Books

Palavers and publishing.

~ bowlingatvincent ~ Leave a comment

I promise you I’m more philosophical than angry about this but wow – the Capitalist Universe is a right old game, eh?

I have a book upcoming. I like it and it’s important to me. Ideally I’d have an agent, a publisher and people, all colluding towards sales and impact. I have none of those things and this (I swear!) is fine. I like the indie bubble I live in.

The whole experience of writing three self-published books has been pretty fabulous: in the three or four year rush, without hardly thinking about it, I let it re-direct my life in a way I’m completely and kinda casually-deeply happy about. (Writing’s taken precedence over earning a living. Been surviving on bugger all for three years. No issues). But there are buts.

Have loved the fact and the process of self-publishing, cos just like being on an Independent Record Label. Complete Control – to coin a phrase. But despite being an indie sort-of-a-guy, and in some ways relatively suss, you still get trapped.

No fan of Amazon and the rest – and not just because they rob more than £4 per book, leaving me with about £1.20-40, depending on sale price. So I have never wanted to sell primarily online, but as a nobody, inevitably, you do.

I can’t get my books into bookshops – not many of them. Impractical and uneconomic. Indie (and particularly quirky or leftie bookshops) should absolutely be my natural territory but they don’t know who I am and I can’t afford to go globetrotting. What I have to do is buy in to the package at Grosvenor House that sets me up in the retail behemoths systems. (Not just Amazon’s; about twenty of them, I think). The hope is that strong sales in the ‘pre-sales period’ may possibly trigger a sort of alarm-call that lets stores know that this book might be worth holding. So it miraculously appears in bookshops, biggish and small. We’re in that pre-sales period now.

My publisher warned me that the likes of Amazon ask for a one-month pre-sales period because (weirdly, in 2025?) it can take weeks for all the book data and links to printers (or something) to be fully functional… and it appears that this may be the case. Thinking back to the previous books, this tends not to be a smooth ride.

But because a few really wunnerful people supported Power Chords early-doors, it burst into the Top New Releases, Music charts on Amazon. (Most of these people I’ve never met, by the way, so imagine the level of gratitude, here). The book went to Number 10 in that hit parade, meaning almost nothing except (I confess) a little low-throttled excitement *and the distant prospect of strongish sales triggering that aforementioned algo-wotsits*. That is, a kind of actually low-impact impact which would mean a huge amount if it got my actual book into actual bookshops. That’s the hope, right? Try to use The System to game the system and ultimately Do The Right Thing. Smart fulfilment.

I/we can’t win entirely in this. On socials I’ve been pointing people to their fave indie bookshop to order *as well as* offering the link to Amazon &/or Waterstones, because of the potential importance of that chart in the former. Which is kinda twisted, I know. (And I don’t or can’t know, in any case, where or how exactly any algorithm or notification kicks in, to alert shops to Books Worth Stocking). So this is another Trumpian, deal-making universe where I/we are not holding any cards.

In some ways it gets worse. Power Chords was at 20-something then 10, soon after pre-sales opened on about November 1st. (Shoulda been Oct 24th but that’s another story). So good start: some excitement. Then there’s a hitch. Amazon and Waterstones have the book at ‘temporarily unavailable’ or similar, meaning you can’t actually order. Which of course means we go down those charts. I wait a few days, checking (I confess) regularly. Nothing: no change.

This morning – Sunday 16th November – the Amazon site is saying you can order Power Chords for something over £16… which is a bit alarming and concerning. I have no rights here (goddammit) but I don’t want my book to sell for any more than the £10.99 my publisher advised. Plus this is likely a mistake, right, more ‘getting the ducks in line’ stuff – a temporary cock-up. Whichever way it’s crap – unhelpfully so. It is, bottom-line, another obstacle to sales.

Update: as of Mon 18th Nov. Power Chords is still being advertised at £16.24 on Amazon – so the cock-up goes on. I have tried to make contact (in fact succeeded in making contact!) but got into one of those horrendous loops where they offer you bloc A to H, with none of those blocs being the one that really covers your issue. Then you try to approach any of them… and they point you to KDP Publishing, who then tell you your book – or this book – isn’t with them. So mindless, unhelpful circling. Same via twitter: you get pointed to the same place, which can’t help you.

It should be pret-ty straightforward, you’d hope, for a multinational with eight zillion employees to find you one who could either strike-out an error in pricing on one of their weblinks, or get the sales process – from which they benefit about 3 times more than I do (about £4 to my £1.40) – going smoothly. Power Chords has been on their system for a fortnight or so. I repeat that I had been warned that glitches do happen: but clear errors and painfully prolonged issues affecting their bottom line as well as mine clearly should not.

I haven’t checked elsewhere, other than Waterstones – who, to their credit, had the book live and buyable before Amazon did. Power Chords appears to be available through Waterstones website. I think.

Further update: 25th Nov 2025. One day *after* Publication Day. Again the hugely gratifying feeling of lurv flowing towards me – some of it from people I’ve never met. (This on various socials). After those genuinely painful contacts with Amazon, where I got relatively close to claiming compensation from them, having been slightly steered thattaway by someone on their staff*. (*Notes to universe. They raised the notion of compensation for the 10-12 days where Power Chords disappeared. Their Whatsapp Team sent through a form to apply; at which point I thought ‘know what? These clowns prob’ly should reimburse me for the hassle and the lost book-sales’. But the form looked a bit suspicious. Fearing an admittedly rather elaborate scam, I withdrew). Still don’t know the truth of that scene… because I swore to myself to waste no further energy on Amazon.

Eventually – I think on the eve of Publication Day, and after my publishers had pushed back on behalf of several of their authors, all experiencing systems failures – something clicked. We were back live and buyable.

Of course this is all linked to the pre-Christmas rush to get books to market. Zillions of us have been drawn towards that flame. I could claim that the two dates I built my ‘sales campaign’ around – my dad’s birthday, 24 Oct, then mine, 24 Nov – absolve me of the crime of capito-cynicism but whatever. Power Chords went out ‘before Christmas’. But Amazon, with their unlimited resources, should have a) been completely aware of any building avalanche and b) taken the necessary avoiding action. They didn’t. It was, for me, crap. Weirdly, as if some algorithmic apology was tripping out, two of my brothers received the copies that they’d ordered from Amazon on Publication Day, rather than the two or three days afterwards which had seemed likely (and acceptable). Go figure.

Hey. Can only apologise for the overdose of indulgence here. You may not believe it but lots of this really isn’t about me. 1. Am really not driven by money. 2. Entirely happy to be an obscure geezer writing obscurely. But 3. I do know that there are other people out there considering publishing or self-publishing routes. I hope that some of the above offers some ideas of some of the pitfalls and the pleasures – which do exist – within this particular sphere of the capitalist universe. It’s great. And it’s as shite as the rest of it. Good luck.

(Back to the glorious days of psycho-political meandering). Nailed-on certain.

~ bowlingatvincent ~ Leave a comment

(Pic I think from Sky News).

Was nailed-on certain that today was Saturday. So gently building to a crescendo of sports-fixated lounging: really looking forward to that, on a shocker of a day. (Can hear the wind in the window-frames; have heard the Doomsday Revisited forecast but it’s only raining intermittently here. Sounds like some folks will be in trouble).

Have no car – not on the road, currently – and am still in one of those No Expenditure Moments until a wee wedge of money lands with me in about three weeks, meaning really eeking-out stuff. Sometimes that’s hard to the point of depressing but it’s also enjoyable and kinda sustaining – or the bit where I walk two miles to get food from the farm shop is – as is the longer walk to see family, *actually speak to people* and maybe partake of caffeine in the village. Both yomps are medium-lovely, through farmland, down a quiet minor road. I’m doing both as a form of discipline, and to earn the right to food and possibly coffee.

Might be too gross out there to do the walk today, but that was kinda factored-in to yesterday’s purchase of an oggi (non-taffs go search) and milk from the farm shop. I think I now have a nourishment kit for the day, and ju-ust enough coffee to build a cafetiere-sized supply, which I’m not remotely addicted-to, but I do enjoy the indulgence in taste, time and slo-mo gestation that comes with a brew that lasts forty minutes. (Yes I do make hot milk in an old pan. In a farmhouse kitchen. Checking in on the cattle in the quilt of fields thrown delightfully but damply around the place. And how is Swindon, today?)

I look forward to and really value the two or three cups of coffee, knowing I’m only going to do that once every other day or so: that it really is an indulgence. And yes – interestingly or sadly or something – that filling of time is important… and kindof enriching.

Maybe I should explain that? It’s in the current context of a life temporarily very much in Struggling Artist Mode. (And sure, you can take that however you like: I know how feeble it might sound. But it’s true that I’ve part-chosen, part fallen-in to living day-to-day, working part-time and having or needing lumps of headspace. To write books, asitappens).

The thought suddenly strikes that walking may have been a more essential part of the thinking/writing process than I have given it credit for. Although we all know that we promenade or yomp or jog or whatever partly to give us ‘time to think’, yes?

Having finished my third book not too many months ago, and despite being in the throes of ‘publicising it’, I have the luxury RIGHT NOW of whole days where I don’t have to do anything. Meaning I can absolutely choose to make them feel productive or meaningful in any way I want.

Ten days ago I read three books about golf in crazy-quick succession. Initially partly out of loyalty to a good mate who leant me them, but then entirely because they were brilliant and even revelatory stories, about genuinely great sportsmen (largely), between about 1900 and 1950.

I’m not particularly a golf fan – except during the Ryder Cup – and rarely play, but was genuinely captivated by Mark Frost’s storytelling and I learned many things. Like why my pal thinks this time period was special: because men (in sport and in general) had a particular kind of humility and honour that we can barely even talk about, without drawing performatively unstifled yawns. And how sensational and god-like and yet quiet was the genius and talent and application of Vardon/Jones/Nelson/Snead etc etc. So we should in a sense celebrate and even grieve their passing and the passing of that era of innocence. Or certainly respect the simple truths – I bet you could guess at them? – that they would not transgress.

Yes. I was proper-collared by the integrity and courage and inviolable goodness of many of the protagonists in those books. And it will both re-inforce my inclination to call out shit-housery and cheating in modern sport and (therefore) expose me as a reactionary clown to many of my contemporaries. Those guys are worth it and so are these daft games of ours.

All of which points a sort of conservatism, or worse. But no. I am absolutely not advocating for a Better Time Now Lost, in a wider or more general sense. And I hope to (your) god(s) that arguing for the existence of certain perennial truths is not the same as *being a reactionary.*

Whatever. Life IS more complex now, because we do know more and we ARE more aware. These should not be bad things. Family life has changed; the whole idea of careers-for-life and of typical lives or a sort of common level of perceived happiness or acceptance has lurched somewhere new and different.

There were World Wars in the period of those books, so difficult and maybe obscene to suggest that our own multifarious predicaments can remotely compare to that, but it’s likely true that our (yes I’m talking as though there is some universal ‘we’, which I know is a nonsense, but) our headspaces are, percentage-wise, as traumatised or deluded or numb as ever. There *really is* a mental health epidemic. They’re not the only ones culpable but media and the internet really are colluding – not entirely but significantly – towards a dehumanised flux where, having been coached towards apathy or bigotry, we don’t recognise truths of any sort. The codes that we have followed are obscured.

Many of us are too entrapped by the images we see or want to project to penetrate moral, political or philosophical truths. In the standout distraction of the moment, most of us are being coaxed towards hating or fearing The Other. The BBC endlessly platforms Farage, enabling a xenophobically-driven Brexit and the rise of one-issue politics. Starmer wins then capitulates. Trump and Musk make White Supremacism kinda fashionable again – or possible. Immigrants – that we in the UK need; that statistically and culturally and practically contribute – are demonised. Thiel and Murdoch and Bannon and the arch technocrats stoke the pot: they get to control the ether. And in maybe another standout feature of contemporary life, almost no politicians have the guts or integrity to call them out.

All these things are in my head. It’s why I walk and why I write. (Why my current book is about Angels of Protest). I think we need to re-position truths that should have been everlasting, about decency and commitment and hope.

This is no party political broadcast but Polanski (UK, Greens leader, for those at a distance) is most notably calling-in most of these messages. Racism is nailed-on wrong. Obscene wealth – the sort that utterly controls dominions of thought and opportunity – is nailed-on wrong. Austerity, the shameful charade that protects obscene wealth, is nailed-on wrong. We must act, in whatever way we can, upon these things.

I’ve never voted for anything other than a progressive party in my life. Genuinely most people I know could not vote Labour at this time, because Starmer has been so weak and unprincipled generally, and particularly around Gaza and issues of race. He and Reeves have also been pathetically and intransigently protective of the wealthy and super-wealthy. Polanski, on the other hand, has been smashing it out of the park. Now coffee.

That’s why we love him.

~ bowlingatvincent ~ Leave a comment

I’m still plenty daft enough to not want to know what my birthday treat is. (Not that I get loads, to be honest). So when the ‘kids’ – my wunnerful offspring, aged 21 and 25 – tell me firstly to keep Weekend X free and then ‘get my ass to London’, I do, after a week of supporting my somewhat ailing mum, Up North. There’s nearly an accommodation trauma (none of us are quite in the position to book hotels) but in fact this works out fabulously: we can stay at one of my soul-bro’s, in Walthamstow. We arrive Friday.

We do stuff; lots of walking around both locally and in the city proper. Riverside, Spitalfields, coupla bars – all that. No hints dropped *at all* and none asked for… until I hear it’s a Sunday morning do.

Oh. So not the Cure or Bunnymen gig I had maybe posted highish on the list of possibles. Sunday morning? Outdoors, I wonder? But again don’t ask. I settle into just enjoying the friends-and-family thing, with maybe just the thought that Somerset House, for a wildish and medium-dangerous dollop of skating might be where we’re headed. (We went about 15 years ago and we’ve been skating in Spain (weirdly) and Finland (I think), so the kids know I’m mad for it). That would be fun – and kinda suitably silly for a juvenile delinquent like my good self.

But no. We’re on the tube and daughter reads out part of an incoming message. With details. Wow. I learn we’re off to the Van Gogh, at the National Gallery. Oof. That’s BIG.

Another great friend, ‘knowing I like me art’ has very kindly used her membership to get us in. 9.45, Sunday morning. We fill out Saturday with more yomping and gawping and then drop into the Do Not Adjust Your Set-ville that is ‘God’s Own Junkyard’, in a spectacularly unassuming mini-industrial estate in Walthamstow, for just a couple of gobstruck sherberts. (It’s wild; it’s neon; it’s a mad treat). Then we have to be up, early-doors.

Regular readers will know I am a clown… but I do like my art. I’m both dumb and serious over that. My general punkiness means that I can’t stand the pretence and the exclusivity that separates too much art from us Normal Guys ‘ n Gals, but I have been known to attend galleries and even read – like, choose to read – cosmically deep and dense stuff about art theory and history. I find it tough, but cleansing – yup – and inspiring.

I can’t help but be drawn to relatively modern art – say from 1870-odd forwards – and this may be because I’m suspicious of allegory and pomp, finding it easier to identify with things beyond or closer than that whole history-painting malarkey. And I should say that despite being conflicted in the modern, Guardian-reading way about the Industry that is Van Gogh, I have loved the boy Vinny for decades.

So wow. Being a resident of faaar West Wales, I may have been distantly aware of the ‘exhibition of the century’ up The Smoke. Maybe. But, being privileged in so many other respects, we pseudo-taffs let these things go easily enough. It’s that other world. We only go there rarely: until we’re there, walking to Walthamstow Central; then Victoria-lining(?) it to within a coupla stops and Bakerloo-ing it the rest. Blimey. Trafalgar Square… and not many pigeons! Ten minutes early so the daughter needs a coffee. Pret, just on the corner. Then meet J and son C and in.

I did cheat the night before and have a look. But skimmed, so as not to know which of the truly big-hitters were on show. Logged that it was called ‘Poets and Lovers’: not much more.

I’d forgotten what a building this was. Like a roman town, or an empire, or some appalling/wonderful stately home. Bloody enormous – but we’re in. Inevitably, we get a strong full-frontal at the gift shop as we spin off into the gallery. It’s quiet: not for long, but it’s quiet. The ceiling is eight miles high and the space is open; until your eyes begin to train in. Ok. There are just the three paintings, here in Room 1. Do I read the bumpf? Sometimes it’s good, sometimes it’s crap. This is good. I’m going to use it to cut to the quick.

‘The careful planning behind Van Gogh’s art extended to creating works in groups or series, and to thinking about how these might be displayed both at his home in Arles and for exhibition in Paris. By gathering a selection of these paintings – many of which are amongst his most famous and beloved creations – and showing them alongside his carefully developed works on paper, a less familiar Van Gogh emerges; an intellectual artist of lucid intention, deliberation and great ambition’.

The lover and the poet are both in Room 1; Lieutenant Millier and Eugene Boch respectively. Between them is ‘The Poet’s Garden’, all from Arles, 1888. I’m familiar with the two portraits, as many would be. Again the wall-verbals are helpful, pointing us at what may be the central revelation (or re-affirmation) around knowledge, planning, licence, intention. These are wonderful, expressive, thrillingly ambitious symbols. Do not underestimate this man – even in the loving of his work. We are already being pointed towards the idea that despite being bi-polar/’mad’/intermittently stricken, Van Gogh was a supremely intelligent man, making brilliant, outrageous choices.

‘Boch was ideal as he had a narrow face that reminded him of the thirteenth-century poet Dante. The deep blue sky (was) intended to express a man who dreams great dreams, was essential to the symbolism of the work’.

There is knowledge here: there are things by design. This is not a loony.

Room 2 contains 17 works on the theme of ‘The Garden: Poetic Interpretations’. These include several that most of us will not have seen. (One of the glories – yes, bugger it, I WILL use that word! – of this exhibition is that the mighty National, with its world-level clout, has gathered paintings and drawings that may never be seen together again. It’s BIG; it’s astonishing; it’s expansive in a way that’s supposed to be kinda thrilling – and it is). There are inks and chalks and graphites alongside the great, gripping, three-dimensional oils, here, depicting gardens in Arles, close to Yellow House and at the asylum at Saint-Remy. Some of the oils are staggeringly loaded. (One or two *really did* anticipate Jackson Pollock for me, in their lush execution). You will need to walk in and out, to feel that texture and then ‘take in the view’.

There is melancholy, both symbolized – for example by the ‘sawn-off tree – and real and felt, through both the rhythm and energy of the pieces and through our basket of knowledge. But again and again we may note what we might rather stiffly call the technical choices amongst and arguably under-pinning the undeniable and radical creativity.

Van Gogh, in a letter to Emile Bernard, describes the sawn-off pine as ‘a dark giant – like a proud man brought low’. The accompanying notes add that he ‘detailed how he combined composition, colour and technique to convey the anxiety felt by his fellow patients at the hospital’. Things are stylised or exaggerated or invented in order to serve the academic(?)/poetic(?)/artistic intention. This is intelligent work; during or adjacent to a period of powerful turmoil.

Room 3 is dripping wonderfully with icons. We are in the Yellow House, which has been conceived in order to host certain paintings in certain places. Sure the overall intention (and here lies much of the tragedy, yes?) was to welcome and impress Gauguin, Bernard or the other painters Vincent hoped to bring to the South. ‘Van Gogh’s Chair’, ‘Starry Night over the Rhone’ and ‘The Sower’ are side by side on the same wall. They are show-stopping, of course. All are moments: ‘Starry Night’ for its beautiful, rich depth (in so-o many senses) and ‘The Sower’ for its almost shocking design – part Japonais, part colour-field.

But it goes on. ‘The Yellow House’, ‘The Bedroom’ and *that* ‘Self-Portrait’. Staggering vibrancy, simplicity and earth-shifting heft. And probably driven, essentially, by that desire to furnish the gaff with homely and appropriate pictures! Box ticked.

Room 4 features ‘Montmajour: A Series’. Done in pen or quill or with chalk, on paper (or wove or buff paper, whatever they are), these mark the artist’s fascination for the locality. The moody higher ground and ruins of the abbey stirred something, perhaps with that rich vein of landscape and history and spirituality? Whatever, Van Gogh returned many times to make strikingly different works, some alluding to Zola, some obviously redolent of Japanese art – particularly woodblock printing. But is it just me, or there a sort of equanimity about what’s going on, (in this room), at this moment? (We are still in 1888).

With Room 5 we are back with the theme of ‘Decoration’. And therefore to the idea that Vincent planned – in particular in relation to the Yellow House – but also with regard to how his art should be displayed and seen in Paris. (So more tragedy at the margins). We see two ‘Sunflowers’ pictures flanking ‘La Berceuse’, as Van Gogh intended them to be shown. If we are not blown away enough by that, we can gawp with the specifically poignant wonder that perhaps this artist alone can trigger at paintings such as ‘Portrait of a Peasant’, ‘Oleanders’ or even ‘Still Life with Coffee Pot’, none of which are sad or traumatising per se, but all of which either sink or lift us to a place where a kind of impassioned humility seems in order. Such incredible beauty! The man’s a god.

We see the final chunk of our art – paintings 47-61 (and one pencil/brown ink) – in Room 6. Again there are big-hitters (‘The Arlesienne’ x 2 and a ‘Wheatfield, with Cypresses’) plus a pleasing or revelatory bundle of lesser-known works. (Happy to repeat that this is one of the joys of this National experience). We are reminded – and I may be one who needed this – that not everything was painted outdoors. Indeed the ‘retreat’ into the studio(s), for whatever reason, may well have facilitated bolder choices – in some cases more stylised ones. The notes speak off ‘calligraphic strokes’ and ‘imagined figures’. The artist is taking diabolical liberties, editing, inventing. Meaning supremely conscious choices.

I came away from this sensational exhibition feeling tired, privileged, happy. I also felt strongly that we should be nudging the Van Gogh-ometer yet further from the dominating talk of breakdown and lunacy. This event speaks, skilfully and deliberately, to his intelligence. He may be the most intelligent human (and artist) that ever lived. Maybe that’s why we love him?

Karl Ove and me.

~ bowlingatvincent ~ Leave a comment

The boy Knaussgaard definitely dun gud.

Have battered my way through the first two volumes of ‘My Struggle’, where he shreds and re-builds most concepts of art, truth, the human condition and that which is sayable. The word ‘compelling’ appears on both sleeves: it’s a word that might sound bland. Not here. I read these bad boys in a couple of days flat; almost impossible not to.

‘A Death in the Family’ and ‘A Man in Love’ are MASSIVE LITERATURE in the (classic?) sense of having tremendous envisioning scope, and also in terms of being unequivocally serious art. The clues are in the names – most obviously in ‘My Struggle’, which is of course a deliberately epic-sounding moniker designed to bounce through the generations. This is art with ambition (as well as scary North European normalcy), aimed at the peak, at the heart, at the authentically high and thoughtful but delivered via the contemporary and the everyday. As I say, I’ve devoured both tomes.

Now like every other schmuck doodler, and despite just diving in and never over-thinking, I’ve latched onto coupla things. Notably the fearlessness and the voice.

Knaussgaard is relentless and ruthless around honesty. This is his voice and we are compelled to believe it, for the execution, for sure – for its brilliance – but also the amorphous power, the urgency across the text. Something in the vividness and energy of the storytelling (is that what it is?) completely captures us.

His often challenging but crystalline worldview(s) will out, if you will, because he commits utterly and directly: meaning the kind of autobiography that smacks you in the face because of its combination of insight and what we might call observational truth. The fella is, as Geir remarks, an ascetic. He makes a brutally real record of things but also, critically reveals the soul – in the landscape, of the people. This is some achievement.

I have read nothing about Knaussgaard, deliberately, so far. I imagine his saying of the unsayable, for example, around caesarian births and the general liberalisation/’feminisation’ of cultures and the contempt in which he holds the Swedish worthie-intelligentsia fashionista-crew draws a heavy dollop of flak.

Maybe it’s too blokey – reactionary, even? I’m watching this… but currently in the These Are Important Issues We Must Be Able to Talk About camp. Plus he is of course right about the smugness of some of us liberals. And Knaussgaard is *at least* as excoriatingly critical of himself as of anybody else. The books are alive with opinion but too wise, I think, to document arrogance or certainty. He is observing meticulously and with vigour so as to find truth: at whatever cost.

On pages 496/7 of ‘A Man in Love’ the (ahem) *wild, hard-drinking Norwegian* writes about writing itself.

(*Absolutely in as a wind-up!* Wonder if the magazine interviews he so detests have ever described him that way?!? Anyway, onwards)…

I had increasingly lost faith in literature. I read and thought this is something someone has made up.

… the nucleus of all this fiction, whether true or not, was verisimilitude and the distance it held to reality was constant. In other words it was the same.

Knaussgaard goes on to say that he hated this sameness with ‘every fibre of his being’, because it had ‘no value’. I take this to mean that he felt it an inadequacy, a distraction, a betrayal, because art should or can offer more than this. (And Knaussgaard is unmistakably a serious artist).

I couldn’t write like this, it wouldn’t work… Fictional writing has no value, documentary narrative has no value.

Value lies in ‘diaries and essays… (which) just consisted of a voice, the voice of your own personality, a life, a gaze you could meet’.

He is talking about the direct way into truth that autobiography can proffer.

Now I am not a great writer – unlike my Norwegian brother, here. And I really don’t overthink these things: I just do. However forgive me if I did feel just a teeny bit vindicated by this argument for honesty-through-voice.

By accident this is how I’ve practised my own prattling for aeons. For always. Falling back on personal experience – the things I know and care about – because that way I might find some truth. Because I would know it was honest.

That’s as close as I get or as deep as I get into thinking about what I can or should write. Bottom line, do I know it? Can I be true? If so, all else is superfluous. Number of readers, quality of reaction, fear of judgement, all an irrelevance. I can absolutely park that suspicion that I may be a nobody and a laughing-stock as long as the voice in there feels authentically like mine. I can have some hope that things on the page, feeling genuine, can resonate, can have value.

Might sound ridiculous. To hear me paralleling-along with a properly magnificent tome (or six). But I have no delusions of grandeur, here. Neither does Karl Ove, although he plainly does have Literary Ambition. It’s just gratifying (is that too much?) to find that we share the wee recognition that maybe there IS something good about writing what you really know… in your own voice.

Postscript: in a not unrelated burst of wild confidence, Yours F Truly has landed on the notion that my vicarious upgrade via the Knaussgaard voice-authentification-assessment means I am well within my rights to claim that the Dots Will Not Be Joined/Beautiful Games constitutes a new art form, which I am happy to christen lolsobiography. I trust no explanation is necessary? The third volume in the series (of however many) is underway.

You have been warned.

The ground is shifting.

~ bowlingatvincent ~ Leave a comment

Life’s busy, eh? Sometimes so busy that the MASSIVE ISSUES that sprung up either through SENSATIONAL BOOKS or profound, deep conversations have just wafted around in the ether like smoke – or like smoke that teases, or threatens to draw you in – rather than being ‘addressed’. (Whatever that means). I kinda like that life can be chock-full of undeniably seminal stuff that somehow contrives to drop down low, low in the list of priorities because the allegedly everyday swamps it. That’s both appalling and charming somehow, right? Can’t sort out the meaning of such-and-such, despite it’s marvellous heft because the bed-linen needs sorting, or the ailing dog just may need checking on, or the team for Sunday needs bunging up on the Whatsapp. Hang on: what about the revelatory import of that, or the mind-boggling measure of this?

I need to be specific but that may also undermine the very abstract (or abstracted?) nature of the mad-wonderness of what goes on. Let’s start with a book, briefly.

Top Raging Intellect and buddy of mine points me at ‘A Death in the Family’, Knaussgaard. My own family baggage may be in play but wow what a blast (of something, of everything) that was! Traumatically compelling but also deeply fortifying; probably on account of the undeniable brilliance *of the writing*, (whatever that means). Dark and deeeep and relentless but also pulling us through, yes? To a place where we are enriched, despite being bloody and exhausted, probably having devoured the 400 pages in the minimum possible time-frame. Emerging to nearly think excoriatingly deeply about x or y, but then yaknow, the washing got in the way.

But great book: surely, truly a great book? May go at it again within a day or two; domestic shite permitting.

So there was that, impinging deeply and then not, and there was also sporty stuff – there always is.

Look we need to light a fire under the loony impostor that is X; we know that. But I’ve always maintained that the Twitters can be tremendously uplifting (and even civilising) because if you offer good energy and make intelligent choices then fabulous, interesting people reveal themselves to you. Amongst the absolute donkeys. That happened again.

Cycling. Tour then Vuelta. Immersed and also dipping in there. Love the wild scenery, the filmic drama, the bewildering strategising, the ridicu-effort. Almost yearn (if that’s a thing) for untramelled belief in the sport of it – the who won, the who dug impossibly deep and found something special. But the buts are big, yes?

I’m not close to this – meaning I’m not even a club-level rider – so *being sure* has been at issue. For years. Watching Roglic and Evenepoel and Pogacar and Vingegaard perform to a superhuman level and wondering. Being unable to trust it, despite a lifetime of loving and believing in sport – despite being culturally behind the power of spinning legs and bursting hearts. Godammit. Feel the effort, here. Can we not just ignore that doubt? Just pretend?

Nope. Not after reading ‘The Art of Cycling’ and exchanging tweets (I know, I know!!) with James Hibbard, author and philosopher and (oh), former elite-level cyclist.

*Inserts: the bloke’s prob’ly getting some zeds in CaliforNIAAY as I write. I’ve messaged him to see how comfortable he might be with being outed as an authority and Man of Ideas around this. Typically I’m blasting on regardless before hearing back*. (Later heard back. he’s cool with this).

Firstly I loved Jimmy Lad’s book. Strongly recommend to anybody with an interest in thinking, never mind cycling/philosophy/psychology/soulfulness/ethics and the other wee corners of humanity that the fella digs into. Secondly, the twittering.

Muskrat’s enclave is still a place where decent people can quietly revolt… by exchanging perdy decent ideas in an agreeable way. By discoursing. We did that and I learned. (For fairness and to avoid litigation – lols – let me say here that not all of the following arose from conversations with James. But some new knowledge certainly did: and some of the rest was extrapolated out, or results from Yours F Truly stretching his cranial wotsits or curiosity towards other sources). It’s been good… and challenging… and may not have unmuddied the waters entirely. But healthy. On.

James was a pro rider and on the US track cycling team, back in the days when (says he as if those days are over) use of EPO and/or similar was widespread. Hibbard, alongside Paul Kimmage went public with fears and truths that remain relevant – not just in theoretical/moral/ethical terms but in relation to how cycling actually is now. In short, JH is clear that recent performances by leading riders have been ‘physiologically impossible’ without doping. He is similarly clear, much to our mutual regret, that the culture of lying persists. Cycling is still not just unclean but brazen. Hibbard argues that because this has gone on for decades – anti-doping technology (or will to prosecute?) being so-o far behind the use and masking of performance enhancement – that the whole eco-system is damaged. Specifically, there is no way that young riders entering the elite arena can expect to remain clean and succeed. (Or vice-versa).

Having read ‘The Art of Cycling’, I am in no doubt that Hibbard is a good man: a student of philosophy; a Proper Athlete and a man of reason. His arguments are compelling – even when they run on towards solutions that he himself admits are challenging. There’s a danger when reducing BIG ARGUMENTS but he is on record as saying that because the generational culture of deceit has been so meretricious, so tawdry and so subversive of all sporting values, we may need to re-set, to get real. Whilst it may feel better and maybe more comforting to up the ante (yet again) on prevention, this is simply not gonna work. So maybe (yes, with a heavy heart) opt for what Hibbard calls an F1-style regulated environment, where doping is tolerated and monitored – in order to keep athletes safe.

Your distaste for this may be the same as mine was. But cop this:

I think the interesting part is just how to go about making sports as beautiful and culturally useful as possible for young athletes.

(This from a message, on the Twitters).

In other words, we are both power-of-sport lovers and romantics: not guys looking to capitulate around our defence of ‘purity’. Hibbard is reluctantly driven there because the reality is so poisoned and the remedies will be corrupted in the same old ways of old. The tradition for what us Brits call diabolical porkies runs too strong, is too resistant to our goddam decency.

Look. The Vuelta and the Tour de France are getting bigger in every sense. Stages are massive and arguably more painful – what with monumental distances and intermediate sprints etc etc. The window of possibility for clean sport is closing as the conspiracy gets deeper and darker and more relentlessly obdurate. We’re all already perverted. To move on, we may need to think the unthinkable – or just do it.

Hibbard again:

I think I weigh the harms like this: sport as an F1 like operation with an athlete and responsible medical staff is not ideal, but athletes/teams doing all of it in dangerous ways to avoid detection with poor psychological consequences for both PED users and clean riders is worse.

Finally, zoom out, because we’re not just talking about cycling here. Other sports have dopers. What about this idea that we the sentient universe *actually might* host a kind of enhanced games, where events are open to performance-enhanced athletes? (Blimey: another worrying lurch on the god-forbid-ometer, surely? Automatic recoil mode engaged). And yet, if medically overseen, is this not where we’re moving – or being shifted?

I’m just about the daftest sports-romantic I know. But I hear the arguments.

#Books and #writing and all.

~ bowlingatvincent ~ 2 Comments

I know this is kindof niche and I may not be in a position to entirely deny the Cooo, Sales Opportunity factor, but I re-read this (below) and found it mildly diverting. So revisiting.

It’s the transcript of a talk I gave, coupla years back, to Writing Room (writingroom.org.uk) on the ins and outs of self-publishing. Hoping it may be of interest and if not, there are a couple of laughs and the occasional philosophical insight-attempt. With Beautiful Games now unleashed into the wilderverse, and having grabbed a further bundle of knowledge about The Process of Getting Books Out There, it feels okay to piggyback the original event.

To the underslung, I would add, then:

I still really like the whole notion of self-publishing; the freedoms; the Independent Record Labelness; the relative speed of delivering your missive. In terms of practical minutiae, I *now know* that it’s the online behemoths that push for a pre-order period of a month, to allow time for the book files/cover/metadata/whatever to fully load onto their systems. Seems a bit daft in 2024, but this is just how it is. Amazon (e.g.) can put your book up there on Day One but the info about said book, online, may not be correct, or fully described for some weeks. So they call that faff-abart-time a Pre-Order Period and scramble to get things looking right – whilst obviously improving the groovy-‘early’ sales factor.

I have used Grosvenor House Publishing for Beautiful Games, because the people I dealt with were/are tidy and The Dots Will Not Be Joined felt and looked like a kosher book. (In short, happy to recommend). Costs are pretty much unchanged from those included below, other than the increase in prices for copies *to me*, for my book launch and personal supply. This I expected, given the general hike in printing costs, et al, to the producers themselves. Happy to field enquiries on anything around writing or publishing – particularly, obviously, the self-publishing route.

Here’s the new book – https://www.amazon.co.uk/Beautiful-Games-Rick-Walton/dp/1803817763

The rest I think is here…

ON SELF-PUBLISHING.

Hi & welcome to everybody, wherever you’re ‘at’, geographically or writing-wise. I feel like I should start with a patently, refreshingly un-focus-grouped soundbite so here it is: I’m here to ENCOURAGE. I really am.

Am I an expert? Nope, almost certainly not… but I have gone thru this self-publishing thing. So I will and CAN give you some PRACTICAL INFO as well as waffle or spout opinion extravagantly. Ignore all diversions – there will be nonsense and mischief en route – just hold on and I will prove to you I am kosher in the sense of having self-published a book. Recently. You may, should the thing fall into your hands, powerfully dislike THE DOTS WILL NOT BE JOINED and therefore think I’m an utter fraud as a writer but the process would be the same for your fabulous, authentic equivalent.

Brief WHO AM I?

I’m Rick and I’m a writer and a sports coach/P.E. Teacher – mainly the latter, in fact. I’ve always ‘written stuff’ – whether that be songs/poems or bigger lumps of words. Always. For me. For me this is personal, so if you do take away one message from the following kaleido-rant(s) let it be this: I think we write because we can’t stop. The Rest is superfluous (for me, anyway): whether we’re famous and brilliant or mischievous and obscure and daft. (Guess which end of the spectrum I’m waving, madly, from?) The Doing is the thing. Your contribution is the thing. Please create this stuff. You need it/I need you to do it. You make the world better. Get your writing done.

I love Nearly Man/Nearly Person stories. I’ve got some byooots and if we have time I’d love to hear some of yours. Wozzat all abart? I think We Writing Peeps may need to be kinda durable or ‘philosophical’ but we may also need a sense of humour about the madness and anti-meritocracy of all this, yes? Maybe more of that later…

My story is… in god-knows-when my first play was workshopped at the Nat Theatre Studio, in London. It was entirely possible that I was gonna make it: I do actually remember a director saying “Christ, Rick, you’re gonna be SO-O BIG!!” LOLS! Been getting smaller ever since.

I shook hands with the top man there – Nick Wright – over the fact of an upcoming production of one of my plays, then got on with my life. They had ‘wanted me in the building’ so I wrote something else on a second visit. IT NEVER HAPPENED. Not because they realized I was the mischievous impostor/rebellious jukebox I may have been but because the funding was cut for new writing festivals etc. I imagine half of you have experienced something similar – the new stuff, the risky stuff being cut or excluded. I didn’t care. I just kept writing – kept living my life.

Apologies, know this is indulgent but let me stick with this momentarily on the off-chance that this feel somehow relatable and mildly diverting. I’ll mention in passing that a reader at Hampstead Theatre dubbed me a ‘free-wheeling absurdist’ (always wanted to stick that on my passport) and an equivalent at the Royal Court called me ‘the diamond in the dung-heap’ and I think that gave me enough belief… but know what? All that belief/confidence/vindication malarkey… that could be an endless discussion in itself… mainly I was happy, living in Pembrokeshire, with NO EXPECTATION or AMBITION to be somebody – be that kind of writer or public figure.

Have no regrets about this. Never, I swear sought to push open that metaphorical door: never bought directors coffee. Always knew I was a longshot and an outsider because of who I am, how I write. I wasn’t going to change that; they weren’t going to change that. We’re all wonderfully different (and I know this can sound incredibly arrogant but) for me there was and is no conciliation around this.

Know it’s going to sound weirdly against the grain of what follows here, if I say I’ve never considered the public aspect of publishing important. But I really haven’t. This is personal and I fear it will sound insufferably pompous or something… but I don’t, essentially seek or need vindication. I just write. So yeh – uncompromisingly.

THE PROCESS

Started with having the headspace and time to write a book, instead of blogs. (Am an accredited cricket writer and bloggist – have two websites. Have also had articles published in various papers and magazines; sports-stuff mainly. Wisden). COVID made the first tome possible.

Conversations (with folk I trust), who might know, about agents/publishing/stuff I’d need to aware of.

Some publishers INSIST on agents forwarding work: think that’s bollocks but it’s how it is. Didn’t expect to get an agent but googled them and chose a few. Did the same with publishers, at the same time, because a) impatient b) knew my work too ‘left-field/’unstructured’ to land with most mainstream publishers.

Looked hard at publishers, on t’internet and chose about ten, to forward manuscripts. Most want the opening 30 pages, with a chapter breakdown and/or similar highlights package. Took this seriously but opted to present in my own inimitable style, in the expectation of ‘failure’, but the hope of maybe just hitting a like-minded spirit in their camp. Didn’t!

Most publishers take months to get back to you – if they do so. They then pre-warn that any subsequent publication will take a year or more after that. This was intolerable for me, given my book feels contemporary to that 2019/20 moment – was about that moment. Feels urgent.

IN SHORT I THINK IT’S RIDICULOUS (in any case) that it takes 2 years to publish a book. In 2021/2/3? Madness. Simply don’t believe it’s necessary, in the digital age and it was a major driver in pointing me towards self-publishing.

Wrote the book between winter 2020/21 and early Summer 2021 with a view to publishing that autumn. Timing-wise, felt daft not to try to collar some of the Xmas Market. Lols!

 (It had become apparent, from more conversations and possibly email exchanges with publishers, that even with lockdowns meaning half the universe was writing books, self-publishing could happen start-finish in a matter of weeks/a few months. That was the clincher, for me).

So, basically, I didn’t wait for many agents and publishers to respond. I saw an ad on-line, probably under The Guardian banner, probably on the Twitters, for self-publishing via Grosvenor House. I remember asking my good friend Paul Mason if he had any experience or knowledge around this and he said he was aware of other options, but no. Didn’t recommend his agent, neither did the other guy I spoke to. No easy ‘in’: I emailed Grosvenor House Publishing Ltd.

DETAILS AND COSTS.

Abstract: I wanted complete control of my book. I’m a Stiff Records kindofaguy rather an EMI geezer. I didn’t want proofreading or copy-editing services: I was always going to do as much editing and re-writing as anyone but I wanted to make all the choices. Independent Record Label equivalent. Self-publishing makes that possible. It can be thrillingly punky in a way I like.

In July 2021 it cost me £795 to sign up with Grosvenor House. We had inevitably exchanged some emails – you get an individual assigned to you – which prepared the ground in terms of what the writer gets and what the publisher expects. Then you get a Publishing Agreement, (show it!) with just a few pages of contractual stuff – none of which was too intimidating to a newbie like myself.

What the writer has to do – probably not an exhaustive list!

  • Write the manuscript.
  • Produce some publicity/back of the book blurb.
  •  List the book correctly for web searching (metadata – had no idea myself but not over-taxing). Not *actually sure* how vital that is, but they want you in the right box and some people will probably search.
  • Choose or design a cover and internal pics – at £5 per image, from memory. Best part of my adventure: Kevin Little. Somebody I trust, who GETS ME. We talked, I gave him some keys and a picture and away he went. Magic. IT WAS FREE – he understood. He enjoyed it. He brought His Thing. I needed some of his technical knowledge as well as his understanding of me and the book. Find a soulmate in this!
  • Take responsibility for slander/liable/originality etc.
  • Provide ‘an electronic file in Microsoft Word of the book text plus digitally scanned photographs/artwork in the correct format’.
  • Choose fonts and formatting (you’ll get some advice, in my experience). Also matt or gloss, etc.
  • Choose what price you want the book to be.
  • Allow the publisher to distribute sample copies free of charge. (Not sure if this happened, in my case).
  • IMPORTANTLY, THE AUTHOR MUST DO ALL THE MARKETING & ADVERTISING.

What the publisher agrees to do:

  • Arrange and provide an ISBN number – essential, people tell me.
  • To typeset sample pages and send them out to the author for approval.
  • To provide an electronic full proof within 30 days.
  • To assemble a cover – either from material the author provides or from a royalty-free website. (Grosvenor House can, for a fee, design your cover).
  • MANUFACTURE BOOKS ON DEMAND as orders are received.
  • ‘Supply our distributors with your book’s metadata/synopsis’ to ‘all major retailers/wholesalers in the UK and to Amazon.com’. Will list the book with Nielsen Book Data.
  • Make royalty payments twice a year – got £640 for my first!
  • Provide the author with 5 bound and printed copies free of charge. Supply the six national libraries of the UK with a copy of your book.

IMPORTANT NOTES.

Grosvenor House offer services such as editing/proofreading/design. The base rate for that is about £35 an hour but they will offer you specific quotations for particular tasks. They will professionally check-over your manuscript for about £200, in short. I didn’t want that and couldn’t really afford it, given my confident expectation to lose money at this venture. However, I inevitably missed a couple of typo’s and restoring those cost me about £100, post-publication.

The marketing thing is key. You, the author are doing all the marketing. They effectively produce the book and put it on Amazon. You sell it. I absolutely hated the idea that my only realistic option was to sell via Amazon BUT IS THIS IS PROBABLY HOW IT WILL BE.*

EVERYTHING IS DOWN TO ALGORITHMS AND CLICKS (apparently).

Grosvenor House did advise me that pre-publication sales can be major: if a certain number are sold, early doors, that triggers algorithms (or something) that may release your book into actual shops – or get it noticed by actual shops, who then order copies in. THIS DID NOT HAPPEN WITH MY BOOK -I’m a nobody, why would it? But FIND OUT ABOUT THIS STUFF. Lean on the publisher?

*Or by-pass Amazon, maybe… by buying lots of your own books and touting them around bookshops, yourself. (I am going to seriously consider this for my next book). Grosvenor House told me they would sell me any number of my first book at about £4 each – I bought 50, for the book launch.

 Next book I may contemplate buying many more and going on a road trip: let’s do the math.

Haven’t really thought this through but it may be possible to buy at £4 and sell at £10, having persuaded the booksellers to split that remaining money. If you take £7 & the bookshop gets £3, I make that £3 profit per book, for both of you. You may only need to sell 3 or 400, to break even. Could you face that initial expenditure, that risk, that work – that selling? Could that be part of your adventure?

We’re racing ahead. You need to be cute. You also need to be realistic – or not. I simply accepted the near-certainty that I would lose money on this adventure and daren’t buy 400 of my own books – didn’t really want to charge round the country with a car full of books.

My chosen route may have been something of a cop-out, then. I bought just enough books for the book launch, and to place a few in a local hotel and a couple of local shops.

Re-wind. WHAT I DID cost me around £1,000, trying to keep costs down a bit. The Killer Truth is that if you SELL YOUR BOOK FOR around £10 Grosvenor House will pinch £4-plus of that, and so will Amazon or equivalent. MEANING YOU WILL GET A ROYALTY OF (ONLY) £1.40 for every book sold. Outrageous but true.

I bit that bullet and tried from the outset to a) live with the loss but b) push to sell as many as possible.

MARKETING.

Nobody knows who the f*** Rick Walton is. He has no clout, no real ‘presence in the market’. But he knows a man or two that do(es).

I’m a Twitter fiend and have one or two celebrity Twittermates. Or Twitter Big-hitters. Critically for my ego (maybe) and certainly for any sales, both these guys think I’m a decent bloke and an interesting writer. They have many thousands of twitter followers and they both were kind enough to pump the book just a little, on that sagacious platform. The result was I sold about 5-600 books and gathered about £700 back from my outlay.

CONCLUSION.

I loved the whole process of self-publishing. It suited me. Never for one moment did I think it would make me a profit: I was doing it for other reasons. Primarily, rightly or wrongly, I feel there’s something I have to say. It felt like a next step. If the reality is nobody’s going to take me on – no agents, no publishers – so what? I can do it anyway.

It was a brilliant, gratifying adventure; I strongly recommend it. But think about how you might sell a lot of books. You’ll probably need to sell best part of a thousand to get yourself close to parity, dollars-wise, if you do it the way I did.

So who do you know with 300,000 Twitter followers? That’s, in my experience, the way to go. Or what’s your equivalent to that going to be?

Fertile Neglect.

~ bowlingatvincent ~ Leave a comment

I have a memory which is tough to shake. It’s an earlyish one, probably from my late teens – a time when I was developing the political-philosophical anger that still rages. I was also in many senses finding a voice.

Simply cannot remember where or why or how I finished up listening to Dylan Thomas reading some of his poems… but I did. This was waaay pre-internet so could it have been radio? Who knows. I had found the man’s work prior to this event (and loved it) but never heard him read or speak. I was – and I know these two words don’t fit together – I was relatively shocked.

To a spiky youff from Grimsby he sounded like a posh English public schoolboy. Inflated. Pompous. Weird. But not Welsh. So un-believable.

A similar thing happened the first time I heard Kyffin Williams speak – only more so. Another toff, another fake Welshman; another medium-shocking disappointment.

Of course this is prejudicial nonsense… but it is also true. To this English-born now long, long-term resident of Wales, conscious of his own fraudulence, it hurt a little that class, that privilege had intruded so jarringly into *even this* – the sacred world of art and of the heart.

And yet Thomas (in particular) and Williams remain profound icons: in the writer’s case partly because he plainly was in some senses a big-hearted radical – at least in terms of style – and, frankly, his background wasn’t that posh. He just performed like that; believing, I imagine, that the booming suited the pomp and circumstance and mischief around the great themes of his work. But it was weird, hearing him, back then. It was a blow to my punky idealism and to the notion that hopefully, despite Thatcher *and everything* the Home Counties/Great Families domination of the universe might be vulnerable to our Northern, fraternal surge.

I still hope that what we might call The Creative Spirit can come from anywhere and be recognised: that Ordinary Folk, as well as those with time and privilege, can turn out art that is visible and moves and reflects us. However, the times again may be conspiring against this.

The author David N Thomas will probably never read this: if he does, I hope he takes the trouble to get beyond the title and the sense (that may rise in him) of liberties being taken at his expense. They are not. His book Fatal Neglect, which cuts away the sleazy distractions and outright porkies around Dylan Thomas’s death, is gripping, bold and mildly revelatory. I am bastardising his title to hint a little at the unsavoury richness he uncovers.

I say mildly revelatory because, let’s face it, many of us knew that the ultimately frail but often monstrous, boozed-up genius who gifted us Under Milk Wood had been ill-served by his inadequate compadres and the criminally arrogant doctor who oversaw his death in New York. We just didn’t have the evidence. David N proves we were denied it.

Dylan remains the co-author of his own rather grisly end – naturally – having been a drinker and a slob who mixed with or was surrounded by drinkers, drug-takers, neurotics, hypochondriacs, the privileged and the indulgent. He was in bad shape before the bronchopneumonia (obvious but undiagnosed by Feltenstein, the doctor who took charge) tipped him towards coma and death. There were *factors* – used erroneously as fact by that same doctor – which seemed to suit the romantic view of a soul destined to self-destruct: chiefly alcohol and that lack of restraint and self-care. Feltenstein was myopic enough and cheap enough to build his flimsy diagnosis and his fatally shabby treatment entirely around this most readily-available construct; something that went on to symbolise and/or haunt the extinguished poet for fifty years and more. Dylan Thomas became the extravagant drunk who killed himself with booze.

The book unravels that convenience and in doing so exposes the various inadequacies of Brinnin – the agent – and Reitell – the lover, nurse and editor. The wider group that I may with ironic klaxons a-hooting choose to call American Friends are also skilfully, damningly implicated. Fatal Neglect is about shallowness, selfishness and self-interest as much as it is a comprehensive gathering and disassembling of medical fact and half-truth.

These shitty people get skewered, for their ‘lack of anchorage’ and whilst contriving their cover-up.

Brinnin, the agent, arguably more than anyone. He failed utterly on his duty of care towards a plainly unhealthy man. He worked him, even when Thomas was visibly ill or barely able to speak, to fund his own, appallingly glitzy lifestyle. (To be fair, the Welshman had a penchant for robbing or de-frauding the chancers, suckers and sponsors around him but his Canadian-born American agent was different level). Annual European tours, first class travel, cruises: all on other people’s money. He proved to be similarly profligate in respect of his responsibilities towards scheduling: D N Thomas reveals the extent to which Brinnin needed Dylan to graft and set him to it.

Liz Reitell shares some of the same disconnect from common decencies. She thinks she is Everything, as though Caitlin doesn’t exist or have rights and she, too, drives the dangerously exhausted writer on, carelessly or callously. She shares a good deal of responsibility for the years of edited truth, too; notably overseeing the travesty that was Brinnin’s book about those last days. Reitell is a talent, a shrew, a liar… but going through this, who isn’t?

I like that a sharp wee tome about medical minutiae becomes a scrupulously fair but fierce judgement upon people who barely need to care. Because they have stuff covered. Life, money, travel, expectation. Even the honourable medical men who were horrified at what Feltenstein did closed ranks to protect the hospital and staff who capitulated to the invading, overpowering Doc.

Everything is both material and context. For me Fatal Neglect has travelled well, crossing almost seventy years of myth and mischief around the relatively public demise of one of the great figures of modern literature. (If I have sounded belligerent towards Dylan Thomas that too, has been a fraction of the whole. The opening to Under Milk Wood still strikes me as one of the great, sustained moments in musical prose. The man was flawed, oh yes but by god he was something special).

Which is way it feels satisfying, feels right, that we now know he did not simply drink himself to death. Indeed he should not and would not have died, back in ’53, had he received prompt and professional medical attention. He had pneumonia before he was admitted to hospital. He was given shots of the wrong stuff. Nobody dare tell the fella Feltenstein – who had no authority – that this wasn’t just about the hooch. ‘Friends’ mostly failed him, too – as did those who came to tell the story. Some were duped, some criminally covered-up. Class, money, appearances, disappearances. Editing. Protection.

Fatal Neglect made me feel angry, in a good way. It shines a light into both the petty, alcohol-fuelled drama-queendom of Dylan and Caitlin and the uglier, truly privileged ease of some of the Thomas Groupies. In doing this, it may have found another moment; when more chancers, toffs and tossers – Johnsons and Goves and Hancocks? – are serving up incompetence and worse, safe in the knowledge that they can wallow. Because some folks still don’t really need to care.