958. The Colonists eventually return to Britain where they reintroduce no-nonsense Fifties values. Your academic work on Nietzsche must have had some bearing on this hankering after authority (“the ultimate perversion is repression,” 315) which drives the National Government’s counter-revolution.

JH: Yes, Nietzsche is fascinating on the psychology of power and I did a lot of work on Kafka/Nietszche in that light, so no doubt it filtered in. But even more so (and more importantly for Speak for England), he’s a master of insight about our crippling need for structures of belief and certainties — as he famously says “man would rather will nothingness than not will” — meaning that we tend to embrace (any old) system of thought that can deliver “Certainties”, at almost any price, rather than face the uncharted oceans of modernity. Today that insight is more serious than ever — it exactly explains the triumph of Muslim Fundamentalism in Iran, for example.

3:AM: You get a lot of mileage out of the past/present dichotomy. The scene in which the Prime Minister’s “Best Friend” is “seen live on TV, by about half a billion people, being caned thoroughly on his naked backside by an elderly gentleman while handsome, bronzed youths with ancient rifles and big shorts stood about and laughed at him” (254) could be innocent enough in a Boy’s Own story, but has strong S&M/homoerotic connations for us. Likewise the depiction of the PM’s Press Secretary being tossed, stark naked, in the Union Jack by sixth formers while a beautiful young lady looks on “holding her hips and shaking with laughter” (249). Could you tell us a bit about that?

JH: The bizarre thing about the 50’s was that in certain circles (i.e. ex-public school, theatrical, cinematic) people were openly gay in a way that has only become more generally possible in the last ten or fifteen years. To be honest, my conscious intentions in the above passages were simply Broad Comedy — but what do our intentions matter when it’s a question of subconcious enactments…

3:AM: If we are “all forever small children”, the childhood we long for only ever really existed in books — the kind of books which created our notion of childhood in the first place. Brian Marley (whose name advertises its own literary nature) has a Proustian moment when he rediscovers his 1965 Eagle Annual which strikes him as more real than reality itself. Speak for England often resembles one of those Disney films which mix flesh-and-blood actors with animated figures. The Colonists, for instance, seem to have stepped out of a typical Boy’s Own story: significantly, they use a toy Dan Dare radio station to make contact with the modern world. There are even two references to the Famous Five, one of which is made by a female character called George! So when people like Clemency Burton-Hill (whose name could come straight out of your book!) criticise the “dismal cliche” of the dialogue, they overlook the whole metatextual aspect, don’t they?

JH: Couldn’t out it better myself. How else would these characters talk? The whole point is that our Hero free-falls easily into that clipped, anti-emotional, impersonal, oh-so “English” mode — as a grateful escape from the pressures of Individuality.

3:AM: This childhood nostalgia can be likened to “a warm homecoming to something we have never truly known but yet missed all our lives” (28), first of all because it is fictitious, but also because the childhood depicted in most children’s books is an upper-class or at least very middle-class one. The same can be said about notions of Englishness which are also class-based. Do you think there is a link between these two notions of childhood and Englishness?

JH: Absolutely. There’s a striking difference between England and America here that goes all through cinema, especially U.S. depictions of “the golden times of youth” or whatever are always (right from Citizen Kane) small-town, close-to-the-soil, classless. Ours are Edwardian upper-middle. And in every U.S. film, the Hero has to prove his blue-collar cred (even if he’s a bigshot lawyer or the President himself) by e.g. smacking a baseball out of sight. Whereas in the UK we seem happy to accept Hugh Grant’s dithering shtick as “normal everyday Englishman”. Pinter marries into the nobility, Scruton goes hunting: to a middle-class Englishman there simply IS no other model of success than a mad sub-Austen Georgians At Home fairytale.

3:AM: Speak for England — which is partly a robinsonnade — is often reminiscent of Robinson Crusoe. Like Robinson Crusoe, the Colonists have recreated the society they came from in the middle of nowhere. Like Robinson Crusoe, Brian Marley’s problems stem from his relationship with his father (Robinson disobeys his father; fatherless Brian is in thrall to the Führer-type Headmaster, the ultimate father figure). Robinson Crusoe’s inability to accept the “middle Station of Life” is mirrored by Brian’s desire to become a “real Englishman”, ie a member of the upper-classes. The difference between the two novels is that Robinson Crusoe marks the triumph of middle-class social climbing whereas in Speak For England there is a constant distinction between becoming and being.

When Brian Marley thinks he is dying in the jungle and wishes to record a last message for his son, he cannot find his own voice. As a member of the lower middle-classes, he has no voice, no identity: being lower middle-class is a transitional state. But as you show in several of your works, the upward-mobility associated with the post-war consensus has disappeared leaving only frustration in its wake. People like Brian Marley struggle through their mediocre, ersatz lives (fake mail-order Agas!) with the nagging feeling that they are “below their imagined station” (80) and are denied “the unreflective joy of unthinking union” (222) which is shared by the working and upper classes. Tell us more about this opposition between becoming (the aspirational lower middle-classes) and being (“A caveman, that would be real”, 21).

JH: I have honestly not seen this “being” vs “belonging” business before (as an ex-academic I think I have to almost consciously repress the awareness of intellectual substructures in order to preserve any life and freedom in my writing) but you are quite right. Hmm. Yes, the salient facts of the middle-class are its very MIDDLE-ness (i.e. its lack of any “authentic” aspects) and (as Marx pointed out) its dynamism. Its relations with the Working Classes are a mixture of disdain, fear and envy, while the Upper Classes are objects of secret outrage mixed with public fawning. To my Hero’s mother’s generation the vision of “oak trees growing out of the ruins of Buckingham Palace” still implied a sort of Good Old Uncle Joe All Them Cornfields And Ballet In the Evenings left-wing project: but that Lower-Middle Radicalism is, in the saloon-bars of today, more often part of something very different: “get rid of the Posh Wasters (the Queen herself alone excepted), dismantle social security, do-gooding and multiculturalism, smash the unions, kick out the asylum seekers…”. And never underestimate the dynamism Marx spotted: we are facing what Brecht said we should dread — interesting times.

3:AM: As befits any novel about Englishness, class plays a central part. Your characters often sleepwalk through life, forgetting that “this is not a rehearsal” (Rancid Aluminium, 29), prolonging the “long vacation of extended adolescence” (A White Merc with Fins, 19), in order to maintain “the helpful fantasy that their true lives still lay in the future” (Speak for England, 80) until they make a last-ditch attempt at saving themselves by doing “something radical” (A White Merc with Fins, 22): robbing a bank, say, or taking part in an extreme reality TV show. Before reaching the end of his tether, the protagonist of Speak for England, Brian Marley, teaches English as a foreign language and flees “to some new foreign country” whenever “things get too tough or too real” (Speak for England, 41) because “moving about lets you kid yourself you are moving on” (A White Merc with Fins, 70). Countless authors of your generation have depicted the nihilistic slackerdom of the idle rich or its lumpen variety, but nobody else has dissected the “pre-emptive strike on living” of the lower middle-classes with such deadly accuracy. Would you agree that this is your great theme, and do you see it as a particularly English phenomenon?

JH: I think it’s my great theme because I’m English. Nietzsche again: “We are all just organ-grinders with only one tune, but eternity itself turns the handle”. I went to Oxford in 1978 from a rural comp like some mad innocent with a straw in his mouth, four years behind the fashion and quite literally having never met a boarding-school boy in my life. I found that the world (Oxford was then still largely a men-only-colleges place) was full of incredibly sophisticated, shamingly cool and impossibly well-connected young chaps who were used to partying in publishers’ holiday homes, skiing every Xmas vac and using mummy’s debenture at the Royal Court. They seemed two or three years older than me, never mind infinitely richer. And they (step forward in particular a certain person whom I learned ten years ago was none other than Will Self) naturally got the Posh Birds I wanted but hadn’t the faintest notion how to approach. You may detect a chip on ye olde Hawes shoulder. A sack of spuds, more like, my dear. I shudder to remember, never mind relate, the wretched idiocies I got into. And all based on class.

3:AM: You seem to imply that the linguistic class war goes far beyond the “Garridge”/”garaaj” dichotomy (256), that it is not merely a question of pronunciation.

JH: My own theory is that this can be traced right back to the Conquest. Show me a name like Percy Beaufort in the phone-book and I will call someone posh for you. I invented an Irish archaeological book from which to supposedly lift an epigraph on this subject in order to avoid forcing my views into the mouth of some hapless “character”…

3:AM: I thought the controversial end of the book (which could be described as the ultimate cliffhanger) was really effective. Did you know how it would (or would not) end right from the start, or did you come up with this — hum — aporetic non-dénouement precisely because you had no idea?

JH: No, I really didn’t know what to do with the Hero at the end, and the last thing I wanted was to manufacture a ghastly film-syle “upbeat” ending. I wish I’d ended it like A Good Man in Africa in retrospect, but I’m glad you think it worked.

3:AM: Did the Comet IV accident really happen?

JH: No, that was made up. Delighted you even have to ask.

3:AM: Many novelists of your generation like Jonathan Coe (The Rotters’ Club) or Toby Litt (Deadkidsongs) seem to be writing about their childhood. Is this a generational thing? Were you in any way inspired by these books?

JH: I haven’t read either of these. As you get older you realise that what you thought, when you were 20, was pure freedom to create your own, new, form of living is in fact tugged at by hidden (apron-)strings that go back even beyond your birth. By 40 — or maybe with parenthood? — you see that you will never know who you really are and what you could really do until you know what you actually were, and were being formed for. If anyone under 25 is reading this, my motto to them would be: “No, you don’t believe this, of course you don’t, you’re not MEANT to. But you will”.

3:AM: So what’s next?

JH: I’m putting the final touches to my first original screenplay so a Producer can take it to Cannes. It’s a screwball rom-com called Dr Kafka’s Love-Letter. I adore it and it’s had great initial come-back. I’m thinking of a novel version, but the next one will be a black-comic story about a cheated lower-middle-class man (hey, what else?) who is digging his little South London garden while wishing he’d had the guts to completely desert his ex-wife and kids by buying a bar in Valparaiso for $15,000 instead of paying £300K for this shitheap, when he comes across a long-buried, perfectly oiled and preserved AK-47…