Thursday, 20 November 2014

Standing on the Verge of Getting It On

I've written a book called 2000 TC: Standing on the Verge of Getting It On.

The text was finished on Friday and look, here it is already. It's not for sale, though, it's a private edition of 111 copies.

It was written to mark the Cosmic Trigger play and festival in Liverpool this coming weekend.

It is the story of a band, TC Lethbridge, who will be playing their first gig after the play on Saturday - 23 years after they formed. TC Lethbridge are Doggen and Kev Bales, of Spiritualized and Julian Cope/Brain Donor, and Flinton Chalk, who you'll find in my KLF book (pages 116-117).

2000 TC is an album they recorded an album in Avebury 20 years ago. This is being released on November 23rd by Iron Man Records, but you can hear it here now:

The voice on the track Bou Saada is that of Brian Barritt. He makes an appearance in the book Cosmic Trigger, when Timothy Leary tells Robert Anton Wilson that he needs to talk to Brian if they are to both understand Aleister Crowley.

Spending a few months writing a biography of a band who have yet to show their faces in public was not the most career-minded way to spend my time, but it had to be done. This is a story about people who've had some form of visionary or incomprehensible experience, and about how they can only move on and process what happened to them through a creative act. It is about the impact an uncompleted artistic project can have on a life. It also functions as a jigsaw piece, connecting the story in my Timothy Leary book to the one I tell in The KLF.

So, yeah, it had to be written.

No doubt it will be made more widely available at some point, in some format, in some way, should the band keep gigging and putting themselves about. But until then - more about the band here, and catch them Saturday if you can.

Hope to see you all in Liverpool this weekend. I'll be speaking on the Sunday after Robin Ince and will then host a panel that will attempt to make sense of the preceeding days (fat chance!)

Tuesday, 19 August 2014

Our Pet Queen

There's a new book from me that is being published on Monday. Our Pet Queen is an ebook short I wrote for Random House Canada about the monarchy. Yeah, you weren't expecting that, were you? 

Here's the blurb:

In the modern, democratic twenty-first century, the notion of an unelected, dynastic monarchy is not easy to defend. This new book argues that the current monarchy is by far the best system for choosing a Head of State - providing that it is understood that we are not subjects and that the monarchy are not our superiors. They are, in fact, our pets.
In this original ebook, John Higgs, author of the The 20th Century: An Alternative History, makes an argument in favour of the monarchy that will annoy royalists even more than it will annoy republicans. This is a tongue-in-cheek, witty examination of the persistence of monarchy in the modern world. 

It's a continuation of what seems to be a major theme in my books, namely that looking at the world rationally leaves you far more bewildered and angry than when you recognise and enjoy the magical thinking that really shapes the world.

It's 15,000 words, contains revolutions and beheadings, and you can pre-order now from Amazon UK for £1.94 or from for $3.25.

Wednesday, 23 July 2014

Historia Discordia - The Origins of the Discordian Society

Adam Gorightly's new book is hardcore. The most battle-hardened historian would blanch at writing a history of Discordian Society.

As you can imagine with a society whose major contribution to world culture was a conspiracy called Operation Mindfuck, telling accurate stories of their origin was not their thing. Discordians thought it was far more useful and enlightening to make stuff up. That this book exists is, frankly, something of a miracle. But it was clear from his earlier biography of Kerry Thornley that if anyone was going to pull this off, it would be Adam Gorightly.

This is a large-sized, coffee table book full of reproductions of original Discordian Society documents, the Holy Grail of which is a complete reproduction of the long assumed lost first edition of the Principia Discordia. Only five copies of this were ever made, ironically on the photocopier of New Orleans District Attorney Jim Garrison, who would later suspect co-author Kerry Thornley of involvement in the JFK assassination.

This first edition reveals how much of later Discordian lore appeared fully formed at the start, most notably the Law of Fives. What is particularly interesting to readers of Robert Anton Wilson is seeing his influence appear after this point, bringing with him concepts such as the 23 Enigma and Timothy Leary's reality tunnels.

This is a treasure-trove of odd revelations. Who knew, for example, that a Discordian had once gone by the alias Rev. Jefferson Fuck Poland?  I had never taken seriously the claim that Discordians were responsible for introducing  the two-fingered peace sign, as adopted en masse by hippies in the 1967 Summer of Love, because this sounded too much like the sort of thing they would make up. Yet here we have proof that the Discordians were promoting the sign in 1965.

I tend to see Discordianism's development as akin to a musical genre where the real creative fire occurred at the very start, when people were still working in the dark and clueless about they were manifesting. Later developments, such as the Church of the Sub Genius, seem like a form of diet-Discordianism to me - great for what they are, and clued-up enough to preserve the good stuff, but ultimately restrained by being reproductions of earlier maps. So what Gorightly has assembled here is, to my eyes, very precious.

Historia Discordia is out now for £15 (Amazon UK / Amazon US). For those who don't like to use Amazon, try BookDepository which offers free worldwide shipping.

Thursday, 1 May 2014

Steve Moore (1949 - 2014)

Steve Moore (centre) at the Brinklow Crescent burial mound. Photo by Mark Pilkington

When someone dies there is a temptation to write an obituary. If I'd written an obituary for the comic writer, Fortean Times grandee and occultist Steve Moore when he died last month it would have ended with the final few sentences from his dream diary, in which he describes the end of his last dream:

“I came to what seemed to be a small lake, and decided to float across the surface, but it seemed to be only about an inch deep anyway. I then decided to run, as I wanted to get home quick.”

That would normally have been a perfect image with which to mark someone’s passing. But the usual narrative of a-physical-thing-leaving-us doesn’t seem appropriate in Steve's case. As his life-long friend Alan Moore wrote in the afterword to Somnium, Steve “had always seemed to me to be deliberately liminal and ghostly in relation to the solid and shin-bruising world around him.” As an example of this, I searched through the video footage of Alan we shot at Alistair Fruish’s house earlier in the year, to see if there was a good image of Steve. All I could find was the following screengrab, from the moment that the camera was lifted up to be switched off, in which his left hand and leg can be seen in the top left of the frame. He was there, but you’d have a hard time proving it in court.

Steve possessed both a great love of the margins and a rigorous quality control, so as a result he was often way ahead of the curve. Much of the imaginative end of our culture has Steve’s influence somewhere in its background, but the man himself is largely absent. Remembering how he co-organised the first British comics convention and was behind the first British comics fanzine, I asked my teenage daughter, who lives in the Tumblr world of Sherlolly and Wholock, if she could imagine a world without organised fandom. She just stared at me, horrified, before saying, “How could you even suggest that?!”

Steve is, of course, frequently invisible in those cultures that he was in some way involved in shaping. At best, you might find a hand or a leg peeking into the frame.

Yet my relationship with Steve Moore is easier to pinpoint. With the exception of that afternoon at Alistair’s, I can show you exactly what our relationship consisted of, for I still have it in front of me. It is a chain of 58 lengthy emails, entitled ‘Re: From Steve Moore’, that we wrote between last November and his death in March. It was a relationship of the written word, where he seemed more present that in the physical world.

The emails begin after he discovered that I’d named the moonbase in The First Church on the Moon after him. He got in touch to say that, in his philosophy, having a fictitious moonbase named after you was more of a compliment than if it had been a real one. Those emails then continued on a strange, twisting path covering such subjects as triangular temples, why I should not go and see the upcoming movie based on his Hercules comics (“It will be shit”) and, perhaps most relevant here, the eternal nature of time.

"Don't go and see it, it'll be shit" - Steve Moore

Steve was an eternalist. Like Einstein, he thought that all of time exists in a big block. If something existed at any one point, then it exists always. The future and the past are just as real as the present - it’s just that you happen to be in the present, so you don’t usually see them.

The day before I heard he died, I read an interview from 2009 in which he said that the Bumper Book of Magic he was writing with Alan would be finished next year. I made a mental note to mock him about that when I visited him the following week, for I was due to spend actual real-world time with him the following Thursday. He also said that he had to get his long-promised academic work on the Greek moon goddess book, Selene: The Moon Goddess and the Cave Oracle, finished before he died, because he “owed it to my goddess”. He died at his desk, upon which sat a half-eaten Kit-Kat and printout of that manuscript, and on top of that was a helpful ‘Things To Do’ list, which itemised all the changes to the text that he still had to make. And so, over the last month, I've been editing that book in accordance to his wishes.

In the book he strips away modern lunar symbolism, such as the mother-maiden-crone triple goddess, in order to reveal what Selene meant to the ancients. To the Greeks, gods and goddesses were ageless and immortal. This set them apart from us mortals, who age and die. The story of Selene tells of her love for Endymion, a simple shepherd from Latmos. A relationship between an ageless immortal goddess and an ageing mortal man was never going to be straightforward, but in this myth it was possible because that mortal retired to a cave and sank into a never-ending sleep. This meant, essentially, that he was removed from the present. For Endymion, this was a small price to pay to be with his goddess. Steve Moore, it is fair to say, agreed with Endymion on this point.

There are indications, in that 58-email chain, that Steve wasn’t as beholden to the present as the rest of us. In one email he mentioned how he had been struck by the thought of what he would do should his doorbell ring at 11:30 at night (which never happened). He decided that he would go to his upstairs office and call down through that window. That evening the doorbell went at 11:30, so he went up to the upstairs window, where he was able to direct a confused fast food delivery guy to the correct address. Two days before he died, he dreamt that a plasterer was up a ladder, trying to seal that same upstairs window. After he died the police gained access to his house by putting a ladder up and getting in through that window. In his account of his final dream, the last lines quoted above come immediately after he noted that it was, in his dream, 11:30 at night. As he has noted, in magic you often get the answer long before you understand what the question is.

Selene will be finished and published in due course. He did his goddess proud. The Bumper Book of Magic will be finished by Alan, Somnium will be arrive in paperback soon and a collection of prose Tales of Telguuth stories should also be released. Steve may no longer be in the present, but he exists in the same quietly productive way he always did.

We can’t actually see him at the moment, of course, but then what’s new?

Wednesday, 2 April 2014

Tour Dates

Well, it's a bunch of talks over the next six months - I can pretend that's a tour, can't I? A man can dream.

A couple of these are still a little vague, but I'll update as the fog lifts.

SUNDAY APRIL 6th - Black Dove, Brighton
Me and Daisy Eris Campbell discussing Robert Anton Wilson, The KLF and Cosmic Trigger

WEDS 14 MAY - Spiegeltent, Brighton Festival
Cabaret of the Mind: Tricksters & Troublemakers. Talks on KLF, Ken Campbell and the Church of the SubGenius from me, Daisy, Dr Bramwell and JimBob from Carter

SAT 17 MAY - The Corner, Nottingham
Pulling the Cosmic Trigger, with Daisy, Adrian Reynolds and Anna Reynolds

SAT JULY 24-27, Port Elliot Festival, Cornwall
Me, CJ Stone and Daisy Eris Campbell will be appearing in the Ways With Weirds lineup.

AUG 7 - 10, Wilderness Festival Oxfordshire
I'm doing a couple of talks in the Odditorium tent, one on The KLF and one with Daisy on Robert Anton Wilson

AUG 15 - 17, Weird Weekend, Devon
Talking about The KLF and assorted strangeness, CJ Stone will also be appearing.

NOV 20th-23rd - Cosmic Trigger Festival, Liverpool
Of which more news anon.

Anyone who comes to all events wins a cheese.

Hope to see you along the way.

Wednesday, 5 March 2014

Transformation and Jamie Reid

Yesterday I was looking at this page from the 6 February 1977 edition of the Sunday People:

The reason it's framed is because it's the actual page which was the source material Jamie Reid photocopied in order to create one of the most iconic British images of the late 20th Century:

Now, pretty much everyone of a certain age in this country loves this image. It captures something of the national character perfectly. But until yesterday I had no idea of where it had come from. The original photo of the Queen was from an opinion piece, the headline of which read: "On her Jubilee day, how the Queen may see us: SHE'S DONE HER JOB... HAVE WE?'

The full gist of the writer's argument has been lost, alas, as only the top half of the article remains, but the general idea was to question whether the British people, in the year of the Queen's silver jubilee, are worthy of such a perfect monarch. The writer, who was clearly very angry, and also mad, took the view that his fellow Brits must be something of an disappointment to the monarch.

Knowing this makes me see that image in a whole new light. What Jamie Reid did seems like pure alchemy to me - he took dirt and turned it into gold. Through an act of creative imagination, the intention of the original article was not just negated or subverted - it was transformed into an era-defining icon that was the antithesis of everything that the original article stood for. The original author's deepest fears were blown up into a Godzilla-sized monster, because to do so was hilarious, and because the original author was asking for it.

I wonder if the unnamed author ever realised that Jamie Reid's iconic image was, in part, his fault?

All this fascinated me because I've just spent a month writing a short ebook on the monarchy, for Random House in Canada. This will be out in June, I think. It is in theory a pro-monarchy book, but it offers a perspective on monarchy that is more likely to get me lynched by royalists than republicans. Looking at these images again, I started to wonder if I would have written the ebook I have just written if I hadn't grown up in a country where Jamie Reid's image was ubiquitous. And if I'm honest, I don't think that I would have. It is a powerful image indeed that has such a transformative effect on your relationship with your national identity.

The knowledge of where that portrait came from is, in this context, the icing on the cake. If it is possible to take an article like that and, through alchemy, create such a transformative icon, then what else is the creative imagination capable of?

The reason why I was looking through Jamie Reid's work was because I was with Daisy Eris Campbell, and Jamie Reid will be working with her on her Cosmic Trigger play and festival in November. Keep an eye on for updates on that.

Until then, here's a piece of Jamie's more recent work to leave you with...

Friday, 31 January 2014

Talking RAW with Alan Moore

Yesterday me and @DaisyEris Campbell drove up to Northampton to visit Alan Moore, the Greatest Living Englishman, to talk about Robert Anton Wilson. We filmed the interview and we'll show it in Liverpool on Feb 23rd. If you can't make that, then Daisy will also use the footage as part the indiegogo campaign to crowdfund the Cosmic Trigger play, which kicks off on April 23rd.

There was a lot of press recently about Alan's decision to withdraw from interviews and public appearances, so the fact that he was good enough to do this for us yesterday is an indication of how important RAW is to him. Alan has only rarely been asked about Wilson in interviews, and what he has to say is well worth hearing.

Mighty Alan Moore, Northampton Jan 30th 2014
If that wasn't enough, we also met Steve Moore, whose eternal novel Somnium will finally appear in paperback later this year, and Alistair Fruish, whose novel Kiss My ASBO will please all who hanker after a bit of dark urban psychedelia. Alistair, it turns out, rides a rowbike, which is a bike that is propelled by rowing rather than cycling. As a result I found myself standing in a Northampton terraced street watching him row past, while Alan Moore told me that the trick was to wave as he passed as this made him automatically take his hand of the handles and fall off. Should my mind ever be wiped, I suspect that will be one of the last memories to go.

Ken Campbell's Illuminatus! play famously included the voice of Sir John Geilgud as FUCKUP, the artificially intelligent supercomputer which predicts Armageddon by use of the I Ching. As Daisy's Cosmic Trigger play includes scenes from the staging of Illuminatus!, she had the problem of finding someone significant enough to step into Geilgud's shoes. Ultimately it comes down to a choice between Alan Moore and Richard Dawkins and, lets be honest, Alan has the better voice. And also, a sense of humour. So his lines have been recorded, and those planning on coming to see the play will now hear Alan Moore as the voice of FUCKUP.

For more news on all of this get yourself to Liverpool on Feb 23rd, where there will be talks, performances, music, and me discussing the origins of my KLF book in a talk entitled 'I Blame Liverpool'. See you there, yes?