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Kitchen sink epic fantasy The Bastard Wonderland was the stunning debut novel from writer Lee Harrison. As Shellie Horst wrote for, “The Bastard Wonderland has epic fantasy scale with solid industrial fantasy technologies woven in. It answers the call for the working class protagonist. It wriggled its way under the radar of man, yet continues to win readers over with its Steptoe and Son feel.” We caught up with Lee to find out more about the book, his writing process and the importance of libraries.
The Bastard Wonderland is an astonishing debut fantasy novel. Can you tell us something about where the book came from, why you wrote it, how it developed and how it ended up being published by Wrecking Ball?
Thanks, pals! The Bastarard Wonderland came from all over the shop and took a long time to evolve. It started from my lifelong ambition to write a fantasy epic like the swords and sorcery stuff I loved as a kid. I got side-tracked in my twenties, did a degree in Religious Studies almost by accident, and then had a bit of a breakthrough with some grim contemporary short stories. 
I learned that humour and a sense of real life can really make your writing sing – and yet I could never quite shake the urge to write fantasy type stuff – so TBW came back, and ended up influenced by all of the aforementioned. It became a very different, more complex beast than what I thought I’d set out to do – but It’s really just about how people cope with change, in the end. I was very pleased with it – but the difference was a problem for the mainstream publishers I submitted to – almost all of them enthused about the work itself, but it was turned down on marketing grounds, being so different than the standard fantasy fare already out there. Disappointing. So when Wrecking Ball Press picked it up without any faffing or doubts, I was delighted. It is the strength of independent publishing that it has the power to champion interesting or offbeat writing without worrying about mass market appeal.
Can you explain what you mean by “kitchen sink epic fantasy”?
I realised through the process above that I enjoy fantasy, big themes, and made up monsters and all that – but I tend to see the world from Hull – from the North, from the working class perspective. The challenge and the intrigue for me, is to honour both – hence – kitchen sink epic. Most fantasy, from Tolkien to now, is written from a very entitled perspective, what with an emphasis on royalty and the old ‘chosen one’ trope – much of it is hackneyed, done to death, and doesn’t say anything to me. I think fantasy works best with its feet on the ground.
Who are you writing for?
Initially me, with the hope that some other weirdos might also enjoy it.
What experience do you want your readers to have with your work?
I want them to choke on sheer delight.
When you’re embarking on a new piece of work, whether that’s a short story or a full length novel, what approach do you take?
I usually have some sort of nucleus of an idea – perhaps just a scene or concept that intrigues me, and I start to flesh that out. Some of these fragments float around for years until they congeal with others, and the whole thing snaps together. Generally there is lots of procrastinating though – a lot of talking to myself and writing badly organised lists and notes.
Tell us a bit about your process? Are you disciplined when you sit down and start writing? Do you set a word count, work at a particular time of day, that kind of thing?
I feel like I’m working method out from scratch every time I start a new book. For the last one, Canyon of Ghosts, I had down a routine of sweeping up before I sat down to write, and lighting incense (it suited the theme and atmosphere of that story). I always prefer to write in the mornings. I tend not to apply targets because I just don’t stick to them – but recently I’ve had a go at the old minimum 1K a day rule – I found that only works when you’re drafting, and not revising – which is when the real decisions about the story and characters are made.
Do you do a lot of planning or procrastinating before you sit down and get writing? 
Yes – and then more planning and procrastinating at frequent junctures during the writing. The work actually gets done in the 0.1% of the time towards the end when I get on a roll.
You studied theology/religion at University – how does this manifest itself in your writing, if at all? 
It was a key part in the inspiration for TBW – I was fascinated by the idea of modernity, and that massive, calamitous shift from unshaken belief in religion to a godless, out of control modern world, and all the nuance and caveat that entailed. My degree never helped my vocational career in any direct way at all – but it set my imagination on fire. Religion contains the oldest, most profound, and most batshit stories in the world.
You’ve worked in libraries. What’s the importance of libraries and books in the 21st century? 
Experience tells me that the more libraries and librarians are viewed as redundant and outdated, the more necessary they are. We live in an information age where people are losing the skill and wherewithal to process and challenge information for themselves. As for books – we need stories – they are how we understand and enjoy life – and books are the most solid structure to tell and enjoy them. Its all very well having the latest Disney/Netflix/Franchise/Star Wars algorithm-based pig-feed shoved down your neck – but a decent book is something else – it challenges you.
What are you working on now?
I’m sitting on a recently finished book about a boy and his undead nana, which I personally think is ace, but probably the weirdest thing I’ve ever written. Next, despite having fallen out with Swords and Sorcery epics some time ago, I am currently having a spin at one. But with fireballs. And swearing. And seventies style comedy scenes. And an old northern bastard. And more fireballs.
So what does the future hold for Lee Harrison?
Fireballs. Maybe some more ghostly nanas. Then hopefully, a really weird novel about giant monsters, which will probably be another unsellable labour of proud love.
“He went out to the balcony as the horizon brightened. That godforsaken silver coast again. That bloody bastard wonderland. Chase it or die. He was the son of pioneers and adventurers, and now he understood.” 
In a land not too far away and a time yet to be decided, one man and his Dad embark on an epic journey of war, peace, love, religion, magnificent flying machines and mushy peas. 
The Bastard Wonderland can be purchased online at

Vicky Foster: BBC Audio Drama Awards 2020 winner

Wrecking Ball Press writer Vicky Foster has won The Imison Award at the BBC Audio Drama Awards 2020.

Vicky won the award, which celebrates the best in new writing for the medium of audio drama, for her radio play Bathwater. Bathwater was produced by Susan Roberts and first aired on Radio 4 in 2019. The award is presented annually to an audio drama script by a writer new to the medium and which, in the opinion of the judges, is the best of those submitted.

Vicky Foster appearance on The Verb at BBC Contains Strong LanguageThe prize was established in 1994 in memory of Richard Imison, a BBC script editor and producer. Previous winners include Adam Usden, Mike Bartlett, Gabriel Gbadamosi, Murray Gold and Nell Leyshon.

The BBC Audio Drama Awards – presented by the BBC together with the Society of Authors and the Writers’ Guild of Great Britain – celebrate the range, originality and cut-through quality of audio drama on air and online and give recognition to creatives working in this genre.

Vicky was announced as The Imison Award winner at a ceremony in the Radio Theatre at BBC Broadcasting House London, hosted by Meera Syal, on Sunday 2 February 2020.

The list of finalists for the various categories of the awards included Stephen Dillane, Rebecca Front and Alexei Sayle.

Vicky was shortlisted for The Imison Award alongside Testament (for The Beatboxer) and Colette Victor (for By God’s Mercy). Bathwater is Vicky’s first full-length play, and is performed by herself and Finlay McGuigan with a sound score by The Broken Orchestra.

Vicky was one of the BBC’s selected poets for Contains Strong Language in 2017 and 2018. She continued her involvement with the festival, co-directed by Wrecking Ball Press, in 2019, with Fair Winds & Following Seas, jointly commissioned by CSL and Freedom Festival, and featuring on Radio 3’s The Verb with musical collaborators The Broken Orchestra.

You can find out more about award-winning Vicky at

Bathwater is published by Wrecking Ball Press and can be purchased at

Press Release: New collection from poet Dean Wilson – Take Me Up The Lighthouse

Dean Wilson’s new collection Take Me Up The Lighthouse will be published by Wrecking Ball Press on January 31, 2020.

Take Me Up The Lighthouse follows previous Wrecking Ball publications of Wilson’s work Sometimes I’m So Happy I’m Not Safe on the Streets and the limited edition WITH. Wilson, whose humble brag is that he is the fourth best poet in Hull and the second best poet in Withernsea, is back with more of his trademark revelatory and brutally honest poems set against the backdrop of the Holderness towns and villages he frequents.

Take Me Up The LighthouseThis new collection takes the reader on emotional journeys via bus, covers encounters on benches and trains and entertaining postmen, while celibacy, sex and the search for romance are juxtaposed with orange curtains, omelettes and Cheerios.  Throughout, Wilson combines humour with heart-tugging pathos.

Having stepped out of the shadows during 2017 City of Culture year by making a host of live appearances and becoming a regular radio contributor, Wilson’s growing audience have been clamouring for more published work that builds on his existing output. 

Dean said: “I’m happy and anxious about the publication of Take Me Up The Lighthouse. I’m hoping that readers will enjoy the fun and the rhymes about my East Riding adventures.

“My life is all there in my work, warts and all. I don’t decide what to write about and what to leave out. I’m writing in my head all the time whether I’m walking on the beach, dusting, shopping, swimming or watching Corrie. Rhymes never leave me alone.”

Dean’s pain will bring readers pleasure. This new collection will also allow Dean to return to the stage with new work to perform, something he is surprisingly nervous about.

He said: “I love performing and making people laugh. It’s the best feeling I know. I don’t like the build up – the rehearsing and the doubts and the nerves, but it’s all worth it.”

Dean might be viewed as a Hull and East Riding treasure but his live performances beyond the region have proved beyond doubt that his work goes down well anywhere he reads and performs. His many local references and the concrete details that litter his poems about his east coast existence ground his work in a specific place but also allow his work to travel. His local take on life brings into sharp focus feelings and emotions of universal appeal. As he navigates his life, and what it means, readers realise they share common ground with the poet, even in his wildest, untamed and passionate moments.

As for Withernsea, where Dean is based, it seems the perfect place for this former postman to be located.

“I moved here a year ago. It’s a magical and wondrous place. There’s nowhere I’d rather be.”

Wrecking Ball Press editor Shane Rhodes said: “Dean’s a one-off, a totally unique man and it’s good to see his reputation continuing to grow. I originally published his work in The Reater, at the beginning of the Wrecking Ball story, and we’re proud to continue to publish his work.”

Dean will be announcing a series of gigs in 2020. Follow him on twitter at @PoetDeanwilson6 for updates.

For more information and to purchase Take Me Up The Lighthouse visit



Shirley May‘s poetry collection She Wrote Her Own Eulogy, published by Wrecking Ball Presstakes the reader on a journey, the landscape of Kent and Manchester brought to vibrancy via Jamaica. It is a twisting road, the displaced lives making new communities on strange soil, the stories kept and told and shared. It is wisdom, it is memory, and it is future and hope.
This Friday (January 31), at a Uniqlo Tate Lates event at Tate Modern presented by Apples & Snakes, Shirley will read from She Wrote Her Own Eulogy. The reading will be followed by a Q&A and book signing (see details on how to attend the event for free at the foot of this email).
We caught up with Shirley to find out where the book came from, more about her work mentoring and supporting young poets and the importance of writers finding their voice, and then going on to use their voices in order to change the world. 
How do you feel about the response towards the book?
I feel overwhelmed and blessed. I have had some great feedback. One reader wrote: “Brilliant read, poetry at its most powerful, exciting and informative. Loved it.” Another reader wrote: “A rich and shimmering tapestry – profound and evocative throughout. Wonderful poetry.”
A neighbour bought the book for her mother, having seen it on my artist page on Facebook. Her mother bought it for her sister in America and then bought it for two of her friends. She then sent a message to her daughter saying she wanted one more for a gift for her friend’s birthday. That same neighbour has bought the book to auction at an event that is about raising awareness of inequality. That tells me that the book has an impact – this is heartwarming. I believe the narrative voice within the poems, which cuts across cultures, has struck a chord within the readers. Hence, she wanted to share it with others; we come from very different cultural backgrounds but we share this UK history. This shows me the book is universal in its exploration of place, movement and family.
The response has come from people of different walks of life. You need only to go onto my Instagram where people from all over the world have sent me pictures of themselves with the book. What has been surprising is how many have been sold in America. Old work colleagues, strangers and friends have sent me photos of themselves with the book. It has become quite an Instagram phenomenon for me.
Tell us something of your background and how important this is to what you do?
I was born in Manchester. My parents sold a house in London and moved up north; even then you got more for your money living outside the capital. They were able to buy three houses with what they had made from the sale of the one property in London. We lived in Whalley Range which at the time was, and still is, a beautiful area to live. The house in Moss Side that features in She Wrote Her Own Eulogy was where my mother and father worked; it was where I became Jamaican and Caribbean. My mother rented rooms and sold food to the Island peoples who came to the cafe. It was a place of vibrant people who came from Jamaica, Trinidad & Tobago, Barbados, Africa and Ireland; they all ate her food, spoke, laughed and told stories of homelands. My parents also ran the local shebeen, an after-hours drink and dancing place. It was here where people could meet people like themselves. The house was where I developed my imitation Jamaican accent, that was synonymous with children of migrants looking to identify with their parents and the communities.
The patrons came to the cafe and shebeen and spoke about their homelands with such love and affection, and they dreamt of going home. They lived in a place of remembrance and loving stories; I listened and lived there with them. I imagined it all. They would say England was not home; I suppose that is where my love comes for the Caribbean.
My formative years were laced with folk stories. I am between two worlds – an old Caribbean and England. The world I visited when I finally got to Jamaica did not exist. In She Wrote Her Own Eulogy I write about the black bottom and the Charleston because this was the era that my mother was a teenager. So, you can only imagine when I got to Jamaica, it was a world of Dance Hall, girls in Battyrider shorts and boys who wanted to sing like Buju Banton. Jamaica will always be a place of intrigue and mystery. I was glad I fell in love with the place, people and its nuances long before I got there.
Why do you write?
First and foremost, I wrote the book for myself. I wanted to leave a legacy for my children and grandchildren. I feel compelled to write the stories about friends and community because I do not want those stories to die.
I wanted to bring people back to life; to bring those people who are now part of the missing back to the present. I tell authentic stories, through narrative poetry, and of course there is some poetic licence used, and some poems come from a place of discovery, opinion and observation. I write without trying to be a preacher.
I loved Jackanory, which was the BBC Storytime for children. I was an avid fan. I craved stories and that is why I tell them now. People seem to think I have the right temperament to listen to them and sometimes I feel like a priest taking confession.
What experience do you want your readers to have with your work?
I want readers to imagine and see the places I write about and empathise with the people they might encounter through the poetry. For instance, the man who had no sentences left in him was real. I hope people understand the pain that can come from losing the love of your life, the place of silence that it took him to. My intention is for the reader to find commonality within the poems and short stories. At the very heart of me is a teacher, a mentor and I also want to be a genealogist. I hope in the writing you will also discover a place where you might find help and strength and a belief that you can do it.
Tell us a bit about your process? Are you disciplined when you sit down and start writing?
I would love to say I get up every morning and write. However, I don’t have that luxury of being able to do it. I live in the real world, and that comes with real pressures. I’m in the same universe as the rest of the population, one where the clock is always ticking. The government wants its bit of you, so no, I write when I can. I write when the young people I teach are writing. I write in the middle of the night, which is the wrong time for me as nothing makes sense when I am fully awake in the morning. In the middle of the night, often creative ideas invade my slumber and I get some fantastic one-liners – that’s how I got the title of the book.
Performance or writing?
I have a strong attachment to both writing and performance. However, I have two very taxing auto-immune illnesses – Sarcoidosis and Fibromyalgia. Hence, performing is less and less now, and I think in the end writing will win the day, with other people performing the work. When writing is lifted from the page to the stage and can live again through the performer understanding and interpreting the text it excites me because I love live literature.
How important is it that we share and tell our stories?
We make the world smaller when we share our stories. It enables us to see our commonalities, strengths and vulnerabilities. It builds empathy with people who you might not believe you could find camaraderie with, outside your circle of friends and family. It’s a way of sharing histories, and cultural stories, that pinpoint you to a particular time, especially if you are writing as though you are in a decade that you were not born in or a time-lapse in history.
Your work with Young Identity, Inna Voice, and others, has supported the nurturing, mentoring and discovery of new voices and talent and you’ve dedicated so many years, weeks, days and hours to making people aware of the power of poetry. Why did you take this role on?
According to my son and daughter, I “live, breathe and eat poetry.” I am truly passionate about poetry and literature and the access this gives young people, and helping them find a unique voice that cuts through the noise. Young Identity, Inna Voice and teaching others is fundamental to my ethos. I encourage people never to give up no matter who tries to stand in your way. I suppose this role has come naturally to me and I find peace in nurturing and watching others grow.
Do you have any thoughts about your experience of independent publishers?
I have had a great experience with Wrecking Ball Press, mainly because it feels like home. Thanks go out to Elle Grice being massively encouraging throughout, as the book went back and forth between Wrecking Ball and myself. Elle said it was a privilege to read the book and work on the text and that she had really enjoyed the read – that is what you need from those who are helping you to establish your voice as a writer and to distribute your book. Thanks go out to the whole team at Wrecking Ball. When Shane said he would publish the book by a specific date I was overwhelmed as this meant the launch would coincide with the centenary of my late mother’s birth, so that was a great accomplishment for me.
What’s the importance of place in your writing?
Place writing is essential, allow me to conjugate the themes of my work. Place inspires me to write from my observation of people I encounter, helping me when reminiscing and creating a new fictional narrative. My imagination can run when I place my narrative writing in fixed places. For example, in She Wrote Her Own Eulogy – Miss Immigration takes you to the shores of Jamaica. Big Shirley – Red Truck to a hospital room and diagnose of Cancer, Delilah’s House Monton Street to the local brothel. Place is important in my writing.
When can we expect the next collection?
My next collection will be very different to She Wrote Her Own Eulogy. I am working on something right now. I am hoping it will be ready by the end of this year or early next year. I don’t want to reveal themes or what the collection will be. I have years of poetry and spoken word writing that deserves archiving in a book – I intend it to be like a script; it will come with instructions about the thought that went with the performance. 
There is a snobbery about page and performance poetry. I want to help to eliminate and change people’s mindset in the same way that has been achieved with song lyrics; spoken word should be allowed to live again in books. Picasso was a draughtsman who knew all the conventions of painting. I teach people “you need to know form to break form and establish something new.” Isaiah Hull is a prime example of this so you should check out his book Nosebleeds which was also published by Wrecking Ball Press.
I have about seven other collections in folders. Picasso inspires me to break form. My new collection may come out as a mixture of freestyle poetry and pieces of prose.
What’s the future hold for Shirley May?
More Young Identity. I love working with young people who come to our organisation either as poets or musicians. I enjoy helping them reach their potential. For myself, I would like to write a radio play or a film script, very different from poetry or workshop facilitation, and I intend to make more time to do this.
My mother used to say, “we are a long time dead, so make every day count and enjoy yourself if you can while you are doing life.” I did not know what she meant until I was visiting her grave; I was strolling back to my car, having left her, my dad and brother flowers. It struck me that my brother had been dead 30 years or more and he was 26 when he passed. He had been in the ground a lot longer than he had lived; this was true of many more people as I started reading headstones. I know it’s a bit morbid to end this interview this way. However, I hope it’s a reminder to live life and throw caution and inhibition to the wind and, lastly, enjoy yourself while you are doing just that! Thank you! 
Check out Shirley May’s AndWhat TVs:
My Mama’s Suitcase
Not All Of Us Came On The Windrush
Sue Roberts, BBC Producer, on She Wrote Her Own Eulogy: “Blazing with emotion, challenging all the senses, this life-affirming collection demands to be read. Charting a journey from Jamaica, these beautifully crafted poems offer a fresh, detailed insight into the experience of migration.”
Buy She Wrote Her Own Eulogy direct from Wrecking Ball Press at


Award-winning author Martin Goodman has written ten books, both fiction and nonfiction, and a theme common to much of his fiction is the exploration of war guilt. He is Emeritus Professor at the University of Hull (where he was formerly Professor of Creative Writing) and also a publisher at Barbican Press. J SS Bach was published by Wrecking Ball Press in 2018 and we caught up with the author about the 20-year gestation period of J SS Bach, his writing process, life on the coast and what the future holds.
Where did the inspiration for J SS Bach come from?
A crazy download of the whole idea while standing on a tree stump in a camp site in America. I guess I needed to be slammed by it, since the whole concept of a novel on Music and the Holocaust was too daunting to wish upon myself.
Is it true that the book was 20 years in the writing? Can you explain why?
Yes. It took loads of drafts – different drafts focused on deepening different characters. And a lot of site visits, reading and research. Times I’d think the book was done, leave it to settle, and when I picked it up again I knew there was lots more to tackle.
Can you tell us more about the book for those unfamiliar with it?
Rosa, a musicologist from Australia, turns up at the Big Sur home of Otto Schalmik, a Jewish cellist-cum-composer. What links them is Rosa’s grandfather, who was the adjutant at Dachau concentration camp when Otto was imprisoned there. Rosa is angry with Otto for having spoken on behalf of her grandfather at his war trial.

The book looks to understand that riddle, how could a Nazi love Schubert and Bach yet commit atrocities? It also looks at war from a female perspective – three generations of women, one strand of Jewish heritage and one Nazi heritage. Much of my writing looks at how the effects of war are passed down through succeeding generations.

A curious star of the book is Mango, a Rhodesian Ridgeback. For a while the novel was called Follow the Dog. We have a lot to learn from the simplicity of dogs.
What experience do you want your readers to have with your work, and specifically J SS Bach?
I want them to be engrossed and then see their world differently when they emerge. With J SS Bach, I guess it’s to see the humanity that underpins horror. And to experience something of what it’s like to be inside the creation of music.
Who are you writing fiction for?
I write the book I’d like to read, and hope it plugs a gap in the reading experience of others. In J SS Bach I was also reclaiming the human tales of people whose existence was wiped out by the Holocaust – so I was writing it for those that did not survive, as some act of remembering and sharing.
Are you pleased with the reaction to the book?
It’s not yet won every award going and received streams of headline reviews, so I’ll always feel a bit shortchanged. But yes, I’m pleased. Folk I don’t know have written to tell me how strong their reading experience of J SS Bach has been, so having your novel connect with another life ins such a way is deeply satisfying. The Morning Star, which I’m very fond of, called the novel ‘masterful’. The Financial Times gave it a major review, which I’m glad for.
Aside from the obvious, how does writing fiction differ from writing nonfiction books?
You can truly get inside a character’s head and see what propels them. And then have characters meet and see how they interact. When you try for that in nonfiction, you’re entering fictive territory. My editor for my biography of J.S.Haldane, Suffer & Survive, advised me ‘not to let my novelist’s hat tip over my biographer’s eye’.
Can you tell us a bit about your writing process?
When a book has taken hold, I’m often at it at 5 am. Writing doesn’t take long to flow when I sit down but I often start by reviewing the pages that have gone before. Work is redrafted again and again along the way. If a day has been swallowed and no writing done, I may well sit down of an evening and so mend the day with a paragraoh or two. 1,000 words is a good day, but fifty words or even an idea jotted down is not a bad day either.
Do you do a lot of planning or procrastinating before you sit down and get writing?
I do plan, though characters have minds of their own and keep steering books somewhere fresh. I spend years walking around with books in my head till the steam builds up and I have to make a start.
You’re well travelled and recently moved to the coast. How important are environment and place to you, your wellbeing and your writing?
I need a broad horizon, and somewhere without traffic where I can take walks. A lot of ideas settle in that way. A seascape works like a screen and you can project scenes from a novel upon it. And mountains suffuse me with ideas somehow.
Given that you are, yourself, with Barbican Press a publisher of books that challenge and surprise you’ve seen independent publishing from both sides. So, what are your views and opinions on independent publishers and your experience of them?
Independent publishers are plucky, and an editor’s personal choice and passion can survive there. That’s harder for an editor in a mainstream house to achieve, with marketing departments and their like to please. Independent publishers can work without compromise.
How does it feel to not be as involved with academia now your role with the University of Hull is somewhat different?
A relief. I miss the creative writing students – it was a true privilege to be allowed inside their creative lives. Teaching writing keeps your own writing sharp. But I don’t fit comfortably inside institutions and I feel blessed to be able to step inside my own writing more fully. The last couple of years, when my students were graduating, it felt that I should be graduating with them. Writing and running the publishing house mean my time is still full.
What are you currently working on and what’s in the pipeline?
A thriller in Patricia Highsmith mode. Two chapters to go! I’ve recently finished a play, an essay and a story as well, polishing off work that’s been banking up. I suspect it’s nonfiction next. I’ve two long term projects, but a new eco book about saving the world’s birds looks like it’s muscling to the front.
Anything else you’d like to add?
Please buy J SS Bach or request it from your library and read it and write and tell me what you think about it. I’d love to know what touches you.
J SS Bach is the story of three generations of women from either side of Germany’s 20th Century horror story – one side, a Jewish family from Vienna, the other linked to a ranking Nazi official at Dachau concentration camp – who suffer the consequences of what men do.
Fast forward to 1990s California, and two survivors from the families meet. Rosa is a young Australian musicologist; Otto is a world-famous composer and cellist. Music and history link them. A novel of music, the Holocaust, love, and a dog.
J SS Bach can be purchased online at


Literary outlaw, novelist, playwright and poet Dan Fante (1944-2015) was born and raised in Los Angeles. At 20, he quit school and hit the road, eventually ending up as a New York City resident for 12 years. Fante worked at dozens of crummy jobs including: door to door salesman, taxi driver, window washer, telemarketer, private investigator, night hotel manager, chauffeur, mailroom clerk, deck hand, dishwasher, carnival barker, envelope stuffer, dating service counselor, furniture salesman, and parking attendant. Wrecking Ball Press published his poetry collection A Gin Pissing, Raw Meat, Dual Carburettor, V-8 Son-of-a-Bitch from Los Angeles in 2001 and novella Corksuckerfour years later. We miss Dan a lot.

On the day of the publication of A Gin Pissing, Raw Meat, Dual Carburettor, V-8 Son-of-a-Bitch from Los Angeles, Fante was in Hull for a reading and book launch. Wrecking Ball assistant editor Dave Windass, then a freelance journalist, recalls meeting Fante in the city’s Peaberry’s Coffee House to interview him for The Big Issue.

“It was a just a few weeks after 9/11 so it was an odd time to be talking to an American, never mind one so unapologetically loud. I walked in and Dan, wearing a ridiculous jacket, stood up and thrust out his work-worn hand and knocked something off the table in front of him. He really was an unstoppable whirlwind and I was only in his company for a few seconds before I realised he was a complete force of nature and that I liked everything about him. He never really stopped talking, which is how I like interviewees, and he gesticulated wildly throughout, spitting out bits of his sandwich and spraying me with coffee. I just sat back and let him go and he covered a lot of ground in a relatively short space of time. I’d crammed in his first three novels before meeting him so I didn’t feel well prepared and the whole 9/11 thing made me anxious about the interview but it didn’t really matter because I hardly got a word in. This was my first real encounter with any Wrecking Ball writer and I loved it. 19 years on and I realise what a privilege it was to spend some time with Dan and then remain in touch with him on and off for the next few years. His voice remains one of the most authentic I’ve ever read. He wrote the way he lived.”

Dan Fante had been to the printers with Wrecking Ball Press editor Shane Rhodes the day before the interview to pick up copies of his collection. The inscription he wrote in Shane’s treasured copy reads: “One of the best days of my life was yesterday, when we picked up this book from the printers – a great moment. Thanks is all I can say. Your pal, Dan Fante.” (10-27-01).

In the interview below, originally published in 2001, Fante talks about the shadow cast by his father John Fante, suicide, alcoholism, his home country, surviving via the written word and his approach to writing.

If this is a game of spot the American then Dan Fante has made it far too easy for me. He’ll be the one sat in the corner of the Hull coffee shop with a rather ridiculous Tom Cruise Top Gun style US Air Force jacket on.

“If you don’t mind me saying, you look every inch the crazy American writer,” I tell him during the obligatory handshake.

“Why thanks man,” he shouts back. I’m not sure I meant it as a compliment, but still. The jacket, it turns out, is Fante’s tribute to those that lost their lives on September 11. Having just read the man’s three autobiographical novels – Chump Change, Mooch and the recently released Spitting Off Tall Buildings – a gesture like this seems totally out of character.

In his fiction, Fante – or rather alter-ego Bruno Dante – is a low life, self interested, suicidal sleazeball writer only interested in fuelling his alcohol dependency and getting laid. He hates everything. EVERYTHING. So you don’t expect an act of kindness. You don’t expect to like Fante. Not one bit. But for two hours of caffeine fuelled chat, he has me mesmerised.

Like his fiction, LA-born Fante leaps out at you. He’s so LOUD. Christ knows what a busy coffee shop thought of this American and his litany of filth. How many times can one man use the words hooker, cocaine and cocksucker? This conversational technique was obviously learnt during the 12 years he lived in New York. Fante certainly has a tale to tell. Unlike Bruno Dante, he’s cleaned up his act. If he hadn’t, he would never have become a writer.

“I’m 57 now. I got sober when I was 42. I started writing when I was 45.

“I was completely broke and I had my last suicide attempt and I was in the most miserable depression.”

But this is only part of the start of the story. Fante’s father is John Fante. John Fante’s writing career began with a book called Wait Until Spring, Bandini. During his lifetime, Fante failed to receive the acclaim that many thought he deserved. He ‘sold out’ his talent by working as a screenwriter in Hollywood.

Fante Sr died of diabetes-related complications at the age of 74. By this time, Charles Bukowski was singing his praises and claiming Fante Sr as a major influence. Understandably, Fante Jr has been influenced too.

“I was obsessed with the failure of my father as a writer and this depression that I’d had for 2-3 years. So I was broke and I was living in the back bedroom of my mother’s house. And it came to me that I had nothing to lose. There were no business opportunities, no jobs, I was sober a couple of years and every job I took was never the right thing. So I would leave jobs. And I finally just sat down to write.

“And what I put down was really a love letter to my father. I felt terrible that at that point he wasn’t nearly as famous as he is now. I felt terrible that his work was undiscovered.”

There’s a blurring of the lines with Fante. Man and myth, truth and fiction, they’re all pretty much the same thing.

“Bruno Dante is me,” he says. “Much of the stuff happened to me personally.”

Fante is as honest as his writing. Bruno’s life is a train-wreck, a disaster that just keeps on happening. He falls in love with the most evil, spiteful women, he cleans windows on the 70th floor of skyscrapers under the influence of huge quantities of alcohol, he goes on binge after binge and hears voices in his head. And this really was Fante’s life.

Now, Fante says, “my greatest fear is to be boring.” There’s no chance of that. In one of his many poems, In Camogli, Fante describes his mile-a-minute writing method: “I can write like a gin-pissing-raw-meat-dual-carburettor-V8-son-of-a-bitch.”

As Fante started writing, in his sober state, he found that his dead father would offer him advice. “I’d have my father’s ghost standing over me saying, ‘take that fucking comma out, put a period there, and when you say a sentence, finish the sentence.’

“I like prose that gets to the point and has punch. I like to be hooked as a reader. Writing should grab you immediately and draw you to it.”

Fante knows that he’s lucky to have lived the life he has – and got out the other side.

“In truth, I should be dead. My older brother drank himself to death three years ago. I just was one of the lucky ones. I can’t tell you how many times I’ve put myself in a position where I should be dead.”

“Writing has replaced alcohol and the terrible mental abhorration. My mind is now fertile and I’m using all of my senses. Alcoholics are always reliving some confrontation, they’re always rewriting and reliving the same moments so that they can get even. And I don’t have to do that any more. I still live in my head but it’s creative, not destructive.”

Anger runs through the sentences that fill the pages of Fante’s work. He says he keeps a lid on this anger now but, listening to him, he’s suffering from the post-modern rage that many of us feel. Despite the patriotic jacket, a lot of this pent up frustration is down to his home country. But this anger fuels his fiction.

“I’m very angry at the pretext of what’s happened to art and literature in America and what television has done. Kids no longer read – and nobody is doing a thing about it. All I have to do is plug into that and I can continue to make comment on and about this American dream that’s not a dream. America can be a horrible place.”

Which is why, despite living in sunny Santa Monica, Fante is considering a move to Europe, where his books sell in bigger numbers.

Several cups of coffee later, Fante and his jacket return to a hotel across the road. I head to the bookshop, anxious, because of what I’ve been told, to get hold of a copy of Fante’s father’s book Ask The Dusk (“that’s the one you should read”). What happens next would make Fante Jr smile.

He’d told me his father’s literary legacy hangs over him. I take the book to the counter. Waterstone’s finest takes my cash and asks, “Read any of his son’s work? It’s very good.” It’s more than good. It’s genius.

This article by Dave Windass was originally published in The Big Issue in the North.

A collection of Dan Fante’s poetry from 1983-2000 – A Gin Pissing, Raw Meat, Dual Carburettor, V-8 Son-of-a-Bitch from Los Angeles, was published by Wrecking Ball Press in 2001. Fante’s novella Corksucker, a framed collection of cab driver stories from the LA streets, was published by Wrecking Ball Press in 2005. 

Author interview: Vicky Foster

Having risen to prominence following critically acclaimed appearances at two Contains Strong Language festivals, the broadcast of Bathwater on BBC Radio 4 and with a series of collaborative audio projects thrilling audiences, Vicky Foster reveals more about her work as a poet and author. 
BathwaterCan you tell us something about where Bathwater came from, why you wrote it, how it developed and how it ended up being published by Wrecking Ball Press?
Bathwater was a story that I’d been working up to for a long time I think. When those kind of things happen to you, you experience a lot of shame. I did anyway, and that shame and the nature of abuse means you lose your voice, in a big way. Singing and writing gave me mine back, and the further away from those experiences I got, the more I realised that it really wasn’t me who needed to feel ashamed, and I had a lot to say about it. I told Louise Wallwein I was thinking of writing a one-woman show and she offered to mentor me, and she spoke to Sue Roberts (BBC Radio Drama producer) who said she’d like to produce it for Contains Strong Language. Then Sue suggested we try and get it commissioned for Radio 4, and that happened while I was still writing it. Shane Rhodes (Wrecking Ball Press editor) was my writing mentor, and when he read it, he said he’d like to publish it. It just seems crazy even now, saying all that, but that’s the way it happened.
Who are you writing for?
I’m writing mostly for myself – it’s my way of making sense of things, I think. But also, I’ve realised through meeting and hearing people like Louise Wallwein, Toria Garbutt, Louise Fazackerley, Kate Fox, that it’s massively powerful to share experiences, especially if you’re working-class or a woman, or you’ve been through difficult things, because there are people out there going through those things right now, being told who they should be and what they’re allowed to do, and just knowing that it happened to someone else, you’re not on your own, and you can come out the other side is a huge thing.
What experience do you want your readers to have with your work?
Hmm… I was a bit shocked by how many people cried when they came to see Bathwater, and a bit worried by that. It’s not what I thought was going to happen, which seems a bit daft to say now, cos I suppose it is quite sad! But when I was writing it, I wasn’t really thinking about how people would react, I just wanted to make it as honest as possible. I suppose I just wanted them to feel something, and I suppose that worked.
When you’re embarking on a new piece of work, whether that’s a poem or a full length piece for performance, what approach do you take?
I think it’s different every time. A poem will often just fall out of the sky – they’ll sometimes come out nearly fully-formed and then just need a few edits. But Bathwater was a totally different process – I spent ages on structure with graphs and grids, and writing drafts and cutting them up. All that malarkey. Fair Winds and Following Seas (an audio experience commissioned by Freedom Festival) was different again – I talked a lot with (musicians and producers) The Broken Orchestra about what we wanted to say, then spent ages in all the locations on the walk, then worked all those details into the poems. It depends what you’re doing and why you’re doing it, I think.
Tell us something about your writing process? 
Ha. I’m always making plans for writing and then not sticking to ’em. It’s a weird mix between discipline and – I don’t know what you’d call it – intuition, subconscious – I don’t have a name for it – just letting your brain do what it needs to do in the background. I think you sort of get the hang of when to do each one. Sometimes you’ve got to be disciplined and sometimes you just need to lay on the sofa and watch Poirot while it all brews in your brain.
Vicky Foster appearance on The Verb at BBC Contains Strong Language
Photo: Andrew Smith
You’ve done a few collaborations with The Broken Orchestra now. How did that originally come about and what else have you got planned with them?
I first met The Broken Orchestra when I was recording some demos for a Carpenters tribute act when I was a singer, and they told me then how they were, at that time, working with different vocalists, and we talked about me maybe doing some vocals on a song with them. That never happened, but I sort of had a feeling we’d end up doing something together at some point. I’d never have guessed in a million years what it would be though. But I just knew straight away when I decided to write Bathwater that I wanted them to do the music, and luckily they said yes!
Do you have any thoughts about your experience of independent publishers?
I’ve been really lucky to have stuff published, and since I first saw how gorgeous Wrecking Ball’s books are I said I’d love to have something published by them one day. The fact that they’re small and based in Hull, and you can pop in and have a chat is really special as well, and that they’ve got an independent book shop in Princes Quay. I popped in there on my graduation day and had my picture taken with my book – you couldn’t do that sort of thing with a big publisher.
What’s it like working with the might of the BBC?
Just amazing. It’s like dream-come-true stuff. I still find it hard to believe it happened. I’ve got little tote bags from Contains Strong Language and sometimes I’ll be going shopping and pick one up, and think oh yeah, I’ve been on the radio, I’ve written for them. Everyone I met there and worked with has just been lovely and supportive.
We’ve heard you’re working on a novel?
I am! It’s going slowly at the moment. I’ve done all my planning – more grids and all that – and I know what it’s about. It’s been doing the brewing thing in the back of my brain while I’ve been busy on other stuff all year, but it feels like about time to start getting it out now. We’ll see…I’ve never done it before. It might not work. It’s a massive thing. Hats off to anyone who’s ever written a novel. It’s hard.
Hull 2017 UK City of Culture seemed to be a springboard for you to get your writing noticed – do you have any reflections on Hull’s year in the spotlight and what it meant for you as an artist?
I know I’ve been really lucky, and I know not everyone in the city had as great an experience in 2017 as I did, but for me, yeah, it was just a huge opportunity, and I was ready for it. I think it’s just that thing that sometimes happens where you’re in the right place at the right time and doing the right things. Which made a nice change for me, because a lot of my life I seem to have been in the wrong place doing the wrong things! Generally, I think it’s been an amazing thing for the city – in terms of realising what’s possible, and civic pride and all that. I know there are lots of discussions happening about legacy, and that’s important. But it’s one of those once-in-a-generation things that we’ll all be talking about for years. Our grandkids won’t believe us when we tell ’em about the streets being full of naked blue people, will they? Not until we show ’em the pictures anyway. As theatre company Middle Child say – it will never not have happened.
So what’s the future hold for you?
There’s a lot of maybes for next year, a lot of things that may or may not happen. I’ll just have to wait and see. I’ve had two or three years now of being a professional writer as my job, and it’s been amazing. If I have to go back to other stuff at some point, well, I’ll always have had these last few years, and I’ve loved every minute of it. And I’ll always write now, whether anyone’s gonna read it or not.
Vicky Foster’s Bathwater is published by Wrecking Ball Press and can be purchased online at For more information about Vicky Foster and her work visit For more information about Vicky’s collaborators The Broken Orchestra visit 

Poet interview: Dean Wilson

With a new collection from Dean Wilson imminent, Wrecking Ball Press caught up with Hull’s fourth best poet and the Withernsea-loving enigma to discuss the coastal town he loves, writing and pebble collecting.
Dean Wilson with the Turin Shroud of PebblesHow are you feeling ahead of a new collection?
Happy and anxious.
What experience do you want your readers to have?
A good laugh, mainly.
Your first collection Sometimes I’m So Happy I’m Not Safe on the Streets was followed by the publication WITH. Why With? What’s your fascination with the place?
I love With. I came to With every year on holiday when I was growing up. Lots of happy memories. I moved here a year ago. It’s a magical and wonderous place. There’s nowhere I’d rather be.
How does your life manifest itself in your writing?
It’s all there, warts ‘n’ all!
Your work’s pretty revealing then, so how do you decide what to write about and what to leave out?
I don’t decide what to write about and what to leave out. I’m writing in my head all the time whether I’m walking on the beach, dusting, shopping, swimming or watching Corrie.
Rhymes never leave me alone. I very rarely sit down and write unless I’m sending Wrecking Ball Press poems for my next book.
What impact has social media had on your poetry and writing?
I’m only on twitter. I joined in June 2016 just before Sometimes… came out. I love twitter. A lot of my poems I put straight on there. Short and fast and fun! I’ve met some ace people through twitter. I love it.
You make a really big impact with your live performances but get pretty anxious before a gig. How do you feel about performing your work?
I love performing and making people laugh. It’s the best feeling I know. I don’t like the build up – the rehearsing and the doubts and the nerves, but it’s all worth it.
Do you have any thoughts about your experience of independent publishers?
I’ve got nothing to compare it to. It’s the only way I know!
You’ve developed an obsession with pebbles. Tell us more about why?
It’s since I moved to With. I found one with a hole in and it blew my mind. Then a few weeks later I started Pebble of The Day on twitter and the rest is geology…
You’re working on a novel. How’s that going and what can we expect?
My first and last novel is about a young gay Brontë obsessed postman with a secret. It’s going very slowly. It’s hard work. Poems are easy, anyone can write poem. I won’t be writing another novel. Life’s too Doilies short!
So what’s the future hold for Dean Wilson?
Pebbles Pebbles Pebbles
Poems Poems Poems
Gigs Gigs Gigs
Books Books Books
Painting Painting Painting
Men Men Men
Doilies Doilies Doilies
Music Music Music.
Dean Wilson is a poet now based in the Holderness coastal town of Withernsea. He collects pebbles on the beach at With and posts them on twitter. Karen Turner recently made Dean a quilt inspired by his pebble collecting, which the poet described as “The Turin Shroud of the pebble world.” When Dean was a boy he never dreamt he’d be the 4th best poet in Hull and the 2nd best in Withernsea. Dean’s collections are published by Wrecking Ball Press. Whet your appetite for his next collection by purchasing Sometimes I’m So Happy I’m Not Safe on the Streets at

Author interview: Barney Farmer on Coketown

With Coketown recently published by Wrecking Ball Press, and The Observer lumping him into the new Brexlit movement in contemporary literature alongside Jonathan Coe, Ali Smith, Sarah Moss and Melissa Harrison, we caught up with author Barney Farmer about where the initial idea for his second novel came from, his vision for the book, his writing process, working with illustrator Lee Healey and the state of British politics.
Can you tell us something about the vision you had for Coketown?
The idea came from two blokes I saw in a pub. One entered alone and sat at a table right by me 10 or 15 minutes before the second arrived. He was a real bruiser, big bloke, skinhead, face bashed from some recent altercation. The second bloke was totally different, decent suit on, tie, smart haircut. County Hall is nearby and I’m guessing I took him for some kind of mid-management type in the Engineering Department. They greeted each other as if it was the first time they’d met in a while. Without earwigging too much it was obvious they were old mates from way back when, both working class, both at some point scallies. The second bloke asked him what had happened to his face and the bloke brushed it off, and I left shortly after so never got the story, and wondering what it might have been is where Coketown started.
Who are you writing for?
Middle-aged working class bog-standard comprehensive school drop-out autodidacts. There’s about 200 of us. But I hope the books are sufficiently accurate depictions of people and places which are plausibly ‘out there’ as to be of general interest to anyone.
What experience do you want your readers to have with this new book?
I couldn’t begin to imagine how people might respond to it, and consciously try never to think about the readers at all while writing. But I hope they have a good laugh and come away with lots of questions.
When you’re embarking on a new novel what approach do you take?
I probably thought about those two blokes in the pub for six months before writing anything at all about them. Once I’d decided the book would mostly take place in a pub the second bloke would find violently disagreeable, I spent a few months going for drinks in pubs I didn’t remotely like. Several encounters and details in the book were drawn from this period, and it was around then that I started writing a few passages which later went in the book. So I’d probably say live with the idea a bit first and then, if needed, live a little of it too, see if you have any idea what you’re about to start gobbing off about.
You’re clearly a political man. How does that manifest itself in your writing?
Mostly by writing as little directly about politics as possible. There’s none at all in my first book, but not really possible in Coketown. Two men in their late 40s or early 50s out for a first pint at the moment are going to talk and think about politics, the end. As a writer I’m much less interested in the mechanics and intrigue of politics – the Great Players and their Press Court – than its ripples across culture and society. The average working class Brexit voting bloke is far more interesting to me, the route travelled from where via what, than is Boris Johnson, who is a two-dimensional cartoon villain who can be read like a child’s book, and a shit one at that.
What’s wrong with politics these days?
It’s all really very simple. The interpretation of utilitarian thinking which has underpinned British democracy for so long has failed. The ‘greatest possible happiness to the greatest possible number’ has boiled down to a simple matter of wealth allocation. Gradually for decades and fast since the Crash this ‘happiness’ has only been sustained by making the ‘unhappiness’ of those outside that ‘greatest number’ increasingly intolerable. At the same time, older and so more likely Conservative recipients of the ‘greatest possible happiness’ are suddenly finding it all a bit empty and meaningless and casting around for something else, something to believe in as the darkness gathers. They settled on Brexit about ten years ago and then enlisted enough pissed-off members of those – as social mobility died – to all intents and purposes permanently excluded from the gilded greatest number to their cause, with the time-honoured method of stirring up hate and grudge of ‘the other’.
Tell us something about your writing process?
No discipline time-wise, I start when I start and stop when my heart’s not in it. Lots of tea, no smoking at the computer, no music, an ordeal in itself, proper get up and leave the room breaks.
Do you do a lot of planning? The inner monologue of Coketown suggests not but that’s just a device, isn’t it? And what about research? Do you delve into archive material?
I try not to use much archive material, and in this book that’s part of the point. The main character not only has no clue what he’s talking about, he knows he has no clue but has decided to blag on anyway. I did enough to put dates and such on a firm footing, because so would he, that bit’s easy! The biggest single bit of research was rereading Hard Times, which was no chore if I’m being honest. The inner monologue is totally unplanned, in the hope of catching something near the natural progression of thought to thought. Which is impossible of course, as the thought process is electricity zapping millimetres through conductive custard and I type about 20 words a minute, but is worth a bash.
How does writing a novel length work differ from writing for Viz?
The strips I write for Viz – drawn by Lee Healey, who also illustrated Coketown – are far harder. They’re usually one full page, always five decks, which at most means around 20 panels, and that’s that. If you want to go on, the idea needs to be good enough to do another 20 panels, but no more than 40. And Graham and Thorpy are tough editors. Having written as many great strips as they have they can spot a clunker at 20 paces, and quite right too. A novel has no end so all the discipline has to come from yourself, as I suppose the temptation is to waffle. Probably the years writing for Viz, where it was obvious from square one that any padding or flab in a strip would only succeed in having it returned stamped ‘shite’ has been a good training ground.
How close to Barney Farmer is the Barney in the book? Is that inner monologue yours or the character’s?
Don’t want to give much away. But the reason I gave him that name was mostly because I was trying to paint a grimmish picture of middle-aged liberalish leftish but mostly confused manhood to play off the other lad. On the first draft he had no name, but reading back I twigged that I was uncomfortably guilty of quite a lot of the things I’d heaped on him, to varying degrees, and also that by not acknowledging this I was putting myself undeservedly upon a fine little pedestal.
How did you work with Lee Healey on this?
More or less the same as for the strips. Framed rough sketches of the components which needed to be in each image, along with descriptive extracts from the book, and left him to it. They all came back just as envisaged, with one or two as if he’d plucked them straight from my mind’s eye. He’s a sublimely gifted artist.
How do you feel about Coketown being part of this Brexlit movement that you’ve been lumped into?
I see what they’re getting at, and am delighted that anyone, let alone academics, should have enjoyed my work enough to subject it to some critical thought, but they were certainly not written with that in mind.
We’re living in time where there aren’t many heroes anymore. Who, if any, are your literary heroes?
SJ Perelman is for me the greatest out-and-out comic writer of the 20th Century, and virtually every funny American column or essay I read to this day is shot through with a manner of expression lifted direct. And he was one of the team that helped Groucho transfer his persona from stage to screen, so debate over. In every other respect I have the standard set of autodidact stopping points for a man raised in the fag-end of postwar existentialism – Kafka, Ballard, Dickens, Camus. The list is boring.
There’s a hell of a lot of drinking in both Drunken Baker and Coketown. How important is alcohol to you, your characters and people in general?
Very, although in my private life I now have a fairly good grip on its collar and it is a rare pleasure always now enjoyed to the full. Alcohol is the only state approved flight from the drudgery of consciousness and so I think it’s hugely important, culturally, to my generation and those before, which tended to be more widely – although greatly less so from the 70s on – law abiding in that regard. It is interesting to me that younger people are now apparently far less likely to drink, preferring other substances. I think this is less a rejection of drink, by the way, than a good and healthy growing disdain for the State telling you what you can and cannot ingest for laughs.
Do you have any thoughts about your experience of independent publishers?
I thank goodness for them. Not to get too Dave Spart about it, but writers from my background writing books like mine would simply never be published without the indies, not in a way that is any use to them. Wrecking Ball and the like perform a vital role both in their communities, through organising events, bringing attention and activity, and generally in culture, as enablers for writers who might, just might, have an audience and the chance to give writing the hard time and dedication required.
So what’s the future hold for Barney Farmer?
It is yet unwritten, and no spoilers are available. 
Barney Farmer is a writer and artist who writes about things for Viz, mostly about drunken bakers, and sometimes for Private Eye, but not about drunken bakers. Farmer also wrote a short film called Who is to Blame. He uses biros. Coketown, illustrated throughout by Lee Healey, is published by Wrecking Ball Press and available at

Barney Farmer, Drunken Baker, Coketown and Brexlit

The Observer featured an article on Sunday 27 October about the growth of a subtle and complex new movement in contemporary British literature: Brexlit. “Some are epic tales of the ancient kings who battled to rule Britain. Others are books about bakers in abandoned northern towns.” The latter, of course, referring to Drunken Baker by Barney Farmer, published by Wrecking Ball Press.
“Novels about ‘the left behind’ make up another strand of Brexlit. In Drunken Baker by Barney Farmer, characters created for the celebrated Viz comic strip Drunken Bakers are immortalised in a book ‘so soaked in booze the pages almost smell’, according to one critic. It’s a comic novel that takes place over a single day: as the bakers get drunker and fail to bake, they reflect on their failures in life and the decline of everything around them. ‘You see the impact of the collapse of a northern town from the point of view of the bakery workers. And it’s just so full of despair. It’s very, very bleak.'” Read the full article here.
On the same day, Robin Ince hailed Drunken Baker as “remarkable” and named it his book of the day on twitter. Ince said: “This book is a remarkable book and if it wasn’t connected to Viz, or it was published by Faber & Faber it would probably be considered to be one of the most intriguing, fascinating and beautifully written books about a world of austerity, a broken world and a world of drunken bakers. Some of you will read Drunken Bakers in Viz it’s one of the most brilliant cartoons anyway, Alan Moore (Watchmen, V for Vendetta, The Ballad of Halo Jones) believes so. Alan Moore sees it as Samuel Beckett with Battenberg. Drunken Baker by Barney Farmer is remarkable. So, buy this book. It would be nominated for stuff if the literati knew what they were talking about.” View Robin Ince’s twitter post and video here.  
Barney Farmer’s second novel, Coketown, is published by Wrecking Ball Press in November.  Barney told The Observer: “I’m interested in the people that politics creates. When it comes to cause and effect, the cause is endlessly discussed. But the effect on the individual is more interesting to me, as a writer, than the grand personalities and the great sweep of events. There is more for writers to reveal by approaching political writing from that angle.”
Coketown can be ordered online here.