Historically, ‘post-punk’ has been described as a predominately white, male, middle-class musical scene. While the reality was really very different – female-fronted bands such as Delta V and Au Pairs not only participated in the subculture, but used it as a platform for gender commentary – it has mostly been the male performers – Joy Division, Wire, Gang of Four – who’ve received the bulk of critical attention.
It’s often said that the American neoconservative Bill Kristol never met a war he didn’t like. Certainly, Kristol played a key role in promoting the US attack on Iraq in 2003 – and since then he’s been advocating new military interventions just about everywhere.
By now, most of us should be fully aware of the arrival of refugees on European shores, and by extension, Australia. The descriptors used for these movements of large masses of people across land and sea are often described in fluid terms: a surge, a flood, a wave, a flow; a rising tide that is about to break open the dams and threaten the biodiversity of our precious ecosystems. This language isn’t just tremendously invalidating and dehumanising: when scores of migrants are either locked up in detention centres or dying at sea, it helps to gloss over the fact of their mere existence.
Morrissey has written a novel. It’s called List of the Lost. It is, according to Michael Hann at the Guardian, an ‘unpolished turd of a book’, about which ‘all you need to know is not to buy it.’
I bought it.
Burning thoughts on books, music, articles, TV shows, films, and other cultural ephemera from Overland’s writers and editors.