A disgraced entertainer, after years in isolation, emerges to lead a violent revolt in the street of Las Vegas.The Isle of Minimus is a neon mirage from the heart of the sandblasted Nevada wasteland, a panorama of crazy dictators, dreamy acrobats, the urban warlords of Hollywood, video game cults, sinister boatmen, rogue airshow pilots, feral tourists, minituarised landmarks, opium dens, pop art, nuclear war, architecture, music, money, the sixties, the nineties, the post-nineties..a story of limitless scope and spectacle. Using repetition, paradox and association, the novel leaves conventional views of linearity behind as it revisits the World's Fair in Montreal 1967 and its antithesis, Las Vegas in 1999, by way of a confrontation in which a cast of dwarves fight their way out of the now-never capitalist ontology in an attempt to find a way back into history.

The Isle of Minimus

Literature & Fiction

Murphy, M K L

Humor & Satire

Repeater Books

Shimon Adaf and Lavie Tidhar are two of Israel’s most subversive and politically outspoken writers.  Growing up on opposite sides of the Israeli  spectrum – Tidhar in the north of Israel in the Zion-ist, socialist Kibbutz; Adaf from a family of religious Mizrahi Jews living in Sderot – the two nevertheless shared a love of books, and were especially drawn to the strange visions and outrageous sensibilities of the science fiction that was available in Hebrew. In Art and War, they engage in a dialogue that covers their approach to writing the fantastic, as they question how to write about Israel and Palestine, about Judaism, about the Holocaust, about childhoods and their end.Extending the conversation even into their fiction, the book contains two brand new short stories – Tutim by Tidhar, and Third Attribute by Adaf – in which each appears as a character in the other’s tale; simultaneously political and fantastical, they burn with an angry, despairing intensity.

Art and War: Poetry, Pulp and Politics in Israeli Fiction

Adaf, Shimon

Essays & Correspondence

In an age of PR, public protest and other forms of dissent have lost their meaning and impact. The intense media interest in rioting and political violence, as well as an existing obsession with youth culture, have led to an over-saturation and misrepresentation of what these movements are about. Political protest has become a pantomime where activists are always villains, and therefore the politics of these groups are routinely ignored. By identifying the ways in which publicity has helped and hindered a wide range of movements, Shooting Hipsters will find out the ways in which dissenting groups can thrive and survive in a media-saturated age, as well as describing the common ways that they can be undermined.

Shooting Hipsters

Spens, Christiana

Reference

Maurice El Médioni (born on 18 October 1928 in Oran, Algeria) is an Algerian Jewish pianist, composer and interpreter of Andalusian, Rai, Chaabi, Sephardic and Arab music. He is one of the few living artists to have performed with the great Chaabi artists Lili Labassi, Line Monty, Samy el Maghribi, and Reinette l’Oranaise along with modern Rai greats like Khaled. This book contains his original handwritten memoirs, translated by Jonathan Walton. He tells firsthand the story of his early life in the derb (Oran's Jewish quarter); his first piano; Rommel's Nazi forces and his experiences during WW2 with the Dominican and Puerto Rican GIs; how he developed his unique 'pianorientale' style; the subsequent golden years of nightlife in Oran, the 'Paris of the South'; the horrific years of bloodshed that followed in the Algerian war of Independence; his exile from Algeria; and his later life in France.

Maurice El Médioni – A Memoir

Biographies & Memoirs

El MÉDIONI, Maurice

Arts & Literature

Splatter Capital shows how a popular subgenre of cinematic horror has developed a uniquely sensitive perspective on the cycles of capitalism. It argues that the emphatically messy brand of horror mobilized in gore or "splatter" films is extremely responsive to the internal contradictions that threaten the future sustainability of capitalist accumulation. And, while responding to the prospect of that end, splatter promotes an extant truth: capitalist accumulation is and always has been a nightmare of systematized bloodshed. This book provides an account of that nightmare as told through a combination of economic history and filmic analysis. The story it tells will serve as a source of both theoretical and practical knowledge for surviving the horror movie we collectively inhabit.

Splatter Capital

Business & Money

Steven, Mark

Economics

Based on detailed interviews with band members, Red Set considers the music, art and politics that shaped Gang of Four and how the band, in turn, left an indelible mark on popular music. In the autumn of 1976, two young British Fine Arts students travelled to New York on a university grant, but instead of merely studying ended up staying with one of the city’s pioneering punk journalists, visiting the Museum of Modern Art by day and hanging out in punk epicentre CBGBs by night. It is from this trip that Gang of Four emerged. Blending revelations from interviews with the band conducted by the author with snippets from newspaper articles and record reviews, Jim Dooley tells the history of Gang of Four as they remember it. From their days at art school through countless tours, records and reunions, Red Set is the definitive history of one of Britain’s greatest and most influential bands.

Red Set

Arts & Photography

Dooley, Jim

Music

The story of "Revolution" by the Beatles, from its origin as a protest song of the 1960s, to it becoming the musical backdrop for one of the most famous, influential, and controversial adverts of all time. In 1987, Nike released their new sixty-second commercial for Air shoes—and changed the face of the advertising industry. Set to the song “Revolution” by the Beatles, the commercial was the first and only advert ever to feature an original recording of the FaUb Four. It sparked a chain of events that would transform the art of branding, the sanctity of pop music, the perception of advertisers in popular culture, and John Lennon’s place in the leftist imagination. Advertising Revolution traces the song “Revolution” from its origins in the social turmoil of the Sixties, through its controversial use in the Nike ad, to its status today as a right-wing anthem and part of Donald Trump’s campaign set list. Along the way, the book unfolds the story of how we came to think of Nike as the big bad wolf of soulless corporations, and how the Beatles got their name as the quintessential musicians of independent integrity. To what degree are each of these reputations deserved? How ruthlessly cynical was the process behind the Nike ad? And how wholesomely uncommercial was John Lennon’s writing of the song? Throughout the book, Alan Bradshaw and Linda Scott complicate our notions of commercialism and fandom, making the case for a reading of advertisements that takes into account the many overlapping intentions behind what we see onscreen. Challenging the narratives of the evil-genius ad conglomerate and the pure-intentioned artist, they argue that we can only begin to read adverts productively when we strip away the industry’s mysticism and approach advertisers and artists alike as real, flawed, differentiated human beings.

Advertising Revolution

Bradshaw, Alan

Marketing & Sales

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