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The postcolonial city
Lynne Pearce

shock involved in moving from the street communities to the new mid-rise ‘crescents’. Contemporary musicians and artists who were children in Manchester during this period and, in particular, those who came from the Hulme and Moss Side districts, remember this migration within Manchester as a time of unqualified trauma. Bernard Sumner, a member of Manchester’s legendary post-punk band Joy Division, sees this laying-waste of his city as the inspiration behind the band’s sublime, but uniquely despairing, music: Everyone says Joy Division’s music is gloomy and heavy

in Postcolonial Manchester
Charles Olson, Susan Howe, Redell Olsen
Will Montgomery

her most recent book, 2012’s Punk Faun, Olsen continues to address themes of genre, displacement and irony. The book, which includes open-field poetics among the array of poetic forms it embraces, is a baroque pastoral; though ‘bar-rock pastel’ is the only means available in the text of uttering that phrase. The book emerges from a consideration of the decorative, masquerade, masquing and the ephemeral. The contemporary artist Matthew Barney (associated with the contemporary baroque) and the Renaissance patron of the arts Isabella d’Este provide the book’s epigraphs

in Contemporary Olson
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Bruce Woodcock

crimes’. 22 Written in the late 1970s, this prophetic story envisaged capitalism entering ‘its most picturesque phase’, and anticipated the savage market-forces world of the 1980s in a fantastic yet unnervingly accurate way. Carey invents two seemingly bizarre hippy/punk capitalists, but has stressed that the story is just like working in an advertising agency, Barto being based on someone he worked with, while the other main character is ‘a total psychopathic distortion’ of something he recognises in himself. 23 Although the story ‘pushes things to extremes a bit

in Peter Carey
Manchester’s poetry in performance (1960s to the present)
Corinne Fowler

reflects multiple poetic developments. An enduring influence on all Mancunian performance poetry is the ever-popular John Cooper Clark. A figurehead for youth culture in the 1970s, Cooper Clark is often referred to as the ‘Punk Poet’ or the ‘Bard of Salford’.45 He became known for his political satire and rapid-fire delivery, which the poet Joolz Denby alludes to in the epigraph to this chapter. Dressed in the ‘skintight black’ of his iconic drainpipe trousers, Cooper Clark has performed alongside bands such as the Sex Pistols, Elvis Costello and New Order. Many of his

in Postcolonial Manchester
Marie Helena Loughlin

the realm of Gomorrah.9 The beaus too, whom most we relied on,10  At night make a punk11  Of him that’s first drunk, Though unfit for the sport as John Dryden.12 The soldiers, whom next we put trust in,  No widow can tame  Or virgin reclaim, But at the wrong place will be thrusting. 3 pego penis. Old Sodom’s Embraces  referring to the formula that followed printed ballad titles: ‘To the tune of […]’. 5 gun penis. 6 jade whore. 7 In … reckoned  Charles II raised to the peerage many of his mistresses and the children he had with them. 8 sparks … bum

in Same-Sex Desire in Early Modern England, 1550–1735
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Coupland's contexts
Andrew Tate

Coupland’s fiction and aspects of the 1990s Washington State grunge music scene.27 The coincidence of the author’s geographical association with the Pacific Northwest certainly strengthened these connections. Nevermind, Nirvana’s second album, was released in September 1991, six months after the publication of Generation X. Its themes of generational discontent, disillusion and disaffection, reaching their most intense (and commercially successful) on ‘Smells Like Teen Spirit’ – issues vital to the novel – were probably new only to those who had neither heard a punk

in Douglas Coupland
The role of the Centro de Formación Literaria Onelio Jorge Cardoso and the movement of talleres literarios
Par Kumaraswami, Antoni Kapcia and Meesha Nehru

Benedetti (‘Mensajes de los intelectuales’, 2002). 3 The evidence for this case study is taken from my doctoral thesis, A Literary Culture in Common: The Movement of Talleres Literarios in Cuba 1960s-2000s (Nehru, 2010). 4 That period had produced groups such as Seis del Ochenta and El Establo, and the novismos, often self-identified as marginal characters, such as roqueros (rockers), friquis (freaks/punks/hippies), drug users or other delincuentes, or wrote about them in their work (Rosales, 2002; Fornet, 2006: 5). Often long unpublished, these groups initially existed

in Literary culture in Cuba
Peter Childs

Chris’s life. Across the carefully dated three parts, the impact of the Beatles in 1963, the student protests in Paris in 1968, and the Punk movement in 1977 are all overlooked by Christopher at the time, with only the middle one acknowledged at all by his solipsistic narrative. Even in the first part, Christopher is largely indifferent to politics because he agrees with Osborne’s Jimmy Porter that there are no brave causes left. He tells Toni that they are of course part of the Anger Generation and that the fact they are studying John Osborne’s work at school means

in Julian Barnes
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Manchester and the devolution of British literary culture
Corinne Fowler and Lynne Pearce

degree of success or recognition, however (SuAndi and 3970 Postcolonial Manchester:Layout 1 16 28/6/13 12:37 Page 16 Postcolonial Manchester John Lyons being notable exceptions), and the chapter ends by speculating on the future of black poetry not only in Manchester but across Britain. As part of its overall argument, the chapter also links Manchester’s performance poetry scene (both its black poets and celebrity punk poets like John Cooper Clark from Salford) with Merseybeat poets, Adrian Henri and Roger McGough, and the socalled ‘Poetry Revival’ of the 1960s

in Postcolonial Manchester
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The short stories and The Cement Garden
Dominic Head

literary tradition and what it might encompass. If there is something wilfully anarchic and iconoclastic in the short stories, the iconoclasm carries the desire to open up British literary culture. Perhaps this is the intellectual wing of the punk movement, catching a mood in which raw cultural forms are generated to disturb the status quo. This need not imply immaturity, of course: the intellectual underpinnings of anarchy posit considered social alternatives to political structures deemed to be corrupt or outmoded. Possibly, McEwan’s stories embody a parallel form of

in Ian McEwan