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Perhaps the strongest pictures are the close-up portrait shots, where the models reciprocate your gaze, as though daring you to enter their slightly dark and edgy world. In one shot, a small lizard crawls over a model's face, in the stark monochrome looking almost like a tribal tattoo. Most striking is the picture from 1993, simply titled 'Monica with Candle'. The model tilts her head backward and a lighted candle protrudes upright from her mouth. A very arresting picture the first time you see it (why that was not used on the cover is a mystery. Too provocative maybe?) Certainly a deeply erotic image.
Like all the best books of photography, this one starts well and gets better the more you look into it. A good one to keep on the bookshelf and delve into from time to time, and well worth buying.
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I have heard that the book has been optioned for a film but, seeing no reference to it on the IMDb, I wonder how true that is. I could quite well see a film of this being made which, if cleverly cut, could easily pass for an R if not an NC-17 rating. It would be something like Crash, but a whole lot funnier and more fun. Biggest problem, though, would be the casting. Ralph Fiennes and Catherine Keener would be great, but I doubt they'd be caught dead peforming any of the books various, um, activities on film.
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Like the main hero's plan to visit each and every London's street this book idea may have sounded cool, but the book itself plain and unfunny.
The only laughing matter here is author's constant helpless trying to imitate Martin Amis-style cool wit. It never ever comes close to it, being barely amusing at its best.
Half a star for the good title. Let it be the only part you happen to read.
Nicholson does a great job with the description of a big city. As a New York City native, I am able to identify with the story line and the dark message the author is sending. The backdrop of London is different from all of the other British novels I have read -- it shows a more realistic view of the city.
Thought provoking and darkly funny, Bleeding London should be read by those who enjoy a unique literary experience.
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The plot is an intricate construction that links all of the above together. I found it almost exactly opposite of a mystery novel, in that you have to unravel the events to get to the point, whereas Nicholson works to weave his characters together to show you the mystery. The book has echoes a couple of other works that I had read in the past, but these are not conscious on Nicholson's part, I believe, but simply the baggage I brought with me. It is similar to Stephen Fry's The Hippopotamus, which should not be that surprising, as Fry's novel was also a British comedy about writers. It had some of the feel of A.S. Byatt's Possession, in that Nicholson continued to explore the theme of collecting much farther than I thought possible, and possession is an aspect of collecting.
It is a short book--only about 200 pages in the American edition--and Nicholson's prose style is breezy and vibrant, easily sped through. The only thing I could find to complain with was the strange narrative shifts early on when I had trouble placing the narrator in the sections told in what I had thought was third person, but later ended up being first person anecdotal. I've got Nicholson's earlier novel, The Food Chain, and I'm looking forward to spending three hours with it sometime soon.
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In "The Food Chain" he does this once again. I literally was wincing as I read it. I have been to movies where I was afraid to look at the screen but was so morbidly tansfixed by what was going on that I couldn't completely turn away. This was how I felt about the entire book.
In short, if you love a good read and wish you could tap into the twisted side you know you must have deep down somewhere, get this book. Then again, I suppose I'd say that about any of Nicholson's works.
Can't wait for "Flesh Guitar"!
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Under these circumstances, Michael Smith cannot possibly be expecting a typical sort of reception. However, when he finds himself wading through thousands of pages of anagrams, trivia, sex-and-violence stories, football matches, and spiritual enlightenment guides, even he finds himself overwhelmed. When his boss responds to his gesture of furnishing the patients' library by tearing the covers off of all the books, he begins to feel a certain amount of concern over his current situation. The inmates come in varying degrees of catatonia, hyperactivity, psychosis, and antisocial, yet how can he resist Alicia's fulfilling--even if strange--sexual encounters? And how can he escape from his scheme, when the entire clinic is counting on him to publish an anthology of their creative writing efforts?
The first one hundred pages of this book were absolutely hysterical. The plot was funny, engaging, and never dragged on with non-essential details. It was very fast-paced and did not take long to read. However, I found the parts detailing Alicia's sex with Michael, which described her coprophemia (arousal by spouting verbal and graphic obscenities) to be a bit over-the-top. At times, the plot seemed to get a little far-fetched and unbelievable beyond the point of satire. Some people might find the book irreverent in its treatment of the mentally ill (the concept of the so-called Kincaidian therapy being quite laughable itself). However, this novel was unlike anything I had read in quite a while. The characters were very well-developed, Michael Smith was very likeable, as the self-assured yet blundering narrator, and whenever Gregory Collins appeared on the scene you were rolling your eyes. A certain amount of wry amusement is warranted as you find that you ought to have guessed what was coming next in this corkscrew plot. In the end, Geoff Nicholson does manage to very cleverly reign in all of the chaos he produces and give us a conclusive--if not somewhat tidy--finale.