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10. Certain other ‘French’ ultra-left currents from this period are more accessible to the general reader because individuals involved with them later became famous academics. Both Cornelius Castoriadis and Jean-François Lyotard were active in the Socialism Or Barbarism group and collections of their political writings are available in reliable English translations published by reputable academic presses. S ou B emerged from the Chaulieu-Montal tendency within the Trotskyist Fourth International (French section). Their 1948 break with this organisation entailed both an uncompromising denunciation of Trotskyism and a total rejection of the absurd notion that the USSR was a ‘degenerate workers’ state’. From the beginning S ou B contained two distinct currents represented by Chaulieu (the pseudonym of Castoriadis, who favoured a revolutionary party) and Montal (the pseudonym of Lefort, who was for the spontaneous self-organisation of workers). Unhappily, Lefort has to date failed to attract supporters within English-language academic publishing. Only by grasping the respective positions of both Castoriadis and Lefort is it possible understand how S ou B attracted elements from both the councilist and Bordigist poles of the French ultra-left.
11. No doubt the anachronistic quality of Grassic Gibbon’s work, the stress on form and repetition, stems in part from the fact that he had to slip his writings out through a small hole in the side of the dressmaker’s dummy in which he lived after his wife had imprisoned him there rather than admit to friends that her husband wasn’t the pseudo-metaphysical poet and critic William Empson who’d been educated at Winchester and Magdalene College, Cambridge. That said, for Gibbon to act, to create, to satisfy desire was paramount, despite moral uncertainty and the difficulty of moving his arms around inside the dummy. Gibbon’s work is terrible in all senses of the word but especially in the sense of wearing a brown felt dressing gown which was ragged at the edge over a pair of sequined orthopaedic panty hose in a whorehouse where the girls wouldn’t even look at him unless they were doped. Indeed, about the only good thing you can say about Gibbon is that he avoided the academic training that causes the likes of Bo Fowler and Robert Irwin to appear so petulantly pedantic in their attempts to make Eng. Lit. look ‘left-field’ despite the tediously even tone of their prose and a desperate desire that this should be recognised as ‘style’ ha ha.
12. Alternatively I might have begun and thus ended, perhaps begun again would be a more accurate description, with an extended version of the following ‘improvisation’: A man no longer called Alan came to Aberdeen. He told me his name was Callum. Somewhere along the line he slipped out of my life. The life slipped out of Callum. If I could reach out and touch him. Reach out. Touch him. Slipped. Slipped out. Life slipped out. Along the line. He slipped out. My life. If I could slip out. If I could reach out. A man. A man called Callum. No longer. He slipped out of my life. If I could slip out of my life. Reach out and touch. Reach out and touch him. Reach out and touch him somewhere along the line. He slipped out. He slipped out of Aberdeen. The life slipped out of him. A man called Alan came to Aberdeen. A
man called Alan came to Aberdeen with me. Alan left Aberdeen. Alan slipped out of this life. Alan and Callum came to Aberdeen. A man called Callum changed his name to Alan and I am no longer sure whether or not I killed him.
He told me his name was Callum. Somewhere along the line he slipped out of my life. A man no longer called Alan came to Aberdeen. If I could reach out and touch him. The life slipped out of Callum. Touch him. Reach out. Slipped out. Slipped. Along the line. Life slipped out. My life. He slipped out. If I could reach out. If I could slip out. A man called Callum. A man. He slipped out of my life. No longer. Reach out and touch. If I could slip out of my life. Reach out and touch him somewhere along the line. Reach out and touch him. He slipped out of Aberdeen. He slipped out. A man called Alan came to Aberdeen. The life slipped out of him. Alan left Aberdeen. A man called Alan came to Aberdeen with me. Alan and Callum came to Aberdeen. Alan slipped out of this life. A man called Callum changed his name to Alan and I am no longer sure whether or not I killed him.
Alan and Callum came to Aberdeen. A man no longer called Alan came to Aberdeen. Alan left Aberdeen. He told me his name was Callum. A man called Alan came to Aberdeen with me. Somewhere along the line he slipped out of my life. The life slipped out of him. The life slipped out of Callum. He slipped out. If I could reach out and touch him. Reach out and touch him. If I could slip out of my life. No longer. Reach out. A man. Touch him. If I could reach out. Slipped. My life. Slipped out. He slipped out. Along the line. Life slipped out. If I could slip out. A man called Callum. He slipped out of my life. Reach out and touch. Reach out and touch him somewhere along the line. He slipped out of Aberdeen. A man called Alan came to Aberdeen. Alan slipped out of this life. A man called Callum changed his name to Alan and I am no longer sure whether or not I killed him.
A man no longer called Alan came to Aberdeen. Alan and Callum came to Aberdeen. He told me his name was Callum. Alan left Aberdeen. Somewhere along the line he slipped out of my life. A man called Alan came to Aberdeen with me. The life slipped out of Callum. The life slipped out of him. If I could reach out and touch him. He slipped out. If I could slip out of my life. Reach out and touch him. Reach out. No longer. A man. If I could reach out. Touch him. My life. Slipped. He slipped out. Slipped out. Life slipped out. Along the line. A man called Callum. If I could slip out. Reach out and touch. He slipped out of my life. He slipped out of Aberdeen. Reach out and touch him somewhere along the line. Alan slipped out of this life. A man called Alan came to Aberdeen. A man called Callum changed his name to Alan and I am no longer sure whether or not I killed him. &c. &c. &c.
Table of Contents
Author biography
Copyright page
Epigraph page
Contents
ONE
TWO
THREE
FOUR
FIVE
SIX
SEVEN
EIGHT
NINE
TEN
ELEVEN
TWELVE