The Emperor’s New Clothes in Reverse

Jack Henry, “3:AM Magazine Interview: Andrew Gallix,” Heroin Love Songs 5 Spring 2009: 87-90

JH: Thank you for taking the time to answer my questions.

AG: My pleasure!

JH: My primary interest is in New Media and what some refer to as New Media Literature. In addition there seems to be resurgence in writing and poetry. Perhaps this is due to so many on-line outlets. Also, movements such as the Brutalist and Offbeat Generation owe their existence to the Internet and various on-line outlets, including 3:AM. I think some of these movements and/or on-line journals have sprung from some post-punk anarchy reaction against mainstream publishing. I’ve read as much and agree with it. Some of these questions may seem obvious, but I am sure others are curious, as am I, to your unique perspective.

What is the importance of a movement or school of work? Is it an idea or concept developed from a historical perspective or can it be witnessed in the present, as it emerges?

AG: We never sat down one day and said ‘Let’s launch a new literary movement!’. We sat down one day and realised that we were part of a movement. It was already there, and all it needed was a name to gain visibility. It was the Emperor’s New Clothes in reverse. So, to answer your question, we have been observing the development of the Offbeat phenomenon since 2005 when we became conscious of it.

JH: What can a writer gain, if anything, from the inclusion within a movement?

AG: First of all, I must make it quite clear that the Offbeats are a movement and not a school of writing. Offbeat writers are individuals — they all have different styles and influences, even though they all share certain values and a certain rebellious spirit. Writing is a solitary activity, so it feels good to also have that collective experience.

JH: What are the unifying characteristics of the Brutalists or Offbeats? What is their historical heritage?

AG: The Brutalists are not a movement; they’re a trio of writers (Adelle Stripe, Ben Myers, and Tony O’Neill) who sometimes come together to write under that banner. Instead of forming a band, they write poetry. The Brutalists are very much part of the Offbeat scene. What unites all the Offbeats is a rejection of a publishing industry increasingly dominated by marketing, rather than literary, concerns. The name ‘Offbeat’ is an obvious nod to the Beats, but punk is perhaps the biggest historical reference. At least for some of us.

JH: In a few interviews I have read, the Offbeat Generation does not exist within a single style or genre, I am curious what the literary influences have been to this group? And, more specifically, any influences from areas outside of writing?

AG: That’s quite right, and since there is no house style, influences are pretty diverse. There’s the Bukowski-John Fante Real McCoy school of writing embodied by Tony O’Neill. There’s the Maurice Blanchot-Francis Ponge-William Burroughs axis led by Tom McCarthy. There’s the Barthelmesque comic postmodernism of HP Tinker. There’s the more quirky Brautigan-tinged world of Chris Killen or Tao Lin. And then there’s all the others with their personal influences.
Music is indeed very important to many Offbeats. Tony O’Neill played in bands like Kenickie or the Brian Jonestown Massacre. Ben Myers is also a music journalist and he even used to have his own indie label. Will Ashon has a hip hop label. As far as I’m concerned, Howard Devoto’s early lyrics are right up there with the works of the greatest writers.

JH: As the Beats of the 50s/60s gained popularity, pop culture turned them into a caricature of their origins. Is there a fear that current movements could be mainstreamed and, potentially, lose their power as a dissenting voice?

AG: Definitely. In a way, it’s already happened. There are lots of young writers who think they’re being Offbeat by spouting clichés about sex and drugs.

JH: What is the goal of a movement? Is it collective? Or individualistic?

AG: Total surrender of mainstream publishing!
It’s both individual and collective.

JH: It is my opinion that America’s “disposable mentality” has migrated to literature and our literary tradition. Publishers rely on a bestseller to support their efforts with other books. In my opinion, a majority of these best sellers are total shit. Writers that repeatedly appear on best-sellers’ lists utilize formula and structure that will satisfy the widest possible audience, with lim-ited concern for craft, exploration and daring. Subsequently, the wider audience is “dumbed down.” Additionally, marketing departments focus a majority of their budgets on bestsellers thereby limiting marketing funds for up and coming writers. In short, big publishers continue to promote disposable writing in order to earn the quick buck. Does literature still exist, either via New Media or traditional outlets? What is the future of literature?

AG: I totally agree with your analysis of the state of things. It’s the same in Britain — perhaps even worse because of the presence of a huge middlebrow market. In the States, it’s either total shit or pure genius.
But, yes, literature still exists and will continue to exist. I can’t predict what its future will be, but I think the western notion of The Writer may be on the way out. I think there will be fewer career writers in the future: writers who write simply because that’s what writers do. People will write a novel when they really feel the need to do so, but will also have other creative outlets.

JH: Returning to New Media, how important are New Media platforms (blogs, social networks, YouTube, etc.) to writers? Is there such a thing as New Media Literature?

AG: Well, I think you need to make a distinction between e-literature which uses the Internet as a new medium, and most online creative writing which simply uses the web as a medium. As I wrote here, I get the impression that the future of e-literature is to merge into digital art. That view seems to be highly controversial in e-lit circles. As for webzines, blogs etc. I think their role has been essential. The Offbeat movement is the first literary movement of the digital age. Without the Internet, it probably wouldn’t have existed in the first place.

JH: 3:AM is a widely admired online journal and has been around a while now. I have always been impressed with the quality of writing that comes out of it. With the Internet providing a global platform and on-line outlets (websites, blogzines, etc.) is there a dilution of quality writing? Or, more specifically, is there too much content? Or, perhaps, is it just too easy to get published online?

AG: Thanks for the kind words.
Interesting questions. A band that releases an album on its own label has credibility. Writers who do that are accused of vanity publishing. It’s true that there are thousands of rubbish writers out there who publish themselves on the Internet, but there are also stacks of rubbish writers whose works are published by big concerns — just visit any bookshop to see what I’m talking about. Bad writers will give up eventually; the good ones will float to the surface.

JH: How important is marketing to a New Media outlet or, as a whole, “underground” writers and publishers? With my journal I market wholly to exposure the writers I admire and feel have talent. The only real cost is time. With the press, I have a different attitude. I want to promote the writer, but I want to have some profit, no matter how minimal, in order to publish more writers. In the age of New Media Literature and the expectation of everything on the Internet should be free or relatively inexpensive, how does a press survive?

AG: I’ve been editing 3:AM Magazine since 2000; we get thousands of unique visitors a day, and yet I’ve never made any money out of it. There’s very little money in serious fiction.

JH: Is it more important to publish than publish and profit?

AG: Definitely.

JH: Okay, enough of my bullshit, let’s focus on 3:AM. Would 3:AM exist without the Internet?

AG: An emphatic no. I’d been toying with the idea of a post-punk literary journal for years, but the logistics just made it virtually impossible.

JH: In researching this project I have read through a number of issues from 3:AM. In terms of quality and content, it is definitely one of the better online magazines available. You have had a long tenure on the Internet, longer than most. What do you attribute that to?

AG: To the fact that we’re genuinely interested in writing, and that we don’t expect to make any money out of it.

JH: What are the future goals of 3:AM?

AG: To continue to spread the word.

Interview conducted on 21 May 2009.

La faim du livre

Along with Gérard Berréby, Augustin Trapenard, and Hervé Laurent, I was interviewed by Linn Levy for a piece entitled “La faim du livre” which appeared in the December 2013 issue of Swiss magazine Edelweiss. The article features on pp. 44-47; my interview is on p. 46.

La faim du livre

Edelweiss part en quête de la littérature contemporaine, des mots qui dérangent et se demande si être écrivain veut encore dire quelque chose par les temps qui courent. Quatre intellectuels se penchent sur ces questions et nous éclairent.

«Nous sommes les visages de notre temps», clamaient les futuristes russes, le poète Maïakosvki en tête, il y a exactement un siècle, pétris de la conviction que l’art qu’ils inventaient allait renverser l’ordre des choses, qu’en récrivant le monde ils façonneraient le futur. Et aujourd’hui? A qui appartiennent les visages de l’époque contemporaine? Peut-on encore écrire? Et quels sont, parmi le demi-millier d’ouvrages publiés cette rentrée en Suisse et en France, ceux qui tordent la littérature, l’éprouvent, l’inventent? Oui, dans quels livres trouve-t-on les questions que nous ne nous sommes pas encore posées? Difficile pour le lecteur de se retrouver dans le magma de fictions qui ornent les étals des librairies comme les marchandises envahissent les hypermarchés. Le divertissement, devenu la norme au risque d’endormir insidieusement les esprits, laisse peu de place au doute, la tension semble diluée, presque rien ne dérange, pas grand-chose ne dépasse. Alors, pour celui qui a faim d’autre chose que de spectacle et qui ne déteste pas être dérangé – «Etre scandalisé, un plaisir», assurait Pasolini –, il s’agit de résister en cherchant les lignes qui dévient, la littérature, la vraie, ce souffle qui a «la faculté d’empêcher la folie du monde de s’emparer totalement de nous», comme l’écrit Alberto Manguel. Quatre experts nous éclairent sur les mots d’aujourd’hui, l’influence du web, la mort imminente du droit d’auteur, celle de la figure de l’écrivain, sur le remix aussi, et l’irrévérence anglo-saxonne ou helvétique… L’éditeur Gérard Berréby, l’écrivain et professeur Andrew Gallix, le journaliste Augustin Trapenard et le critique d’art Hervé Laurent ont accepté de surcroît de dévoiler leurs titres préférés de la rentrée.

Andrew Gallix
Ecrivain, éditeur, professeur à la Sorbonne

L’écriture a cinquante ans de retard sur la peinture – triste constat de l’artiste Brion Gysin dans les années 60… «Et, pour le philosophe et romancier anglais Lars Iyer, la situation n’a fait qu’empirer. Le roman, censé échapper au monde des genres, est lui-même devenu un genre. Pour lui, la littérature est morte (comme la musique classique avant elle) et les livres que l’on peut encore écrire doivent exprimer la distance qui nous sépare de la grande littérature du passé. Cette «postlittérature» s’inscrit d’ailleurs dans un contexte politique et culturel plus général: pour Mark Fisher ou Simon Reynolds, par exemple, la modernité est derrière nous. Cette nouvelle crise du roman, symbolisée par Reality Hunger, le manifeste de David Shields, se traduit souvent par un rejet de la fiction.» Les idées se bousculent dans l’esprit brillant d’Andrew Gallix. L’écrivain britannique, professeur à la Sorbonne, collaborateur du quotidien The Guardian, punk depuis l’âge de 12 ans, a lancé en 2000 le premier blog littéraire en anglais, «3:AM Magazine»1, dont le mot d’ordre est le très groucho-marxesque: «De quoi qu’il s’agisse, nous sommes contre». Un webzine si avant-gardiste qu’il a donné naissance à un véritable mouvement littéraire, The Offbeat Generation, regroupant des plumes anglophones non conformistes (Tony O’Neill, Ben Myers, Tom McCarthy notamment), rejetant la culture dominante et le monde traditionnel de l’édition. «La littérature est quelque chose qui résiste, analyse-t-il. Même s’il n’existe plus vraiment d’avant-garde – le web l’a diluée en quelque sorte –, je remarque que l’écriture conceptuelle, expérimentale prend de plus en plus d’importance. Il y a toute une génération d’auteurs qui reste très influencée par la théorie poststructuraliste de Derrida, je pense notamment à Rachel Kushner. Il y a un autre courant d’écrivains, américains pour la plupart, qui s’inscrit dans la directe lignée de l’éditeur Gordon Lish – celui qui a en quelque sorte fait Raymond Carver. Pour eux, tout se passe au niveau de la phrase. Et, pour finir, je trouve passionnante et à suivre la scène littéraire qui s’est formée autour de la revue new-yorkaise n+1 (nplusonemag.com).»
1 http://www.andrewgallix.com / http://www.3ammagazine.com

Il lit:
Au départ d’Atocha, Ben Lerner (à paraître)
C, Tom McCarthy, L’Olivier
Nue, Jean-Philippe Toussaint, Editions de Minuit

The Offbeats

Ben Ashwell, “An Interview with Tony O’Neill,” Bookslut 138 (November 2013)

… O’Neill built a strong reputation for his needles-and-all accounts of addiction by publishing his stories online, on sites like 3:AM Magazine. This led him to be grouped with a range of other writers — such as Ben Myers, Lee Rourke, Adelle Stripe, and Andrew Gallix — who were collectively branded “The Offbeat Generation” by The Guardian.

gallixoneill
[Me and Tony O’Neill, Paris, June 2009]

The Enigmatic Polygeneration

One of my stories — “Dr Martens’ Bouncing Souls” — features in a new anthology entitled New Cross-Fucked Musings on a Manic Reality (Dog Horn Publishing, December 2010). Here is an extract from Tom Bradley‘s introduction:

In a universe ruled by karma and rebirth, “generation” is a bad word denoting as it does the stifling of spirits in coats of crass skin, the greatest disservice that can be done. Nevertheless, Hugh Fox got to christen the Invisible Generation, Andrew Gallix the Offbeats. So I’ll invent a name to embrace these people. I’ll make it doubly apt, as they produce electricity as well as useful heat: the Enigmatic Polygeneration.

crossfuckFIX2

This appears on the back cover:

This volume is ripe with prime produce sprung from minds that span five decades, but comprise a single literary generation. And who are the Enigmatic Polygeneration? They were christened by Tom Bradley in chapter four of Put It Down in a Book, as follows:

Digital connectivity has rendered physical locality irrelevant and made polyversality the new thing . . . Once space has been erased by the miracle of email, so has time, in terms of its effects on the human frame . . . In a creation where particles can spookily act upon each other at a distance of quadrillions of light years, the Seven Ages of Man are as days in the week, and a generation can span an open-ended number of decades . . . I’ll invent a name that’s doubly apt, as these writers produce electricity as well as useful heat.

In this vast anthology, among other delights, you will meet a pornographic ventriloquist and a man who has spent a lifetime getting laid only because he looks like certain famous people. You’ll be taken deep into the heads of such gentry as Charles Manson, Jack the Ripper (who, we learn, was actually Bram Stoker), and Kerry Thornley, author of a book about Lee Harvey Oswald published before the Kennedy assassination.

Andrew Gallix will give you a crash course in transgression, and underground press legend Hugh Fox will bring you to understand what it means to be the small Jewish boy who would one day become Charles Bukowski’s first biographer. Meanwhile, mighty Dave Migman teaches us how to live and die. Fabulous Adam Lowe reveals his adventures in cross-genre, multimedia literature. And lovely Deb Hoag . . . well, as usual, she’s got a surprise!

On The Beat Anthology

Dan Holloway kindly mentions me a couple of times in his interview with Sean McGahey apropos of The Beat anthology. Here are the two relevant extracts:

beat-anthology-banner

Dan Holloway, “Beat Me Before I Come Up With Any More Crass Metaphors,” Eight Cuts 13 November 2010

A while ago I recommended the really rather fantastic Beat Anthology, the best of the also fantastic site The Beat UK, published by the equally fantastic Blackheath Books. It’s a remarkable collection of stories that it’s rather tricky to track down to a certain theme, oeuvre, or any other arts wank category. Well, almost. Because I did notice a preponderence of public transport. Is this a comment on our eco-aware age? Is it an anti-individualist statement? Are the authors actually, like me, just not quite up to getting a driving licence.

Do I have a favourite? No, not really. I loved Andrew Gallix’s train; and Melissa Mann’s car (hmm, car, it must have been one of those street share jobs). But I couldn’t say one story was better than another. Some have more modes of transport, and some fewer maybe, but better? That’s about more than planes, trains, and automobiles.

[…] I was intrigued reading some of these pieces — like Andrew Gallix’s and Lee Rourke’s. the short story is a great place for paying with voice and form, but I wonder if the results can ever really transfer to novels. What’s rich in shorts can be stodgy in novels; what’s piquant can become downright tedious. What IS the point of novels other than publishers don’t really know what else to do?

All the Latest

I’m quoted in an article by Katie Allen (“Indie Literary Sites Start Coming of Age”) that appeared in The Bookseller on 8 October 2010.

On 13 August 2010, Slow Travel Berlin republished a piece I wrote on “The Virtues of Slow Writing“.

On 5 August 2010, IKE published an article on the Offbeat Generation in which they quote Jim Ruland saying this about me, back in 2007: “Andrew Gallix writes as if he invented Warhol on Monday, punk rock on Tuesday and then took the rest of the week off after declaring the project a sodding mess. In this day and age when laundry detergent is bold and automobiles are innovative, Gallix’s prose is like a fresh breath of mercurochrome: sharp and acrid with truths that are hideous to behold even though it’s good for us. Never mind Gallix? Bollocks!”

On 3 August 2010, Susan Tomaselli devoted her “3:AM Cult Hero” column in 3:AM Magazine to a piece I’d written for the Guardian about fictitious non-author Félicien Marboeuf, “the greatest writer never to have written”.

All the Latest

One of my short stories — “Sweet Fanny Adams” — features in The Beat Anthology 2006-2010, edited by Sean McGahey and published on 30 April 2010 by Blackheath Books. The other contributors are: Darran Anderson, Jenni Fagan, Steve Finbow, Chris Killen, Melissa Mann, Sean McGahey, Ben Myers, UV Ray, Joseph Ridgwell, Lee Rourke and Susan Tomaselli. The first 52 copies include a playing card and a spoken word CD. More here.