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Notes Introduction: ‘The Magus of the Quotidian’ 1. CW, ‘Selfage: Making a Parallel World’. The Phoenix (14–21 March 1996). www. bostonphoenix.com/alt1/archive/books/reviews/03-96/WILL_SELF.html. 2. Elizabeth Ermath, Realism and Consensus in the English Novel (Edinburgh University Press, 1998), p. x. 3. M. Hunter Hayes, Understanding Will Self (Columbia: University of South Carolina Press, 2007), p. 185. 4. Northrop Frye, Anatomy of Criticism: Four Essays (Princeton University Press, 2000), p. 365. 5. Will Self, ‘At the Blackrose Netcafe’ in Will Self: Writer (2 February 2006). http://will-self.com. 6. Frye, p. 311. 7. Robert Clarke, ‘Pre-Millennium Tension: Will Self, Tough, Tough Toys for Tough, Tough Boys’. Spike Magazine (1 April 1998). www.spikemagazine. com/0498selfint.php. 8. Deborah Orr, ‘For a Moment I Really Thought My Husband Had Won the Booker. But No!’ The Guardian (19 October 2012). 9. Will Self, ‘Foreword’ in The End of Everything: Postmodernism and the Vanishing of the Human, ed. Richard Appignanesi (Cambridge: Icon, 2003), p. v. 10. Will Self, ‘Psychiatrists: The Drug Pushers’. The Guardian (3 August 2013). 11. See Alex Mold, ‘Making the Patient-Consumer in Margaret Thatcher’s Britain’. The Historical Journal 54(2), 2011, pp. 509–28. 12. See Deborah Orr, ‘10 Things Not to Say to Someone When They’re Ill’. The Guardian (18 April 2012). 13. Will Self, ‘False Blood’. Granta No. 117: Horror (Autumn 2011), p. 10. 14. David Alderson, ‘“Not Everyone Knows Fuck All About Foucault”: Will Self’s Dorian and Post-Gay Culture’. Textual Practice 19(3), 2005, p. 325. 15. ‘Interview with Will Self’ on Penguin Books website. 16. In the eighteenth century, women wrote satire in numbers nearly equal to their male counterparts. According to Lisa Wilson they ‘self-consciously manipulated gendered conventions regarding authorship, they adopted explicitly satirical personae, and their narrators appealed directly to their (usually female) readers in order to achieve their satiric aims’. See Lisa Wilson, ‘British Women Writing Satirical Novels in the Romantic Period: Gendering Authorship and Narrative Voice’. Romantic Textualities: Literature and Print Culture, 1780–1840 17, Summer 2007, pp. 17–24. 17. Emma Parker, ‘Kicks Against the Pricks: Gender, Sex, and Satire in Will Self’s Cock and Bull’. English 60(230), 2011, pp. 229–50. 18. Janet Harbord, ‘Performing Parts: Gender and Sexuality in Recent Fiction and Theory’. Women: A Cultural Review 7(1), 1996, pp. 39–47. 19. Fredric Jameson. Marxism and Form: Twentieth Century Dialectical Theories of Literature (Princeton University Press, 1971), p. xiii. 173 174 Notes 1 ‘This Great Torrent of Verbiage’: Will Self and the Satirists 1. Will Self, ‘The Valley of the Corn Dollies’. The Guardian (17 January 1994). 2. Will Self, ‘Rude Britannia: British Comic Art, at Tate Britain’. The Guardian (4 June 2010). 3. Self, ‘The Valley of the Corn Dollies’. 4. Will Self, ‘How Has England Changed since 1994?’ The Guardian (17 January 2014). For Jonathan Coe’s more considered reading of post-war satire see Jonathan Coe, ‘Sinking Giggling into the Sea’. London Review of Books 35(14) (18 July 2013). 5. Andrew Gibson, Postmodernity, Ethics and the Novel: From Leavis to Levinas (London: Routledge, 1999), p. 3. 6. Self, ‘How Has England Changed since 1994?’ 7. Will Self, ‘The Big Sell’. Prospect (June 2012). 8. Linda Hutcheon, The Politics of Postmodernism (London: Routledge, 2002), pp. 1–2. 9. Claire Colebrook, Irony (London: Routledge, 2004), p. 112. 10. Peter Sloterdijk, Critique of Cynical Reason, trans. Michael Eldred (Minneapolis: University of Minnesota Press, 1987), p. 5. 11. Timothy Bewes, Cynicism and Postmodernity (London: Verso, 1997), p. 29. 12. Colebrook, p. 153. 13. Valentine Cunningham, ‘Twentieth-century Fictional Satire’ in Companion to Satire: Ancient and Modern, ed. Ruben Quintero (Oxford: Blackwell, 2011), p. 405. 14. Claude Lévi-Strauss, Tristes Tropiques, trans. John Weightman and Doreen Weightman (London: Penguin, 2011), p. 227. 15. Ibid., p. 231. 16. Slavoj Žižek, The Parallax View (Cambridge, MA: MIT Press, 2006), p. 361. 17. Lévi-Strauss, Tristes Tropiques, p. 376. 18. Ibid., p. 386. 19. Ibid., p. 392. 20. Will Self, ‘The Naked Tea’. The Guardian (3 April 1992). 21. Roland Barthes, S/Z, trans. Richard Miller (London: Blackwell, 1990), pp. 4–5. 22. The classical allusions are reinforced by Robert Duggan’s observation that Bull’s vagina behind his knee recalls ‘the adventures on the moon of the hero of Roman author Lucian’s True History, where he finds himself in an all-male society where the young gestate in the calf of the leg’. See Robert Duggan, The Grotesque in Contemporary British Fiction (Manchester University Press, 2013), p. 185. Lucian is a highly influential figure in the Menippean satiric tradition. 23. See Plato, Theaetetus, trans. Robin Waterfield (London: Penguin, 1987), p. 47. For a fuller account of Heraclitus and his thought see: Heraclitus, Fragments, trans. James Hillman (London: Penguin, 2003). 24. Parker, p. 231. 25. Michiko Kakutani, ‘Comic Novellas on Metamorphoses’. The New York Times (31 May 1993). 26. Zoja Pavlovskis-Petit, ‘Irony and Satire’ in Companion to Satire: Ancient and Modern, ed. Ruben Quintero (Oxford: Blackwell, 2011), p. 512. 27. Immanuel Kant, Critique of Practical Reason, trans. Lewis White Beck (New York: Macmillan, 1993), p. II:167. Notes 175 28. Ronald Paulson, Fictions of Satire (Baltimore, MD: Johns Hopkins University Press, 1967), p. 15. 29. M. Hunter Hayes, Understanding Will Self (Columbia: University of South Carolina Press, 2007), p. 82. 30. Thomas Babington Macaulay, ‘Minute of 2nd February 1835 on Indian Education’ in Macaulay: Prose and Poetry, ed. G. M. Young (Cambridge, MA: Harvard University Press, 1957), p. 725. 31. Ibid., p. 726. 32. Self comments on the unlikeliness of an IRA ceasefire in The Sweet Smell of Psychosis (p. 64). 33. Homi Bhabha, The Location of Culture (London: Routledge, 2004), p. 123. 34. Not only are Gerard and Geraldine gendered variants on the same name, but part of the action takes place on Gerrard Street, further reinforcing the sense that English culture is reduced cannibalistically to repeating the same tired signifiers. 35. Self further comments: ‘He may have been the apostle of the everyday erotic, as well as possessing the greatest purity of line of any twentieth-century English artist, but if he were walking his dog I’d run a mile.’ 36. Colebrook, p. 139. 37. Self, ‘Foreword’, p. v. 38. Ibid., p. vi. 39. Will Self, ‘A Point of View: What’s the Point of Satire?’ BBC News (13 February 2015). 40. Ibid. 2 ‘The Unfailing Regularity of Dr Busner’: Will Self and the Psychiatrists 1. ‘Interview with Writer: Will Self, Part One’. Frontier Psychiatrist. http://fron tierpsychiatrist.co.uk/interview-with-writer-will-self-part-1/. 2. R. D. Laing, The Divided Self: An Existential Study in Sanity and Madness (London: Penguin, 1965), pp. 42–3. 3. Laing and Esterson refer to this as the ‘family nexus’. See R. D. Laing and A. Esterson, Sanity, Madness and the Family: Families of Schizophrenics (London: Penguin, 1970), p. 21. 4. See R. D. Laing, H. Phillipson and A. R. Lee, Interpersonal Perception: A Theory and a Method of Research (London: Tavistock, 1966), p. 55. 5. Jon Ronson, The Psychopath Test: A Journey Through the Madness Industry (London: Picador, 2011), p. 74. 6. For the details of state policy on the social inclusion of those with psychi- atric illness see Department of Health, National Service Framework for Mental Health: Modern Standards and Service Models (London: Department of Health, 1999). 7. Cunningham, p. 416. 8. Jason Lee argues that psychiatry is a hubristic enterprise that operates according to a false distinction between man and animal: ‘Speciesism – discrimination based on membership in a species – needs to be questioned, and, if we reject other forms of biologism, like racism and sexism, it should 176 Notes be rejected.’ See Jason Lee, ‘The Zoo Keeper’s Strife: Will Self’s Psychiatric Fictions’. Philosophy and Literature 36(1), 2012, p. 198. 9. See, for instance, Robert Bourguignon, ‘Dangers of Fluoxetine’. The Lancet 349(9046) (18 January 1997), p. 214; C. Elliot, ‘Listening to Prozac: A Psychiatrist Explores Antidepressant Drugs and the Remaking of the Self’. British Medical Journal 308(1724) (26 May 1994), p. 1; M. Lader, ‘Prozac – Panacea or Poison?’ British Medical Journal 309(487) (13 August 1994). 10. Among the most outspoken of these critics of DSM-5 is Allen Frances, the former chair of the DSM-IV task force. See Frances’s extensive blog enti- tled ‘DSM5 in Distress: The DSM’s Impact on Mental Health Practice and Research’ published in Psychology Today. www.psychologytoday.com/blog/ dsm5-in-distress. 11. Darian Leader, What is Madness? (London: Hamish Hamilton, 2011), p. 41. 12. Self also references the work of Chris Marker in the epigraph from Sans Soleil (1987): ‘I’ve been around the world several times and now it’s only bana- lity that interests me – I track it with the relentlessness of a bounty hunter.’ Marker’s reputation as a cinematic essayist who stretched the limits of the documentary form was doubtless an influence on Self’s fictional essay. 13. See Eliot Slater and Valerie Cowie, The Genetics of Mental Disorders (Oxford University Press, 1971) and James Shields and Irving Gottesman, Schizophrenia: The Epigenetic Puzzle (Cambridge University Press, 1982). 14. Alan Munton, ‘Will Self and the Academics: Or, How to Write Satire’. Key Words 10, 2012, p. 136. 15. See, for instance, Susan Greenfield, You and Me: The Neuroscience of Identity (London: Notting Hill, 2011). 16. Will Self, ‘Modernism and Me’. The Guardian (3 August 2012). 17. Until recently, the cause of encephalitis lethargica was unknown. It was later discovered to be a massive immune reaction to the streptococcus bacteria that causes a sore throat.
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