DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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The New Abject
Real and abstract revulsion compelling themes of dread-zone anthology
ORACLE OF ABJECTION: Julia Kristeva
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STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
ACCORDING to critic and psychoanalyst Julia Kristeva, abjection involves either a confrontation with our sense of physical being or a separation between the self and a rejected “other.” Objects of revulsion can be tangible, such as faeces and bodily fluids, but some forms of dread are abstract and ambiguous.
The New Abject collection of horror stories draws on the broad nature of Kristeva’s definition, which has inspired a loosely related set of tales that deal with the things that make us shudder and retch.
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