Motherfuckers: The Auschwitz Of Oz

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Or maybe not. Ballard, Michael Moorcock, and others. While Burroughs had been in jail a number of times, it was never because of his writing. In Savoy Books was prepared to publish a uniform edition of works by Burroughs when it was subject to a series of police raids that temporarily forced it into bankruptcy. The project was scuttled, but Britton and Butterworth never lost their tremendous admiration for Burroughs.

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Now they expand on that interview to commemorate the publication of Horror Panegyric. A collaboration between Savoy Books and Supervert, creator of RealityStudio, Horror Panegyric features an enthusiastic analysis of the Lord Horror novels, excerpts from the hard-to-find books themselves, and a timeline of Lord Horror productions including books, comics, and CDs. Text is also available in its entirety at supervert.

The first novel, Lord Horror, was the most recent work of literature after Last Exit to Brooklyn to be banned in England and obliged Britton to serve a term in Strangeways Prison. Young writers should be looking at it the same as they do Naked Lunch, i.

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I always thought that if you wrote a truly dangerous book - something dangerous would happen to you. Which is one reason there are so few really dangerous books around. Publishers play at promoting dangerous books, whether they're Serpent's Tail or Penguin. Ironically, I think it would do other authors a power of good if they had to account for their books by going to prison - there are far too many bad books being published! Rounding out the volume is a timeline of Lord Horror productions that includes the novels, comic books, and recordings for which Savoy Books has earned its worldwide notoriety.

Dick's "Axis won the war" novel Man in the High Castle made you squirm, then the s novels about Lord Horror and his Nazi England will make your brain explode. Written by underground publishers David Britton and Michael Butterworth, owners of the notorious Savoy Books, the first novel was declared obscene in court and got Britton sent to jail for four months. Now, cult author and critic Keith Seward who wrote Extraterrestrial Sex Fetish under the name Supervert has helped revive the long-suppressed scifi classics in a collection called Horror Panegyric.

It brings together Seward's essay about the Lord Horror books with excerpts from the novels. And you can read it online for free. Writes Seward in his introduction to the book: Unlike Dick or Spinrad, sci-fi writers who confined Nazis to a book or two, Britton and Butterworth have pursued their theme with a probably disturbing intensity that can be quantitatively measured in the sheer volume of Lord Horror productions. What's more, they do not tack a moral to the end of their tales. This is not to say that there are no morals but rather that there are no easy answers, seals of approval, rubber stamps, calmatives "don't worry, it's just fiction, the jackboots won't hurt you".

Satire, hyperbole, and reductio ad absurdum work to energize, anger, inspire, offend, but the one thing they do not do to readers is pacify. And why should anyone be pacified by Nazis, even fictional ones? Seward's essay alone makes great, thoughtful lunchtime reading, especially if you like your scifi on the transgressive side. And once you've read what he has to say about Lord Horror, you'll definitely want to check out the excerpts themselves.

I know that a masterpiece, like porn, excites me when I see it.

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  7. I know that, like porn, it reveals something to me. I know that, like porn, it tends to avoid sentiment, which is another way of saying that it has deep connections to truth. I know that, like porn, a masterpiece can often be shocking or scandalous.

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    I know that I not only know porn when I see it, I know the difference between good porn and bad — and a masterpiece is always like good porn. And above all I know that, just as porn makes me want to fuck, a masterpiece makes me want to create. It's a stimulant, an incitement that does to the aesthetic sense what porn does to the libido. Rimbaud excites. Dostoievski reveals. Burroughs inspires. And Lord Horror? But it still doesn't prepare you for the story or the swastika on the cover.

    Which is why "Horror Panegyric," published today by Savoy Books, works so handily. As Keith Seward explains in his introductory essay: Motherfuckers' principals are Meng and Ecker, twins who had been subject to "scientific" experiments by Josef Mengele. After the war they find themselves in northern England, waiting for Lord Horror the way others wait for Godot. Ecker is rational but violent, Meng is a mutant whose huge cock and tits are nothing compared to the mutations of his mind.

    Not Holocaust survivors in any sense you've ever seen before, Meng and Ecker have adopted the ways of their captors -- the bloodlusts and hates. However, there is nothing paramilitary about them. They're not neo-Nazis or skinheads.

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    They're more like the ultraviolent droogs of A Clockwork Orange, , though it is quite possible that the droogs would not feel any affinity in return. Meng and Ecker are even further out in some post-war delirium. Auschwitz, meet Oz.

    Motherfuckers is the third in a series of novels by the British writing and publishing team David Britton and Michael Butterworth. It beats at it with its fists, kicks, bites, and stabs the envelope. No matter how jaded a reader you are, no matter how much you've read your Henry Miller and Marquis de Sade, this is the book that will leave you feeling bad for the envelope. After Motherfuckers , it will never be the same again. Half the print run was confiscated, and a judge declared the book obscene, "less for its sex or violence than for anti-semitic ravings put into the mouths of anti-semitic characters," Seward notes.

    Britton went to prison for four months. Instead of discouraging him, the sentence hardened his resolve. It was in prison that he conceived the story of "Motherfuckers. Seward calls Motherfuckers a masterpiece and compares it to the works of the Marquis de Sade and William S. After reading it myself, I'm inclined to agree.

    But he prefers not to emphasize "the rectitude of these books" for their moral instruction.

    Meng and Ecker | Revolvy

    These are not moral books. They're good books. That role fell to Lord Horror, ubiquitous in space and time, whose debut was as vocalist on Savoy's version of New Order's Blue Monday. Lord Horror passed muster, proving to be the most contentious in Savoy's pantheon of stars. The greatest indicator that he was the right character for our time was the level of reaction he provoked from the authorities, which led to David Britton's second term of imprisonment in The novel—the first horror genre 'Auschwitz' book—was begun in Edited by Michael Butterworth who also contributed to the text , it became the epicentre of the Lord Horror mythos.

    It was first circulated in in manuscript form under the pseudonym Robert France, and turned down by every major British publisher. Lord Horror was seized by police in almost immediately after review copies were sent out.

    David Britton

    It was found obscene by a Manchester magistrate in August and became the first novel since Last Exit to Brooklyn prosecuted in to be banned in an English court. Stipendiary Magistrate Derrick Fairclough ordered the remaining print run to be destroyed. The ban was lifted at the Appeal Courts in July after international freedom group Article 19 brought the case to the attention of Geoffrey Robertson QC, who fought the case for Savoy. David Britton's Lord Horror forces us to confront this absence. These graphic novels offer an historical fantasy based on the life of the pre-war fascist and wartime traitor William Joyce, better known as Lord Haw Haw.

    This disturbing representation of fascism is an explicit challenge to the anti-fascist consensus in post-war British culture. Lord Horror operates as an act of 'counter-memory' in recovering a repressed British fascism. It also represents fascism as a carnivalesque transgression. In doing so it uses the hybrid form of the comic book that mixes text and images to explore the penetration of fascism into both high and low culture. This representation inverts our sense of fascism as a limited historical phenomenon and also raises questions concerning the politics of history itself.

    Through an engagement with the work of Walter Benjamin these highly unusual graphic novels scramble the codes on which historical representation rests. This scrambling raises the question of 'fascinating fascism' with an extreme urgency and, at the same time, suggests that it cannot be resolved. Ok, I think I can see a few tentative hands raised in the back.

    Ok, have any of you read one of his books? No one? I can hear crickets chirping. But American readers tend not to have heard of the masterpieces that Savoy has released over the years. Perhaps if I was to bang on my keyboard while hooting like a howler monkey for twenty minutes I would be able to get across a bit of the fanatical love I have for these books. It was released in a beautiful little limited edition hardcover by Savoy, but you can read the entire thing here. Also, you can read excerpts from each of the three hard-to-find novels.