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Despite publishing nearly forty books between 1963 and 2003, Jeff Nuttall remains a minor figure in the history of the International Underground of the long 1960s. Drawing on his uncatalogued papers at the John Rylands Library, this article seeks to recoup Nuttall as one of the key architects of the International Underground. In so doing, my article argues that Nuttalls contributions to global counterculture challenge the critical consensus that British avant-garde writers were merely imitators of their US counterparts. By exploring the impact of Nuttalls My Own Mag (1963–67) and Bomb Culture(1968), it can be shown that Nuttall was a central catalyst of, and contributor to, the International Underground. As a poet, novelist and artist, Nuttalls multidisciplinary contributions to art were at the forefront of avant-garde practices that sought to challenge the perceived limitations of the novel as a social realist document and visual art as a medium confined to canvas.
Following the cinephobic traits of La Concentration , Garrel entered what he describes as an ‘underground’ period, encompassing seven films. Nico was his partner throughout this period, her roles in the films establishing a continuity within a body of work that Garrel has also described as ‘les années-Nico’ 1 (Garrel and Lescure 1992 : 26). Beyond the coherence provided by Nico’s presence, two noticeable sub-categories exist within this period. The first is associated with wealth, influenced by Garrel’s ability to draw on the financial sponsorship of Sylvina
–: underground Reformation Chapter 6 –: underground Reformation ‘DETESTABLE HERESY RISES AND INCREASES’ I n the early 1550s Scottish Catholics could be forgiven for believing that heresy had been defeated. In self-congratulatory mood, the general provincial council of 1552 declared that many frightful heresies have, within the last few years, run riot in many diverse parts of this realm, but have now at last been checked by the providence of All-good and Almighty God, the singular goodwill of princes, and the vigilance and zeal of prelates for
The exhibition Off Beat: Jeff Nuttall and the International Underground (8 September 2016 to 5 March 2017) showcases the archive of Jeff Nuttall (1933–2004), a painter, poet, editor, actor and novelist. As the exhibition illustrates, Nuttall was a central figure in the International Underground during the 1960s through to the early 1970s. During this time he collaborated with a vast network of avant-garde writers from across the globe, as well as editing the influential publication My Own Mag between 1963 and 1967.
Chapter 4 Dostoevsky’s and Machado de Assis’s unending undergrounds: dead men writing – Так вот оно, так вот оно наконец столкновенье-то с действительностью, – бормотал я, сбегая стремглав с лестницы. Это, знать, уж не папа, оставляющий Рим и уезжающий в Бразилию; это, знать, уж не бал на озере Комо!1 (Well there it is, well there it is at last that confrontation with reality’, I muttered, rushing off headlong down the stairs. This, to be sure, isn’t any longer the pope, leaving Rome and heading off to Brazil; this, to be sure, isn’t any longer a ball at Lake
this endeavour she built on the legacy of the underground press, which had sprung up in London during the 1960s, to document and contribute to the emerging counterculture. For the pioneers of the 1960s, creating underground publications had entailed an active choice to foster culture in opposition or as an alternative to dominant society. However, despite the sense of egalitarianism that accompanied the cultural expansion of the time, the underground press was also notably elite; produced by a host of well-connected (often Oxbridge) graduates and successful
Chapter 3 . The Jacobite underground in the early eighteenth century The Enterprise of Scotland was specifically designed to serve the ends of the Scots Jacobite movement, and the next chapter will seek to establish the shape of the revolution the Scots Jacobites had in mind. But we must first address a previous question: why was it the Enterprise of Scotland rather than the Enterprise of England or Ireland? France was a great power with a large army and a professional navy and it certainly had the wherewithal to attack any part of the British Isles. The fact
Celebrated as a leader of London’s ‘Underground’ in the 1960–70s, and a leading British poet and performance artist of his time, Jeff Nuttall found fame through his critique of post-nuclear culture, Bomb Culture, which provided an influential rationale for artistic practice through absurdism but lost that recognition a decade or so later. Less well recognised, and with greater influence, is the distinctively visceral sensibility underlying much of his creative work, notably his poetry that draws on Dylan Thomas and the Beat Movement, his graphic drawing and luscious painting styles, and his pioneering performance art. This article argues that it is through these artistic expressions of visceral intelligence that Jeff Nuttall’s art and its long-term influence can now best be understood. It is intended to complement the Jeff Nuttall Papers in the Special Collections of The John Rylands Research Institute and Library, University of Manchester, deposited by the gallerist and poetry publisher Robert Bank (1941–2015), to whose memory this article is dedicated. Further papers have been added by Nuttall’s friends and relatives.
competition plays itself out in the battle for the hearts, minds, and wallets of North America as waged between Barry Convex’s organisation Spectacular Optics and Brian O’Blivion’s media guerilla. Things get slightly more complicated in eXistenZ : Antenna Research gives rise to its business rival Cortical Systematics; both of these components, in turn, necessitate the emergence of the Realist Underground
people. There are malls like this all over this part of Beijing, symbols of new money, of ambitious developers, of consumer desire in a section of town which was once fields, factories and small villages. Today, not far beyond the mall, the path along Long Peace Street heads underground. You walk first through a grove of willows which runs alongside a polluted ditch, behind which rise promotional billboards of blue skies and synthetically green grass, screening the towers of an electricity plant: one of the last relics of this area