Fisherian World:
XG in Domus

Fisher is often remembered for his struggle with depression, culminating in suicide. It is an inescapable fact, but a reductive one. As Mattie Colquhoun told me, his figure recalls that of Walter Benjamin: “an indispensable critic of our world who has nonetheless come to represent one of its great tragedies”. Simon Reynolds confirms that “Mark had a capacity to see things clearly, which inevitably means recognizing the darkness at work in the world, all the soul-destroying forces. Seeing things clearly can bring anyone to despair.” But — and here lies the vital tension that still makes his thought resonate — “On the other hand, Mark was capable of great enthusiasm about things — usually happening in popular culture or its fringes…”

I was recently interviewed by Luca Avigo, along with a few other familiar faces, for an article about Mark Fisher and the new film, We Are Making a Film About Mark Fisher. You can read it here.

World-Shift:
An Account of New Consciousness Raised

To have one’s consciousness raised is not merely to become aware of facts of which one was previously ignorant: it is instead to have one’s whole relationship to the world shifted. The consciousness in question is not a consciousness of an already-existing state of affairs. Rather, consciousness-raising is productive. It creates a new subject – a we that is both the agent of struggle and what is struggled for. At the same time, consciousness-raising intervenes in the ‘object,’ the world itself, which is now no longer apprehended as some static opacity, the nature of which is already decided, but as something that can be transformed.

— Mark Fisher, “No Romance Without Finance”.


6th September 2025

“How long’s your journey? Going far?”

A man sits down next to me on the train and immediately starts chatting. I take off my headphones, bleary-eyed and unprepared for small talk. Looking down, I see a sausage dog in his lap sniffing at my elbow.

“I’m getting off at the next stop, actually.”

“Oh, I see. Visiting friends, is it?”

“Something like that.”


Hana’s parents meet me inside the main entrance of the train station and we hug each other. It is lovely to see them.

I have never been to this city before. My first impression of it – perhaps coloured by the circumstances of our visit – is that it is dismal. When this is over, I hope to never return here.

With an hour to kill, we look for someplace to eat. Finding a restaurant amidst a sea of takeaways for brunch, we talk about Hana over eggs cooked three different ways.

We talk about how much we love them, how we could have possibly ended up here, and wherever the hell we’re going next. We reiterate in person what we have spoken about so much already on the phone: we have all overcome challenges in the past, and we have been made stronger by each one; this is just one more notch to our bones.

But I am still in shock. I suppose we all are.


The drive over to the prison is mostly silent as Hana’s Dad navigates the unfamiliar concrete sprawl. It is a silence first punctuated by small talk, which we are unable to sustain for long. As the GPS draws us closer, the silence is broken only by deep sighs that we take turns to make.

When we arrive, we’re early. Getting out of the car, we are waved over by a ‘family liaison officer’, who ushers us into a small outbuilding. Hana’s mum is carrying bags of clothes and supplies that she will ultimately take back home with her. We will later come to recognise the pointless carrying of soon-to-be rejected bags as the telltale sign.

“First time?”

On the inside, the dreary outbuilding is revealed to be half-crèche and half-the-saddest-community-centre-you-have-ever-seen. It is filled with tired toys, self-help books and supportive leaflets, most of which ask difficult questions. “Are you affected by someone else’s drug use?” “Have you noticed a change in someone you’re visiting?” “Are you worried about unwanted contact from a prisoner?” Other leaflets on display are intended to help children and adults adjust to the new reality of having a loved one or parent in prison. The mere thought of children passing through this environment makes me deeply sad.

On every table, there is a copy of ConVerse, the prison newspaper, which is filled with bulletins about the prison and probation service. Flicking through it, I find law firm ads, lists of deaths in custody, and reports of inappropriate behaviour between staff and prisoners. It is nothing less than a tabloid testament to the system’s corruption and incompetence.

I am surprised to see at least one hundred copies of the newspaper stacked against a wall by the entrance, leaning precariously on top of a row of lockers where we will have to leave all of our personal belongings before we are granted entry. I ask myself why this system would so willingly and shamelessly broadcast of its own ineptitude.

A generous reading would be that institutional transparency is essential for accountability, but we have already seen how the system dodges accountability at every turn. On the whole, the prison system is so punishingly opaque, for those both inside and outside, with myriad rules unexplained until you unwittingly break them. Even then, these rules are not always followed consistently. It produces a feeling of constant confusion and disorientation that feels intentional.

I start to think that these stacks of newspaper are an added punishment in themselves. They are part of the system’s psychological warfare on all who encounter it, expanding the sense of shared punishment to include those who love someone incarcerated.

I go to use the bathroom, but there is no toilet paper. Maybe that’s what the newspapers are for.


When I return, I settle into a vacant seat at a square wooden table where Hana’s parents have already positioned themselves. We begin to ask the family liaison officer questions about the system we’ve spent two weeks being confronted by. She’s open, unassuming and relaxed, like the social workers I spent so much time around during my childhood. But she doesn’t seem to possess any of the answers we seek, nor we do know how to answer the questions she has for us.

Noticing our bags, she asks: “Have they put an app in?” The answer is: “We don’t know”. We don’t know how the system works. We’ve heard barely a word from Hana since they were arrested, but it seems that everything must come from them. Unfortunately, no one else will ever tell you what needs to happen, and even if you figure it out for yourself and do everything by the book, the system is still likely to inexplicably deny all of it.

Sensing our first-time anxieties, the affable officer starts by telling us how nice this prison is, compared to others she also works in. Then she begins to talk about how much corruption there is in the prison service as a whole, noting the prevalence of guards and governors falling in love with prisoners in particular. We all go pale and quiet. “That doesn’t happen that often,” she adds hastily. I think about how the newspaper on the table in front of me is filled with evidence to the contrary.

It is strange to watch just how comfortable the officer gets. She is clearly too used to all of this. We will come to find this jarring too — the ways that people normalise their embeddedness in a social nightmare. So many who work in the prison service see themselves as doing a good deed, or acting upon some innate desire to care for people. It is a hard rationalisation to swallow when true care would be not putting anyone through this ordeal in the first place.

We ask about the problems we’ve had sending and receiving messages. Another visitor, more seasoned, chimes in to say he only uses the eMates app, which lets you send emails to prisoners, in order to send pictures. Instead, he uses phone calls and visitations for all substantial catch-ups and contact. Having all travelled for over three hours to get here, it feels torturous. We’ve yet to establish any sustained contact whatsoever.


Before long, a prison officer arrives, dressed in black uniform with a weighty utility belt, to check our IDs. Identities confirmed, the family liaison officer gives each of us a wristband, before the other officer leads us over to the main gate outside the prison, where we flash our wrists before passing through the first layer of fortifications.

I feel like a host of Kafka characters all at once, both entering a castle and preparing for a trial.

We’re searched, with a little more intensity than any of us are used to from airport security, and are then sent into a large, featureless holding cell. Propped against one wall is an abandoned bulletin board. Pinned to it, there is more advice for parents and their children, as well as an information sheet about respecting the gender identities of trans people who may be held here. It all suggests a performative adherence to a minimum level of humanity and dignity, which we will never come to witness for ourselves in practice. In fact, the enforced heteronormativity is sharper here than it is on the outside.

We stand in the airlock for ten-to-fifteen minutes as the other visitors pass through metal detectors, show the insides of their mouths to staff, and have their shoes knocked around like puzzle boxes. Through a small window in a reinforced metal door that leads to the visits room, we see our loved ones enter and get into position on chairs they won’t be allowed to stand up from. All of us begin to crane our necks to catch an early glimpse of them through the porthole.

The door is unlocked with a heavy clunk and I walk over to Hana as casually as I am able. I hug them tight and then lean in for a kiss, which they dodge in a flash of panic. No one is sure what is and isn’t allowed. They apologise profusely for dodging my affections, then hug their parents. I don’t take it personally, but I sit for the next two hours across from them mired in a rumbling frustration. I am not allowed to love them in any way that I am used to.

We try to get comfortable as Hana’s mum heads to a tuck shop on the far side of the room to buy cups of coffee and a tray of snacks. None of us has any appetite, except Hana. They begin savouring a packet of Wotsits like a gourmet meal. “We don’t get this sort of thing in there!” they exclaim, grinning from ear to ear.

I feel myself staring at them. They don’t feel real. I tell them so, and they say, “I’m real, look!” But I don’t want to look. I want to hold them like I’m used to holding them. I stare gauntly instead, willing my eyes to become black holes that might absorb them from across the garish green plastic table that buttresses my knees.


There is so much to talk about, and we cover as much ground as we are able to without exhausting ourselves. Mostly, there is a gentle venting of all the emotional turmoil built up over the last two weeks. There is no anger; only the slow release of a fear valve.

The fear is not totally expended. I can’t imagine it ever will be. This won’t feel over until it’s over.

I am embarrassed to discover that I am the biggest sap in all of this. My eyes well up repeatedly. I am simply too estrogenised to handle this much stress without periodically bursting into tears. Hana and their family, to the contrary, display an incredible amount of strength, despite being so newly immersed in the traumatically unfamiliar.

We talk about how much we’ve been fighting for them. Their Dad commends me for all I’ve done to help so far. He tells me that they’re a family, and families stick together. He tells me that I’m family too now. I hug him instinctively, which I think catches him off-guard. I know he’s right. In their company, I feel at home for the first time in a long time.

I know already that this experience will change all of us. I can only hope, in time, that I am transformed into someone who is as strong as they are. I can already feel it beginning to happen. Although I hardly feel present, I feel my mind begin to unknot itself and sit more at ease.

Still, this won’t feel over until it’s over.


Hana begins to comment on some of the eMates messages they have so far received. I have been writing on the app daily and desperately, hurling missives into the void like so many messages in bottles. It is the first confirmation we’ve had that they are, in fact, receiving them.

I gently vent more fears, feeling the strain this has put on all of us, but also on our relationship, not yet knowing how best to relate to each other on opposite sides of a new obstacle, but wanting more than anything to persist. “My padmate has been in a relationship for six years whilst being in and out of prison,” Hana tells me. “And if they can make it, so can we.” I believe them, but first I need to process the grief I’m drowning in.

I tell them about the contents of a message sent the night before, which they won’t receive for a few more days at least.


Hi, my love. It’s around 8pm on Friday 5th. I can’t wait to see you tomorrow. I’m on a call right now with your Dad and the other families. It’s been nice to all touch base and be there for each other.

And that’s as far as I got before you rang me! It is always such a dream to hear your voice.

I’m sorry every phone call is full of tears. It’s still so new. I’m sure it will get easier.

I’m sure this will also be a strange thing to hear, but the overwhelming feeling is one of grief. The book your Dad got about surviving prison says something similar, because the bottom line is simply that you’re not here suddenly. It’s why this situation is so strange, because I know grief, and so it’s this deeply bittersweet thing to be able to hear from the person your body is grieving. It’s both miraculous and painful at the same time.

It makes me think about Orpheus. I don’t know if you know the myth. Here’s the quick version:

Orpheus is a talented musician on the lyre, who is set to marry Eurydice. He invites Hymen, the god of marriage, to bless the ceremony, but Hymen does not attend – an omen that their marriage is doomed.

Soon after the wedding, Eurydice is killed by a snake whilst walking through woodland. Orpheus, distraught in grief, descends into the underworld to find her, playing the lyre as he goes in order to anchor himself against the grasping of shades who want him to join them in death.

Coming under the protection of the gods, who admire his determination, they decree that Orpheus can bring his lover back to life, but on condition that she walk forever behind him and he does not turn to look at her.

Orpheus accepts the gods’ proposal, but comes to believe he has been tricked, and it’s not really Eurydice who walks behind him but another shade.

Unable to resist temptation, Orpheus looks back at Eurydice, who is then pulled straight back to Hades.

For the psychoanalyst Sándor Ferenczi, the myth was a good model for thinking through a patient’s attempts to reckon with grief and separation trauma. It’s fitting because the name Orpheus is thought to derive from proto-Indo-European words for ‘orphan’, ‘servant’, ‘darkness’, ‘fatherless’, or a word for someone who changes allegiances. Ferenczi also speaks of ‘Orpha’ as “organizing life instincts” that allow us to proceed through life without longing disastrously for a return to the womb.

‘Orpha’ can nonetheless be the source of great distress, as the ‘orphan’ is a figure who may never find the help and support they seek. But sometimes they do.

In his Clinical Diary, Ferenczi notes how one of his patients, “with the aid of an omnipotent intelligence (Orpha) … scoured the universe in search of help”, and “her Orpha is supposed to have tracked me down, even at that time, as the only person in the world who owing to his special personal fate could and would make amends for the injury that had been done to her.”

I’m feeling all of that right now, probably a bit triggered, but nonetheless stronger each day and more full of determination than I have ever felt before. If I’ve got any Orpha, they’re pulling me to you. I can feel yours pulling toward me too.

I can feel it because it’s happening! I’m going to get an early night because I’ve got to catch an 8.30am train tomorrow morning so I can come and give you a really big squeeze.

I adore you. Mattie xx


Before I know it, our two hours are up. I give them the biggest squeeze I can, but leave my body at some point during. It’s not long enough. It will never have been long enough. I can’t wait to hold them again without feeling observed.

As we turn to leave, I try to catch their eye and give them one final wave. They have turned around to share a moment with another prisoner instead, no doubt in order to blunt the pain of a lingering farewell. The other prisoner is someone I recognise: Lottie, one of the Filton 24.


Heading for the next train home, I am numb. I reach out to their friends and try to process the experience over message, but I can already feel the desperate need for sleep as some deep recess of the unconscious strives to start making sense of the ordeal.

I reiterate my feelings to them about the past two weeks, which have felt like someone has kidnapped the person I love most in the whole world. All I’ve been able to do is reason speculatively about the kidnapper’s would-be demands, ready to drop everything to prepare a ransom, whatever it might be.

It’s the only analogy that fits. One of their friends says that this isn’t an analogy at all; it is exactly what has happened.


Pulling into Durham station at around 8pm, my phone rings. I hold my breath through the prelude: “This call is from a person currently in a prison in England…”

“I’ll have more credit soon”, Hana says. “This is just a quick call to say goodnight.” I tell them how wonderful it was to see them, and I can’t wait to see them again soon. It is the sort of train-home phone call we’d have on any other night as a long-distance couple, turning the page on our last day together for some time. I start to feel calm for the first time in two weeks.

7th September 2025

I begin reflecting on the last few days, caught in a tug of war between a tacit acceptance and a refusal to normalise the baked-in inhumanity of the prison system.

In recent years, and like so many others, I have been taken by arguments for prison abolition, at least in the abstract. However, if someone were to ask me about the more complicated consequences of such a position, I would not know how to answer them. Maybe I’d mumble something about a “Nordic model” I know nothing about and then have little more to say.

Now, having survived the last two weeks, which have felt like an eternity, I feel I have learnt more about the British criminal justice system than I ever expected to. As is no doubt the case for most people, I had never given it much thought before. I never expected to have any contact with it. Prison was something that happened to other people. But right now, I am feeling its foreboding presence encroach on a life of freedom, because someone I love is not free.

It is a difficult situation to make sense of. Every thought, every ounce of energy, is being spent on concern for the welfare of someone I love deeply. They have been arrested for alleged involvement in direct action, in light of a set of political beliefs I share. But politics has also been the last thing on my mind. I feel stressed “beyond all belief”, crushed under the full weight of that banal idiom. I struggle to find my bearings.


A few weeks before their arrest, I sent Hana a draft of an essay [still forthcoming] I’d been working on about David Lynch. They said in a letter that they had been thinking about it a lot whilst inside.

In the essay, I reflect on attempts made by various commentators to claim a politics for Lynch, whether from the left or the right. I opt instead for the argument that what Lynch most often expresses is an

anti-politics, which complicates the illusory certainty of any political programme. Politics, in this regard, is of little overt concern to Lynch’s cinema – at least beyond his distorted mirroring of everyday ‘norms’. His films instead plunder the other side of politics, where the signs we all too readily ascribe a place in the symbolic order are free-floating and untethered from common sense. In this way, Lynch dramatizes the ambiguous interzones that we are all caught up in, irrespective of our political allegiances. His operative perversion lies precisely in the observation that we all occupy a world of horror and intrigue, where errant signifiers always remain open to interpretation.

Anti-politics is not the absence of politics. Anti-politics is like antimatter: it looks like politics, but moves with an ‘opposite charge’. Right now, I feel that negativity pounding in the space between every positive atom that I am.

I do not yet know what to think. How to make sense of a prison politics on the ‘wrong’ side of the system? If ‘politics’, generically defined, is a set of activities that seek to improve life and increase power, then what does it mean to find yourself so abjectly on the other side of it, where one’s life and power are drastically diminished?

Prison is political, of course — achingly so. But the fact remains that, when your face is pressed up against the system, it feels hard to access any politics under the immediate devastation wrecked upon the personal by its sudden presence. Indeed, the impositions of the prison system are felt so powerfully, Hana talks about how they now understand what Mark Fisher meant by ‘capitalist realism’ with a new intensity, feeling like they are now situated at its core but also at its limit. This is a nightmare, a trauma, and we are afforded no alternative to it under the weighty assertions of judicial-state power.

To sense the anti-political in this way is to be situated acutely in an old Marxist paradox. Frank Ruda writes how “the early Marx argued that one can only conceive of the capitalist system in its entirety from the subjective perspective of those who are essential for its reproduction yet — politically — excluded from it.” I come to recognise the imprisoned as a hyper-proletariat in this regard. Their treatment epitomises the underside of a sense of justice and morality on which “free” society rests. This is to say that prison is taken to be an institution of justice for those on its outside in the rest of society — a society that those who interact with the prison system are themselves now excluded from. For all the paltry progress our society has made, gesturing toward new equalities, none of this applies to the incarcerated. It barely applies for us either, who are pulled into its orbit.

It is a situation further complicated by the fact that Hana has been imprisoned for alleged involvement in the ‘wrong’ kind of political act — an act that aimed at improving the lives of others. The consequence of this act is the neutralisation of all politics. From out of this collision between political particles, anti-politics spools. Although we are going through the most politically significant experience of our entire lives, we all feel excluded from any capacity to act upon it and decide our own fates.

I hope that changes. For the time being, everything that is more than personal daunts me like never before. The news makes me feel sick. I wish the world would stop spinning because it’s not helping my head, which is now spinning in the opposite direction. I am shocked by a new kind of fear. I am embarrassed to hear myself whimper before it.


“Gratitude goes a long way, as well as acceptance,” Hana wrote in their first letter to me, reflecting on their first few days on remand. I try to close the gap between my experience and theirs. Of course they are trying to accept their current circumstances. What good would come from actively resisting an enforced passivity? But since I remain on the outside, I am accepting it far less easily.

The more I learn about the reality of imprisonment, the more it curdles my blood. I cannot imagine how they are able to reckon with the fact that, as far as the system itself is concerned, there is little difference between anyone incarcerated. All are deemed to have broken the law; the question of which law is largely irrelevant. Everyone inside is reckoning with the myriad reasons why they are in there. Camaraderie over a shared cause is a luxury afforded to very few.

Two of their co-defendants are being held in another prison nearby. In their communications with the outside, they’ve discussed how allusions to what they’re in for have brought them respect from some prisoners; less so from others. “The entire political spectrum is in there, from far left to far right,” a family member informs us on a group call. Apparently, the guy who cuts people’s hair is a white supremacist. “They won’t be getting any haircuts any time soon.” Thankfully, others more sympathetic to their cause are looking out for them.

It is a much stranger position to reckon with for those of us on the outside. Almost everyone in our personal lives knows what our loved ones are in for, but I feel incapable of talking about it or declaring my own position publicly either way, out of a fear that any commentary might harm them or me in some way. We are reassured that, at the very least, we should feel free to talk about our collective experience of prison itself. But I struggle even with this.

I try to reassure myself that Article 10 of the European Convention on Human Rights must still apply: I have “the right to freedom of expression”, and “[t]his right shall include freedom to hold opinions and to receive and impart information and ideas without interference by public authority and regardless of frontiers.” But the second clause of Article 10 nonetheless gives me pause:

The exercise of these freedoms, since it carries with it duties and responsibilities, may be subject to such formalities, conditions, restrictions or penalties as are prescribed by law and are necessary in a democratic society, in the interests of national security, territorial integrity or public safety, for the prevention of disorder or crime, for the protection of health or morals, for the protection of the reputation or rights of others, for preventing the disclosure of information received in confidence, or for maintaining the authority and impartiality of the judiciary.

Where we stand in relation to all of this is unclear. In truth, the uncertainty of the present has dissolved all familiar reasoning into a soup. Struggling to embody all of the principles I hold dear, I feel disembowelled. Every valence of the word ‘abolition’ is felt at once in the context of incarceration. I can’t help but get Hegelian about it.


In Hegel’s philosophy, the term aufhebung is used in a positive and negative sense, meaning both to “‘clear away’ or ‘cancel,’ [and] ‘to preserve’”. Due to its complexity, it is a term that has been translated into English in a number of different ways – for example, as ‘abolition’ or ‘sublation’.

What becomes of the person who must abolish their politics, that is, both clear away and preserve them simultaneously? Everything is scrambled by fear, and I soon understand that this too is the point. Although untouched, state violence becomes a more ambiguous force that leaves me feeling bruised all the same.

I feel the way in which the law becomes a weapon. I crumble in the face of judicial and political intimidation, fully aware of the seriousness of the situation. Were this any other moment, maybe my response would be less complicated. But right now, authoritarianism is unequivocally on the rise. I feel it biting at my heels. At the very moment we feel most implored to speak up, we are crushed under the fear of doing so.


How does one think about prison abolition in this context? In many ways, with more clarity. No matter what anyone is alleged to have done or has been convicted of doing, speaking from this painfully immediate experience, it is not a punishment I would ever wish to see inflicted on anybody.

This position might be unbelievable, as it is one seldom heard in public discourse. Talk of prison is always centred on protecting the public from the most dangerous individuals, but within the prison population itself, these individuals constitute a minority. The majority are traumatised people who are being subjected to further trauma. It fixes nothing. The notion that prison is a site of rehabilitation is made disgustingly laughable.

8th September 2025

Graham Linehan is in court today to answer for an online harassment campaign against a seventeen-year-old trans woman. Owen Jones, commenting on Linehan’s arrest and subsequent court appearance on Twitter, writes:

I think that Graham Linehan is beyond awful.

We should not be arresting people for hateful things they say online.

It’s not a solution to these problems and trusting an increasingly authoritarian state to be the arbiter of acceptable speech is a major mistake.

Jones comes in for the usual amount of flack, since his ubiquity on social media has often led to him being used as a punching bag for online commentators across the political spectrum. But I also know that he has experienced Britain’s criminal justice system up close, after he was assaulted outside a pub in 2019.

At that time, following his attacker’s sentencing to two years and eight months in prison, the BBC reported how Jones 

tweeted that “prison is not a solution to far right extremism” as [his attacker] “will go to a prison a violent far right extremist, and probably leave prison a violent far right extremist.”

“There is no judicial solution to the far right: it is a political problem,” he wrote.

It was heartening to see Jones reiterate his opposition to prison and its uselessness when it comes to breaking cycles of political violence. Indeed, whilst I too abhor Linehan, it’s hard not to sympathise with Jones’ unequivocal opposition to the court system in this moment as well.

Reading the comments under Jones’ most recent post, I quickly find myself resenting all those savouring the schadenfreude of Linehan’s appearance before a magistrate’s court. He is undoubtedly an idiot and a fanatic, incapable of lucid thought. Instead, he gesticulates wildly, projectile-vomiting an ideological position fuelled by hate, denouncing the rights and basic dignity of all trans people. He too is all too easy to despise.

But just as Jones tweeted following the sentencing of his attacker – a sentence aggravated on the grounds that he was motivated by Jones’ “sexuality and political views” – Linehan too embodies a political problem, which cannot be solved by dragging him before a system that is unwilling to treat trans people with any dignity either. This is to say that the powers being enacted to curtail Linehan’s rabid expressions of hatred towards trans people – and I say this as a trans person – are being just as (if not more) readily applied to someone I love. None of those clambering to see Linehan punished for his undoubtedly grotesque pantomime of bigotry know anything of the fear we are currently experiencing.

Perhaps Linehan is an easy mark in this regard. With no family left to speak of, he is the archetypical ‘divorced dad’ with brainrot. But my principled opposition to his comportment toward trans people makes little difference in the eyes of the law. To watch the system sharpen its blade against him is little comfort when that same blade has cut through our lives already.

Perhaps some who read this will think I am blinkered. They may be right. Our struggle feels achingly particular right now, as I stand aghast before towering statutes of legalese. Is this really the world we live in?

I wonder how I might connect this feeling to something more universal. All attempts to do so feel like uncertain strides through the ruins of a world I once knew. My faith in this country’s various institutions was never assured, but any belief in the tacit compliance that founds a sense of ‘good citizenry’ has been utterly shattered. I do not see a way out of our current political climate that leaves any of these institutions intact.

9th September 2025

I hear a helicopter hovering overhead as I sit in the bay window of my flat in Newcastle. Craning my neck to see, my whole body twists through panic and nausea. It flies away after ten minutes or so.

It is not unusual to hear helicopters over Byker and the Ouseburn Valley. It is common knowledge that many individuals on the run take shelter in the valley’s woodland, which is home to makeshift camps occupied by the unhoused.

Recently, a patch of dense shrubbery, within which you’d find the remnants of campfires and tents, has been reduced to a brown patch of mud and rumble. Nature is decimated to remove what is perceived to be a hiding place for undesirables. What a response this is: to destroy a habitat with total abandon; a scorched-earth approach to moving on the desperate.

I think about a local man who I frequently helped out with cash and snacks whilst working at my pub job — a job I had to leave when this ordeal started. He was arrested and charged with murder earlier this year.

He had previously been in court for child neglect and abuse, and was acquitted on lack of evidence and/or due to the incompetence of the Crown Prosecution Service. I did not know any of this before his most recent arrest. Rumours nonetheless circulated, and I was regularly told to be wary of him by others. In my experience, however, I always found him to be a well-meaning man who was more desperate for human contact than anything else.

The more we got to know each other, the more comfortable I became in giving him a hug when he asked for one. Whoever he might once have been, whoever he still was in secret, and no matter how misguided and dangerous he was assumed to be by others, it seemed he never recovered from his experience before the courts. His alleged neglect of the humanity of another never made me feel like ignoring his own humanity was deserved.

He hadn’t come around to the pub in months, because he too was on remand.

I thought about him often when closing up after a long shift. Sometimes, during the witching hour, after switching off the lights and turning the keys in the locks, we’d wait for our taxis home to arrive in the dark, lighting post-work cigarettes as we looked out across the wooded valley below. In those moments, the valley was transformed from a daylight idyll into a nightmarish hunting ground, where the state occasionally played cat-and-mouse with those on the very edges of society. Not infrequently, we would watch a lightshow of police cars on a nearby viaduct, helicopters circling nearby.

When I finally catch a glimpse of the helicopter overhead today, I wonder who is being hunted and why. I laugh at my irrational prayers that it is not me. My proximity to Hana alone makes me concerned that there is a target on my back. Is love enough to found a sense of guilt by association?

10th September 2025

I don’t know how many times I’ve read Hana’s first letter at this point. I return to it again and again, drawing on their strength and wringing out droplets of solace for myself. “Just gotta cling to wherever you can find autonomy and feel worthy of dignity when the state is denying that for you,” they wrote.

I imagine this is strangely easier to cling to when the state has clamped down on you so absolutely. There is little ambiguity about what is a product of your own agency, when agency itself becomes a luxury almost entirely neutralised.

From my position on the outside, I still do not know where I stand. I fear I am going round in circles as I write the days away. What autonomy and dignity I do have feels precious. I feel the threat of it being taken away, after bearing witness to how easily this can be done. This threat is companied by another, as I continue to fear that any assertion of my own dignified autonomy and self-expression might damage Hana’s future in some way – no matter how remote and unfounded the possibility might be.

The space of writing has always been where I find my autonomy and feel worthy of dignity in the midst of life’s struggles. I reflect on whether the mode in which I am writing now will be seen as pretentious… Is it possible to express a pretentious amount of humility? Am I imbuing myself with a more fearful deference towards the state than is required? The taste of boot in my mouth compounds the nausea felt in Hana’s absence.


I turn to Adorno and Horkheimer’s Dialectic of Enlightenment, reading a short fragment entitled ‘From a Theory of the Criminal’:

Like the criminal, imprisonment was a bourgeois affair. In the Middle Ages incarceration was reserved for the offspring of princes who symbolized an inconvenient hereditary claim. Criminals were tortured to death, to instil a respect for order and law in the mass of the population, since the example of severity and cruelty teaches the severe and cruel to love.

For Hegel, heredity is an essential consideration within any dialectical movement. Children become social syntheses; combinatory vessels for the continuation of tradition and the seeds of all that is new.

I think of Hana as an inconvenient prince who has inherited a world in which happiness is hard won. Is it the function of prison to instil within its captives a love of whatever form of freedom they have previously been offered, no matter how superficial that freedom may have been? Isn’t it often the case that those past freedoms were not enough?

When reading the passage from Adorno and Horkheimer above, I am also not sure I understand what is meant by ‘love’ in this instance. Is love being attributed to the state here? It feels incapable of it.

The fragment continues: “Regular imprisonment presupposes a rising need for labour power. It reflects the bourgeois mode of life as suffering.”


When Hana’s parents return home from our first joint visit, they find a letter waiting for them on the doormat. Inside, Hana reflects on all that they are missing, and reckons with just how much they miss ‘normality’. It echoes the letter I received five days earlier.

Remaining true to their undeniable compassion for others, Hana keeps the suffering of those around them at the forefront of their thoughts:

It’s so important for prisoners to feel supported and motivated by something that nurtures them – many are deprived of that support. It can feel so dehumanizing.

Watching the news on far-right violence against the asylum seekers in hotels fills me with pain and anger and fear. The real problem is austerity and the deprivation of the working class and public infrastructure by the bourgeoisie and ruling class – seeking asylum is a human right.

I think about how they are desperately seeking asylum with us, just as we are desperately seeking to house them once again.

When I hear these people saying that migrants are treated better, it’s because they feel unsupported and have turned their frustration and misery collectively on people who aren’t responsible, who are going through their own struggle with a system that dehumanizes them, trying to find safety and dignity.

This is obviously related to why I’m here…

But I hold onto this version of the serenity prayer: “God give me the serenity to accept the things I cannot change, the courage to change the things I can, the courage to change the things I cannot accept, and the wisdom to know the difference.”

Reading of their resolve gradually shakes me from my shellshocked stupor. Resentment towards the state still grows as I increasingly feel like a prisoner of my own anxious thoughts. How much is this experience ungrounding my understanding of what love is? Not a love that the state seeks to enforce through fear and brutality, but a love that runs radically to the contrary. It is a new kind of love, perhaps already known in some sense, but taken for granted. It must now be enacted with a new purpose and intensity.

12th September 2025

I wake up an hour before my alarm at 5.30am. Five hours, two trains, and two buses later, I approach the prison on foot for my second visit. I am 90 minutes early, and sit outside in the rain waiting for an officer to arrive and unlock the outbuilding. I am surprised my loitering doesn’t raise more suspicions. I remember that, although I am at a prison, I am still free.

I sit on a wooden bench, slotted behind the outbuilding and an shipping container, which has been repurposed as some sort of shed for the groundskeepers. To my left, the prison, imposing and quiet; to my right, a vast field of tall grass and a few old trees. The vista to my right is beautiful, and I am aware that I am the only person currently around who has the freedom to take it all in.

The prison looks a lot like a school, albeit with additional 30ft high fences and barbed wire. From my last visit, I also know it smells like a hospital. Every time I am struck by the memory of another institution that the prison is reminiscent of, all I can think is that Foucault was right.


In his book on Foucault, Gilles Deleuze describes how he establishes a new ‘cartography’ of power, which is based on

a strict immanence where centres of power and disciplinary techniques form multiple segments, linked to one another which the individuals of a mass traverse or inhabit, body and soul (family, school, barracks, factory, if need be prison). The thing called power is characterized by immanence of field without transcendent unification, continuity of line without global centralization, and contiguity of parts without distinct totalization: it is a social space.

In one of Deleuze’s most famous essays, “Postscript on the Societies of Control”, he makes the point even more sharply:

Foucault located the disciplinary societies in the eighteenth and nineteenth centuries; they reach their height at the outset of the twentieth. They initiate the organization of vast spaces of enclosure. The individual never ceases passing from one closed environment to another, each having its own laws: first, the family; then the school (“you are no longer in your family”); then the barracks (“you are no longer at school”); then the factory; from time to time the hospital; possibly the prison, the pre-eminent instance of the enclosed environment.

Prison is only an acute enclosure, concentrating the general unfreedom of bourgeois life at the tip of a blunt instrument. I think about how the system’s cascading ineptitude is symptomatic of a failure to fully transform discipline into control. Deleuze continues:

We are in a generalized crisis in relation to all the environments of enclosure – prison, hospital, factory, school, family. The family is an “interior,” in crisis like all other interiors – scholarly, professional, etc. The administrations in charge never cease announcing supposedly necessary reforms: to reform schools, to reform industries, hospitals, the armed forces, prisons. But everyone knows that these institutions are finished, whatever the length of their expiration periods. It’s only a matter of administering their last rites and of keeping people employed until the installation of the new forces knocking at the door.

I think about Hana’s request for the writings of Mark Fisher; their commentary on the intensification of capitalist realism felt within the prison’s walls.

I think about an essay Fisher wrote for Gonzo Circus in 2015: “Only prisoners have time to read, and if you want to engage in a twenty-year long research project funded by the state, you will have to kill someone.”

It is a provocative claim, which does not hold up when compared to reality. Time is administrated with far more intensity inside than out. The mind is always a risk of atrophy. Hana will mostly read fiction and knit.


After about an hour or so on my own, some other relatives arrive to visit their loved ones. Three women show up with bags of clothes and looks of bewilderment. This must be what we looked like a week ago.

Two other women join shortly afterwards, accompanied by two children. Last week, the very thought of children occupying this space made me sad. The reality is worse.

One of the children needs their nappy changed, but the disposal unit in the toilet is full to bursting. The entire outbuilding quickly starts to smell of putrid shit. I try not to gag.

At 1.45pm, a baby-faced guard comes in to check our IDs against a list of names on a clipboard. The list is littered with typos, causing the guard to warn some of the families now present that, unless his boss gives the go-ahead, they might not be allowed in. Everything has to correspond and match. It gives the illusion of authority and stringency, but the litany of errors, the visitors exclaim, is due to prison administrative error. It becomes one more incident of the prison service openly displaying its cruel incompetence.


The two hours Hana and I get to spend together disappear in a flash once again. It is undoubtedly the weirdest date I have ever been on.

We still don’t know what is or isn’t allowed. We wait to be told, and so begin to test its limits.

Hana and I hold hands. We are tentative at first, stealing sensations, playing footsie, savouring the warmth of each other’s skin for brief moments, until we entwine our fingers without letting go. At the same time, we gaze deeply into each other’s eyes, reminding each other through insinuation about the last time we were freely intimate.

I tell them about how I previously found it difficult to hold onto memories of our intimacies. The amnesia may well have been wilful. Allowing myself to forget what it was like to hold them became as good an excuse as any to organise a trip down to London to see them. Today, I have never remembered those intimacies most viscerally. I hold onto them, remember them, and make them sharper every day, retreading neural pathways to make sure it all continues to feel like yesterday.

We laugh about it and edge ever closer. Roughly an hour into our visit, a screw comes over to reprimand the both of us. “We’ll need to lessen the touching.” I hate them for it.

The guards want to ensure that we are not passing drugs or notes between us. It is a restriction implemented purely to avoid the smuggling contraband – which, according to reporting earlier in the year, is one more thing the prison is utterly terrible at enforcing. Indeed, their vigilance feels misplaced. Drugs are apparently accessed so easily, but visitations are policed so excessively, it makes it clear that contraband is far more likely to be smuggled in by the guards themselves.

And anyway, for what it’s worth, we’re both sober.


We say goodbye and I hug them tight. They kiss my neck in our embrace and I feel myself melting into them. I try not to make the goodbye more difficult than it needs to be, and make my way to the exit.

18th September 2025

From my bedroom, I see flashing lights all around, refracted through the gaps around my curtained windows. Through the peephole of my door, I see cocked rifles and balaclava’d cops. I jolt awake at the very moment I am taken, having managed only one hour of sleep.

The last few weeks keep registering themselves as a trauma. I’m going to need so much (more) therapy when this is over, if I am ever going to get over this whole ‘kidnapped-by-the-state’ thing.


Later that morning, my ears prick, anticipating the sounds of the postman. At 10.45am, I receive another letter from Hana, alongside two books recently purchased: Dance in Chains by Padraic Kenney and Free Them All by Gwénola Ricordeau.

I open Free Them All in front of me with a pot of coffee and it immediately resonates with my experience so far. Ricordeau begins:

The day that prisons stopped being an abstract notion to me, I was convinced that they needed to be abolished. The idea of prison abolition did not come to me through theory, but through my gut; I did not really know how to go about it – nor even if others had considered it before me.

Ricordeau describes how her experience of having loved ones incarcerated was explicitly “a woman’s experience”, because it is “women, for the most part, who perform the outside tasks of material and emotional solidarity that are necessary for the survival of men on the inside.” It is strange how much I can relate to this. Prison both ignores and underhandedly affirms my transness. I quit my job to undertake these new labours. I too am a prison wife now.

Ricordeau’s ‘womanly’ experience is further sharped by her frustrations with the criminal justice system, not only as a relative of someone incarcerated but also as a victim of violence herself:

Due to the structural nature of the violence I was confronted with, whether interpersonal or from the state, I knew perfectly well that nothing had ever truly been resolved – even if defending yourself against a man and defending yourself against the state have very different implications. So I was far less interested in the idea of exercising my right in the legal realm than in contributing, in the political realm, to the collective dismantling of the conditions that had made this violence possible.

I think about the dissonance wrestled with a week or so ago, when thoughts of abolition first came to mind. I think about the difficulty of holding together tandem experiences of interpersonal and state violence as a trans person.

I take comfort in Ricordeau’s acknowledgement that there is no “simple answer” to the questions that arise from conversations around prison abolition. But in having these conversations regardless, we can begin to uncover

a few paths for reflection that suggest that in feminism, one can draw out a radical critique of the criminal justice system. Aren’t there at least as many reasons to combat “patriarchal” justice as “bourgeois” justice or “racist” criminal justice? And if one considers what the impact of “justice” is on LGBTQ people, can’t those radical critiques at least draw from queer thought?

I think about the layers of injustice being enacted by a system that abolishes all outside politics. Prison is, after all, where people are kept and ostracised in order for the rest of society to feel safe. Is Hana the same as these people? The answer is moot. The question that keeps me up at night is: ‘Are they safe?’ Because prison is not a safe place for anyone. I want to articulate new provisions that might protect everyone, both inside and out. I am left wanting.

The contradictions leave me dizzy. They are the sorts of contradiction that already unsettle an abolitionist politics in general, especially as it pertains to women’s justice. Indeed, an abolitionist politics calls the very concept of ‘justice’ into question. Within an abolitionary quest for justice, what are the elements of the ‘justice’ we know that are to be preserved, and which are to be cleared away?

Ricordeau writes how

penal abolitionism finds itself, along with several currents of feminism (as with certain antiracist or LGBTQ struggles), facing a real contradiction: the politics of recognition fought on the terrain of law and rights are naturally accompanied by activist calls to create new crimes (for example, linked to discrimination).

But we must remember that the master’s tools will never dismantle the master’s house…


To be continued (maybe)…

Plan for the Kidnap of Princess Anne
at the Colloquium for Unpopular Culture

If you’re in New York, the Colloquium for Unpopular Culture at NYU has organised a listening session for English Heretic’s Plan for the Kidnap of Princess Anne. Featuring “doomloops and dank hymnals and CCRU hyperstition by way of JG Ballard (with an uncredited Mark Fisher as Ian Ball)”, the session will be accompanied by new recorded contributions from Andy Sharp and myself.

More details can be found on Instagram with the when and where below:

WHEN: Thursday 12 February 2026, 6:45pm

WHERE: Recording Studio, 194 Mercer Street [between Bleecker & West Houston Street]

Free, open to the public, non-NYU guests must RSVP to – ss162@nyu.edu

Two Translations

My recent reflection of Mark Fisher, nine years on from his death, has (already!) been translated into Russian over at Insolarance. It comes with the following translator’s preface:

Today marks the ninth anniversary of the death of philosopher, theorist, critic, and future-seeker Mark Fisher. Mark struggled with depression throughout his life and died tragically in 2017, leaving behind a controversial and extensive body of work, which is gradually being published in Russian (Capitalist Realism, Ghosts of My Life, K-Punk, Postcapitalist Desire). This text by fellow researcher and Mark Fisher scholar (and author of the foreword to the Russian edition of Postcapitalist Desire) Mattie Colquhoun sums up nine years without Fisher, arguing that the only way out of a cultural depression like the current one is to act as if things could have been different.

Colquhoun cites Fisher’s “Abandon Hope,” in which he argues that constructing the future, the courage to strive for it, involves a sober and pragmatic assessment of the resources available to us here and now, alongside a reflection on how we can best utilize and increase these resources. It’s about moving — perhaps slowly, but certainly purposefully — from where we are now to something entirely different. “There is no need to fear or hope, but only to look for new weapons,” Deleuze writes in ‘Postscript to Societies of Control.’ Hope, passivity, must recede from the political imagination, giving way to confidence, the joy that arises from the idea of a future or past thing, the cause of doubt in which has been removed. Media and cyberangelism scholar Bogna Konior also writes about something similar, about navigating a world of possibility that develops into courage in the face of present circumstances. And although Mark Fisher suffered from severe depression in his final days, whether in his office or at political events, as Colquhoun writes, Mark’s confidence in a world that could be — that would be — free was more palpable than ever.

The text is further relished by Colquhoun’s personal tragedy: her partner, Hana, was arrested by British police on August 26, 2025, for allegedly participating in a pro-Palestinian protest in Wolverhampton, Staffordshire. Communicating across the prison system, Colquhoun and Hana establish a new form of life alongside each other.

The translation is provided in an abridged version, safe for publication under existing legal conditions.

Elsewhere, over on the Fotograf Zone, an excerpt from my last book Narcissus in Bloom has been translated into Czech.

My thanks to the translators for their diligence and solidarity <3

Negativity of the Intellect, Confidence of the Act:
Mark Fisher Nine Years On

The number nine is the last numeral of the decimal system, and its associations with death and fatality are primarily based on this purely numerical (modular) function of termination. There are nine rivers of the underworld, and the mortuary aspect of the cat is indicated by her nine lives. Charles Manson’s adoption of the Beatles’ Revolution-9 (or Revelation IX) as an apocalyptic ‘family anthem’ was fully in keeping with this aspect of the number.

Alternatively, nine is acknowledged as the highest numeral, and associated with celestial inspiration (the nine muses) and bliss (Cloud-9). Nine solar planets are recognized by modern astronomy (as also by the ancient Lemurian Planetwork).

The duplicate reiteration of nine is remarkable for its theo-mystical resonances. Islam (= 99) lists ninety-nine ‘incomparable attributes’ of Allah. The Anglossic value of YHVH = 99. According to the cryptic Black Atlantean cargo-cult Hyper-C, the number ninety-nine — as dramatized by the Y2K panic — designates the cyclic completion of time.

Ccru, “Zone Nine”

In a few days’ time, on Tuesday 13th January 2026, it will have been nine years since we lost Mark Fisher. It is hard to believe.

As I tend to do every New Year, I was revisiting some of Mark’s blogposts over the first week of January. In particular, I was reading his May 2015 post, “Abandon Hope (Summer is Coming)”.

“Abandon Hope” was one of the last substantial posts Mark put on his k-punk blog. He’d stop posting two months later, roughly 15 months before his death.

There are two likely reasons why Mark stopped blogging; both may be true at once:

  1. Mark was spending more time organising politically in meatspace, having already recognised that the internet he once called home was a sinking ship;
  2. Mark was increasingly struggling with his depression.

Given his eventual death on 13th January 2017, Mark was evidently depressed towards the end of 2016, but between 2014 to 2016, he also appeared to be doing more to publicly fight back against his depression than he’d ever done before.

This fightback was felt most powerfully in Mark’s writing when depression had every reason to overwhelm him and us. The context for the May 2015 post, of course, was that month’s general election in the UK. The Labour Party, led by Ed Miliband, had just lost to David Cameron’s Conservatives, who had somehow converted their disastrously austere coalition government with the Liberal Democrats into a (very narrow) Conservative majority.

It is an election I remember well (and I may have recollected it on this blog before).

I was working at Ffotogallery in Cardiff at the time — my first job after graduating from university. On showing up to work at Chapter Arts Centre on 8th May, where our offices were located, the morning mood was thick with misery. Everyone knew what was coming. Funding cuts at the community arts centre were presumed inevitable and did eventually come to pass. In January 2016, I felt them personally when I was let go from my job.

Citing precarious future funding, I remember my boss took a moment to soften the blow by reminding me that I’d already expressed plans to leave later in the year. I had been accepted onto a Master’s degree at Goldsmiths, and so, at the end of the summer of 2016, I was going to move to London to start my studies, which I hoped would be under the tutelage of Mark Fisher and Kodwo Eshun.

I was sad to leave the gallery and I was very worried about money — nothing much has changed there — but my future overall was looking bright. I was chasing a dream. Whether I’d read Mark’s latest post at the time or not, I can’t remember, but I do remember the hope I was clinging onto then, with no way of knowing what further pains were to come.

Ten years on from that concentrated sequence of political disappointments and real grief, hope once again feels like a fragile affect of late. But in the midst of a particularly blue January, when my mental health has once again felt fragile, I am trying my best to convert hope into confidence, in order to assuage the anxiety of another personal limbo.

Although the anniversary of Mark’s death is always a painful moment of reflection for me, I am also long overdue a return to his work. It may look like I write about little else, but it has actually been a while… And I have not been disappointed. Especially right now, what we might call Mark’s late ‘confident’ writings offer a powerful vision of the future, enmeshed in the real potentialities of what was then the present. These writings are no less pertinent, even if the world feels very different, because Mark’s struggle is timeless. What he was wrestling with was an attempt to overcome various “passive affects”, which might be felt even more sharply now than back then.

These affects are named across Mark’s last two months of k-punk posts. Alongside the confidence of “Abandon Hope”, which we’ll return to shortly, we find him trying to express more ambivalent feelings through a couple of mixes on his blog.

The first, “Look What Fear Has Done To My Body”, takes its title from the lyrics to Magazine’s “Because You’re Frightened”. The mix was shared as a tribute to Mark’s students on his ‘Popular Modernism’ module, which he taught as part of the BA(hons) Fine Art & History of Art degree at Goldsmiths (if I’m not mistaken).

Two months later, “No More Miserable Monday Mornings” was shared as a less explicit tribute, but a worthy one nonetheless. “You don’t hate Mondays, you hate capitalism” is here an adage turned inside out. In private, Mark had expressed how he came to treasure Mondays as one of his postgraduate teaching days, and so he turned this personal joy into a new mantra of post-capitalist desire.

Both mixes are sonic excursions that place the feelings to be counteracted — fear and misery — at the forefront, like two curated séances for exposing and then exorcising sad affects. But what is most sobering about these exorcisms is how clearly Mark was attempting to reaffirm some sort of emotional-engineering project for himself, in order to forestall a familiar depression.

The electoral defeat of the Labour Party in 2015 — although who can say what amount of good they would have actually done, had they won — could have devastated Mark. Maybe it did. When his essay “Good for Nothing” was published a year earlier in 2014, he was clearly gearing himself up for overdue change and an end to a politics of austerity that had followed the financial crash in 2008.

There, Mark begins by diagnosing the depression that had long stalked him. Returning to the materialist psychiatry of David Smail — who was a major influence on his 2009 book, Capitalism Realism — Mark wrote about the source of his feeling that he is “good for nothing”, and his attempts to silence the “sneering ‘inner’ voice which accuses you of self-indulgence – you aren’t depressed, you’re just feeling sorry for yourself, pull yourself together”; the voice that “isn’t an ‘inner’ voice at all”, but “the internalised expression of actual social forces, some of which have a vested interest in denying any connection between depression and politics.”

Mark wanted to re-emphasise this connection, not to wallow in it, but in order to more forcefully cut the knot; depression is political, but Mark did not want to advance a depressive politics. He concludes:

We must understand the fatalistic submission of the UK’s population to austerity as the consequence of a deliberately cultivated depression. This depression is manifested in the acceptance that things will get worse (for all but a small elite), that we are lucky to have a job at all (so we shouldn’t expect wages to keep pace with inflation), that we cannot afford the collective provision of the welfare state. Collective depression is the result of the ruling class project of resubordination. For some time now, we have increasingly accepted the idea that we are not the kind of people who can act. This isn’t a failure of will any more than an individual depressed person can ‘snap themselves out of it’ by ‘pulling their socks up’. The rebuilding of class consciousness is a formidable task indeed, one that cannot be achieved by calling upon ready-made solutions – but, in spite of what our collective depression tells us, it can be done. Inventing new forms of political involvement, reviving institutions that have become decadent, converting privatised disaffection into politicised anger: all of this can happen, and when it does, who knows what is possible?

What eventually came to pass in 2015 was a disappointment for all of us, even if the improvements dangled before the electorate now seem minimal in hindsight, when compared to the drastic change we so desperately need today. But it is further heartening that Mark did not (publicly) give into the sort of depression he was prone to. The negativity of his intellect intensified, but so too did his capacity for confident action.

Ever the Deleuzo-Guattarian, this intellect/action dialectic was ever-present on Mark’s k-punk blog, continuing to intensify over time, as he persistently attempted to short-circuit the alienation felt between self and society. As in “Good for Nothing”, he persistently described and critiqued the manner in which the privatisation of mental-health issues is a consequence of neoliberalism’s penchant for privatisation in general. It is certainly misleading to transform the personal effects of social conditions into nebulous folk-pathologies that let governments off the hook for the misery they cause, but the tension within Mark’s work as a whole is that thinking about the human condition in terms of health and illness is not, in itself, a bad thing to do. Neoliberalism has only perverted such an outlook, which might otherwise be agreeable to us, for its own ends. Indeed, to think more emphatically in terms of socialised health and illness is a key site of (re)new(ed) possibility in privatised times.

If there is a sharp contradiction present in this argument, it is a contradiction acutely British in nature, since our National Health Service is held up as both a bastion of socialised medicine at the same time as it is a political football and gravity well of Kafkaesque bureaucracy. Since Mark was Britain’s most perceptive guide for navigating the contradictions of British culture, he had first wandered into the fray of this contradiction a decade or two earlier than most. For example, in a 2004 post about Spinoza titled “Emotional Engineering”, he writes:

In place of the ‘right’ and ‘wrong’ a vulgarized Kantianism and vestigial Christianity has inculcated into us, Spinoza urges us to think in terms of health and illness. There are no “categorical” duties applying to all organisms, since what counts as “good” or “evil” is relative to the interests of each entity. In tune with popular wisdom, Spinoza is clear that what brings wellbeing to one entity will poison to another. The first and most overriding drive of any entity, Spinoza says, is its will to persist in its own being. When an entity starts to act against its own best interests, to destroy itself – as, sadly, Spinoza observes, humans are wont to do – it has been taken over by external forces. To be free and happy entails exorcising these invaders and acting in accordance with reason.

One looming problem at the heart of the capitalist-human condition is that we are so riddled with invaders, we have never been more assured of our various sicknesses and ailments. We know this because we seek to name them constantly, albeit too often without investigating their root cause. Without the more granular work necessary to meaningfully diagnose our contemporary condition, all we end up doing is neoliberalism’s work for it. We do this by buying into every new social-media symptomatology presented to us like a monthly horoscope — the sort found in the back of glossy magazines that enlarge our insecurities only to sell us new snake oils to treat them.

Intervening more thoughtfully within this perverted economy of affects, we can uncover grounds for newly honed critiques. But an awareness of what fear is doing to our bodies can just as easily devastate us, trapping us in reflexivity. It is a situation that can result in the most pernicious condition of capitalist realism, which Mark termed “reflexive impotence” — “yes, [we] know things are bad, but more than that, [we] know [we] can’t do anything about it.”

Mark never took this depression for granted, even whilst he too was affected by it. Clearly he felt it too, but he refused to languish in it, all the while acknowledging just how difficult it can be to overcome. This is important, because it made Mark’s optimism hard won; it was never a whimsical flight into fantasy or delusion. He stayed with the trouble precisely because he so often felt in trouble. This is how he was able to intervene in these very British paradoxes so astutely, albeit with difficulty.

Initially, when writing Capitalist Realism, Mark tried to ‘denaturalise’ this depression with public theory. As he argued in 2010:

There has been some discussion of whether Capitalist Realism is a pessimistic book. For me, it isn’t pessimistic, but it is negative. The pessimism is already embedded in everyday life – it is what Zizek would call the “spontaneous unreflective ideology” of our times. Identifying the embedded, unreflective pessimism is an act of negativity which, I hope, can make some contribution to denaturalizing that pessimism (which, by its very nature, does not identify itself as such, and is covered over by a compulsory positivity which forbids negativity).

But Mark’s forceful negativity was never the be-all-end-all. He insisted that we must also reaffirm our capacity to act alongside every armchair critique of what stands in our way. As such, Mark updated Antonio Gramsci’s famous mantra about “pessimism of the intellect, optimism of the will”; his version was subtly but powerfully different, and can perhaps be formulated as “negativity of the intellect, confidence of the act“.

This formula was most often put to work in Mark’s challenges to a toothless twenty-first-century ‘poptimism’. He always insisted that optimism counts for nothing on its own and must always include a negativity that is honest about the material conditions that seek to deflate us. Refusing to be deflated is not enough, because we do in fact have every reason to be so! Therefore, without an intellectual negativity, our observations all too easily align themselves with a “spontaneous unreflective … compulsory positivity” that helps no-one.

I have made this point many times before: Mark’s critics typically only see his negativity and nothing else. But contrary to this, Mark’s coupling of a “negativity of the intellect” and an “confidence of the act” is forthright and persistent. Together, they generate friction, yes, but that is better than the two poles cancelling each other out.

By way of an example, in a post from 2006 entitled “Optimism of the Act”, Mark explicates an early version of the above formula with a clarity often ignored by his more uncharitable readers. Here, Mark critiques the very mode of cultural critique he remains associated with, and also challenges the utility of theory in addressing the “cultural depression” his critics also diagnose him with:

In particularly acute cases of depression, it is recognized that no verbal or therapeutic intervention will reach the patient. The only effective remedy is to do things, even though the patient will, at that time, believe that any act is pointless and meaningless. But ‘going through the motions’ of the act is an essential pre-requisite to the growth of belief ‘in the heart’. Much as Pascal famously argued in his Wager, belief follows from behaviour rather than the reverse. Similarly, the only way out of cultural depression like now is to act as if things can be different.

This was an inversion of capitalism realism: not the reflexive impotence of ‘there is no alternative’, but an active insistence that there are alternatives right here, right now, and we can live (in) them. It is a new realism; a communist realism:

We need a new, communist, realism, which says that businesses are only viable if they can pay workers a living wage. This communist realism would reverse the capitalist realist demonisation of those on benefits, and target the real parasites: “entrepreneurs” whose enterprises depend on hyper-precarious labour; landlords living it large off housing benefit; bankers getting bonuses effectively or actually out of public money, etc.

But the concept of communist realism also suggests a particular kind of orientation. This isn’t an eventalism, which will wager all its hopes on a sudden and final transformation. It isn’t a utopianism, which concedes anything “realistic” to the enemy. It is about soberly and pragmatically assessing the resources that are available to us here and now, and thinking about how we can best use and increase those resources. It is about moving – perhaps slowly, but certainly purposively – from where we are now to somewhere very different.

So far, so Fisher. But all of this comes together with a new profundity in mid-May 2015 for Mark. His post on abandoning hope, published a few days after his argument for a “communist realism”, feels like the culmination of the k-punk dialectic, at a time when its essentiality was more obvious than ever (and it is surely even more so now). Indeed, Mark’s prior wager in 2006 that “belief follows from behaviour” returns here as a powerful new motor for political organising, which he ponders on but refuses to restrict to a rapidly waning blogosphere.

Where Mark’s legacy suffers — although it seems clear that the depths of his k-punk blog remain uncharted territory for many — is that he did not document this move into meatspace as diligently as he might have done a decade earlier. He seemed to see little value in a paper trail beyond the material interventions and improvements he now wanted to make in the lives of others.

This is what I found most moving, when I stumbled unexpectedly into Mark’s orbit at the time of his death. Having forsaken the internet on which he made his name, most seemed to think he disappeared. But to speak to those who knew him IRL, Mark may have had even more of an impact than ever before, although this was initially restricted to his family, friends and students, as well as the people he met whilst out organising.

It is what made Mark’s death so shocking. We knew he was depressed — the last time I saw him, in the admin office of the Visual Cultures department at Goldsmiths in December 2016 — he looked a hollow man. But in the classroom or his office or at political events, Mark’s confidence in a world that could be — that will be — free was more palpable than it had ever been.

Whenever I think about this rarified Mark, I think about “Abandon Hope (Summer is Coming)”. This is the passage I think about most:

“There’s no need to fear or hope, but only to look for new weapons,” Deleuze writes in ‘Postscript on Societies of Control’. He was no doubt thinking of Spinoza’s account of hope and fear in the Ethics. “There is no hope unmingled with fear, and no fear unmingled with hope,” Spinoza claimed. He defines hope and fear as follows:

Hope is a joy not constant, arising from the idea of something future or past about the issue of which we sometimes doubt.

Fear is a sorrow not constant, arising from the idea of something future or past about the issue of which we sometimes doubt.

Hope and fear are essentially interchangeable; they are passive affects, which arise from our incapacity to actually act. Like all superstitions, hope is something we call upon when we have nothing else. This is why Obama’s “politics of hope” ended up so deflating – not only because, inevitably, the Obama administration quickly became mired in capitalist realism, but also because the condition of hope is passivity. The Obama administration didn’t want to activate the population (except at election time).

We don’t need hope; what we need is confidence and the capacity to act. “Confidence,” Spinoza argues, “is a joy arising from the idea of a past or future object from which cause for doubting is removed.” Yet it is very difficult, even at the best of times, for subordinated groups to have confidence, because for them / us there are few if any “future objects from which cause for doubting is removed.”

To achieve this kind of confidence, we must dedicate ourselves to new forms of action that are wholly contrary to communicative capitalism’s dilution of the social realm. Mark went in search of these things offline, and later brought back a salvagepunk blueprint of what could be built from the wreckage of the present.

He ends “Abandon Hope” with a list of ten forms of action that are essential for changing the world, beyond his own negative interpretations of it. I won’t reproduce them all here, but I do want to pause on number seven, which struck me with a new significance:

7. Engage in forms of activism aimed at logistical disruption 

Capital has to be seriously inconvenienced and to fear before it yields any territory or resources. It can just wait out most protests, but it will take notice when its logistical operations are threatened. We must be prepared for them cutting up very rough once we start doing this – using anti-terrorist legislation to justify practically any form of repression. They won’t play fair, but it’s not a game of cricket – they know it’s class war, and we should never forget it either.

As I already mentioned in my last post, my partner Hana is currently in prison for engaging precisely in this form of activism. Just as Mark predicted, they are been targeted with (a misuse of) counter-terrorism legislation, in order to justify a deeply cruel and lengthy remand. A direct-action movement that has aimed for logistical disruption (during an ongoing genocide no less) has led to new repressions heaped on the sorts of activism that this country has otherwise championed historically. It is an incredibly painful and fearsome thing to experience up close, because no one is playing fair. But this has never been a game of cricket.

What is to be done? It has admittedly been a while since I’ve had this thought, but I really wish Mark was here writing about ‘the now’, doing something about it, inspiring and gathering others as he did so effortlessly.

‘Now’ encroaches on us. I don’t think I’ll be able to write anything here for a while that doesn’t mention what were going through. In truth, it feels difficult to write anything about what we’re doing. Suffice it to say that we’re doing all that we feasibly can, but it is a situation that continues to cause me a great deal of heartache, over four months in.

Without Mark, we are our own guides to the future, and we’re making the best we can of these new roles. It’s not easy. But just as I felt my knees begin to buckle under the weight of things at the very start of this year, in going back over Mark’s writings from a decade ago, I am grateful to be reminded of the negativity of his intellect and the confidence of his actions. It is what made me fall in love with his writing, with my partner, and it is what has led us to now.

With my partner’s confident act undertaken, resulting in an extended period of enforced passivity, negativity of the intellect dominates violently. To wit, some days it feels like wild oscillations between fear and hope are all that we are left with. But there are many more confident acts at our disposal in the here and now, even if they are dwarfed by the act that has led us to this situation. Regardless, they are not “good for nothing”. On the contrary, doing what we can to preserve our confident belief in a better world, in a better life on the horizon, is essential. We hold that confidence before us right now, actively, in the light of a future that will arrive, because we will have made it.

What remains devastating about the loss of Mark Fisher is that he succumbed to his own oscillations between hope and fear. These hopes and fears, as Tariq Goddard has always insisted, were far more personal than they were political. I feel that pressure myself some days. What frightens me the most is that the relationship I cherish and hold so dear to my heart is strained by the prison system’s anti-social impositions. This is a personal battle that feels distinct from the more political fight on our hands. Yes, the personal remains political, but in terms of the affects produced, it is painful to feel that the personal is at the mercy of the political nonetheless.

How to acknowledge the political source of this fear without espousing a fearful politics? As the locomotive of 2026 pulls sluggishly out of its station, my anxiety has at times gotten the better of me. Hope is transformed into fear at the slightest provocation — is that not a good definition of anxiety, or perhaps just neurosis? The question is how to borrow a confidence from the political that can buoy the personal in turn.

Thankfully, on January 7th — the day before I started writing this post — my partner and I achieved this on the phone, and not for the first time. The cultivation of confidence is a process that requires diligent upkeep. We found it again when we spent over an hour daydreaming about what our life together might look like when this is over. We talked mostly about caring for animals, keeping bees, and growing our own food in some countryside idyll far from the pressures of city life — all joys that Hana is extracting from their prison job and hopes to continue with new purpose on the outside. Hana credits this new passion to their more eco-conscious co-defendant, Frank, who has taught them a great deal, as well as the broader community of people who work alongside them in the prison gardens, with whom they share so much camaraderie. We also talked about doing more to organise in our communities, because nothing makes you more desperate for new integrations than prison does.

In making these connections between the present and the future, an anxiety that had weighed heavy for a few days was gently lifted. Confidence was reaffirmed as we plotted all the ways that we will live more intentionally, now and then, utilising all that we have learned and will learn from this experience to found a new form of life by each other’s side.

I recall a short poem, written on the back of a drawing I received in the post from Hana on 16th October 2025:

In future memory
the prison untouches us like shadows
and we are flesh before it.

Our best phone calls make that future already present, allowing us to feel like any long-distance couple talking into the night. The confidence I am determined to cultivate in 2026 is one fuelled by the knowledge that this future memory is not a fantasy, but one that will materialise…

“… and when it does, who knows what is possible?”

Co-Determined:
Between History and Poetry

It’s my birthday today. I am 34 years old. As is tradition, I’ll be making the same lame observation I do every year. Following the dissolution of the Soviet Union on 26th December 1991, it is also 34 years since the end of history.

As the years tick by, each birthday becomes a measure of distance from another world. As an adoptee, it’s a distance made especially poignant. I think about this day 34 years ago as a day when so many things were set in motion, both personally and politically. It makes for a good “individual myth”, as Lacan might say; a readymade complex that

is the product of history, the result of stories lived by others. As Lévi-Strauss explains, myth is not thought by men but rather “thinks through men” and the same holds for the neurotic’s individual myth despite its personal form. The other pre-exists the individualized person and this co-determination of the group and individual expresses itself in the paradoxical formula ‘individual myth.’

What better ‘individual myth’ to acquire as a melancholic millennial communist than a reflection on one’s birth at a moment of closure? December 26th becomes a day of co-determination, where familial dissolutions mix with more global forms to predetermine a melancholic consciousness.

This year, everything is felt more acutely. The 26th day also happens to mark one more month that my partner Hana has spent in prison, after being arrested for alleged involvement in direct action at the end of August. Today we carve another notch into the wall, inscribing the four-month mark.

I have wanted to talk about this experience so desperately, but it is impossible to know what to say. I have a persistent urge to blog every development, and when I tell Hana this, they say “I’ll not contain you.” But I feel uneasy. Nothing I might say feels complete without their voice alongside mine, but they do not want to speak. They worry about the repercussions, as do I. We write to and call each other daily, but to speak beyond our bubble is too vulnerable to bear.

We remain co-determined. They are the one in prison, but my life is also on hold. They are looking at ten months on remand, which is four more than the statutory limit, for a single charge of criminal damage. It is an unprecedented move, made by government and judiciary, that can only be explained by an authoritarian desire to break the UK’s pro-Palestine movement. But on a personal level, the cruelty of a lengthy period of remand is that it makes life impossible to plan ahead for. We have no known release date, and life does not continue without one. We sit on our hands, saying nothing. For someone who has spent the last ~19 years of their life blogging openly through various personal and political crises, it has felt unnatural to keep so schtum.

Everything is put into letters instead. Rather than write publicly, I express myself to a new audience of one. It is surprising that I now feel more comfortable writing letters, which may well be intercepted and scrutinised by the state, than I am comfortable writing online. But I prefer to write letters because I wish to feel the co-determination of this moment more directly: the moment that is being lived not so much by us but through us.

So much is coursing through us, what has been written so far is a torrent. Even at the very start of our ordeal, the writing flowed. I felt like we were building something — some monumental future tome. Four months in, we have written over 250,000 words between us. Unfortunately, whilst documenting the minutiae of this experience is one thing, to read it all is another. There is nothing digestible to extract from this outpouring. There is nothing of great significance to anyone but us within it. And yet, we acknowledge that this labour of love remains significant to all.

Perhaps Hana will extract a short book of poetry from it one day. Poetry would be all because it is obscure, and because it does not require us to show our working. The impact of this writing project is felt within us and we take ourselves out into the world so that both are changed at the intersection of individual and myth. That is where poetry lies, and similarly, it is why writing poetry makes sense in prison.

On September 10th, we were discussing Mahmood Darwish’s In the Presence of Absence, where he writes:

Prison deprives one of the sight of a tree and the sea. Freedom is the imagination capable of recalling them both in prison, making the invisible visible. No, that is what poetry does. Poetry, then, is an act of freedom. It makes what is visible invisible when facing danger.

Processing this experience through the bittersweetness of our presence/absence for each other, Hana wrote to me that same day:

Prison is a density of faults and glitches when you experience it in immediacy … From inside, I find in you [the] secret focal point Darwish refers to – emitting rays and words depriving darkness of the eternity of its attributes.

In that moment, “prison density” emerged as a shorthand for what we feel daily, for what we’re dealing with, combatting it by always vying for a grace that is alien to its gravity. All we can do, when up to our necks in this density, is take each other by the hand and walk onward through it. I think of Derrida in Glas, Derrida the militant, the ‘mile-goer’:

I shall say no more about procession or method. As Hegel would say, they will speak of (for) themselves while marching.

Months pass by. The marching continues. We talk about all that we write and don’t write once again on December 17th. That morning, I receive a letter from Hana penned four days previous in a funk:

What good are these words about those quiet moments alone, sombre, but with solace? What good without you? I don’t want to share this with just anyone… I am sorry I’ve been distant this past week and that I’ve written to you less… There has been so much more empty space, I’ve been afraid to give shape to it in words, that depressive voice in my head asking what good it is for. For loving you of course!

That evening, I wrote a response about noticing but not minding this shift in our procession, which I then read to Hana down the phone:

That feeling of not knowing how to fill a void, shrouded in a cloud, only to realise that time can be filled by loving you — I know it well. Why do you think I have written to you so much? [The writing has] slowed for me too, of course… I was reading back thru our earliest correspondence yesterday… It’s so strange to see that desperation in my written voice; the frantic grasping at philosophy, a crutch in hard times. I think I reach for Deleuze in a crisis like some people reach for the Bible… “Either ethics makes no sense at all, or this is what it means and has nothing else to say: not to be unworthy of what happens to us.” I needed that then. I needed it affirmed… I needed to remind myself and you of those core principles for weathering something — Groundhog Day, pulling difference out of repetition by way of a “selective principle”, making myself worthy of you and of this. In the midst of the panic, I needed to affirm the method. Since then, I feel like I’ve reached less frequently for theory. I’ve not talked about an approach to a crisis, I’ve simply gotten on with approaching you. And I feel you near.

For all that we write to each other, there is always so much left unsaid. History unfurls before us, fueled by fear and hope. It is all the more difficult to register because of that.

Our experience right now is significant — we will be talking about it for the rest of our lives. But it is impossible to comment on how we are coping because we are not coping with it alone. Some days we do not cope at all. There are others in our orbit who cope even less, and who do not have the support networks that we cling onto for dear life. Hana speaks of missing me desperately, but inside, the pain of our separation isn’t relatable to all. Others might think having someone to miss is a privilege.

Counting even our paltry blessings soon becomes uncouth. What use is affirming the beauty found in each other when prison sharpens the edges of all that cannot be shared, on the inside, on the outside, and through the concrete skin that exists between them?

On November 28th, we were discussing Audre Lorde’s ‘A Litany for Survival’, which they had read inside and felt deeply moved by. “We were never meant to survive”, Lorde writes, speaking — at least in my interpretation — to the softness that nourishes existence, set across from solid death.

What survives in the fossil record is that part of each being already tough. We dig up bones, shells, exoskeletons that are already hard in life and hardened further after it. The fossil record of the Anthropocene will be chicken bones and irradiated concrete. The soft parts disappear, whether in an instant or over time.

What enables our survival in the here and now is precisely all of that activity that will not be registered in the fossil record. What enables our survival will not itself survive. It’s how I feel looking at the archive of prison correspondence amassing around me. Our poems, letters, and drawings are inconsequential when viewed from the perspective of a much larger struggle. But aren’t they all the more beautiful for that? Isn’t this archive all the more precious in its fragility? Isn’t it a humble accrual of all that helps us to survive this?

It is precious, and in being so precious, we sometimes find ourselves wishing to share it. But we can’t. We cannot bring ourselves to share the softness of this experience. It is too precious to share, and to do so might even be cruel, since it has the potential to lead others astray from hard reality. There are no words for how inhumane prison is and how difficult life has become. There are no words to describe the efforts made to sustain some beauty within it all regardless. But more than that, there are no words because it is not yet history.

When I told Hana that I was plotting to write some reflection on our co-determination, on the individual myth, on poetry and prison, on the nightmare of British authoritarianism and complicity in genocide, they were eager to add their voice. They wrote me a letter — a celebration of my birthday and the ways in which we are weathering this moment, steadfast in love, humbled in strife — but the next day, they asked me not to share it as planned. It did not matter to me either way. The original version of this post scratched an itch, but most of what is expressed within this moment is just for us.

We’ll write each other poetry for as long as it takes, and we’ll write our history when the nightmare is over. Until then, the two shall not meet. Instead, Hana suggested their contribution should be curatorial. They read the following Mahmood Darwish poem to me. “Copy this down.” Enough said…


Don’t write history as poetry, because the weapon is
the historian. And the historian doesn’t get fever
chills when he names his victims, and doesn’t listen
to the guitar’s rendition. And history is the dailiness
of weapons prescribed upon our bodies. “The
intelligent genius is the mighty one.” And history
has no compassion that we can long for our
beginning, and no intention that we can know what’s ahead
and what’s behind… and it has no rest stops
by the railroad tracks for us to bury the dead, for us to look
toward what time has done to us over there, and what
we’ve done to time. As if we were of it and outside it.
History is not logical or intuitive that we can break
what is left of our myth about happy times,
nor is it a myth that we can accept our dwelling at the doors
of judgement day. It is in us and outside us… and a mad
repetition, from the catapult to the nuclear thunder.
Aimlessly we make it and it makes us… Perhaps
history wasn’t born as we desired, because
the Human Being never existed?
Philosophers and artists passed through there…

and the poets wrote down the dailiness of their purple flowers
then passed through there… and the poor believed
in sayings about paradise and waited there…
and gods came to rescue nature from our divinity
and passed through there. And history has no
time for contemplation, history has no mirror
and no bare face. It is unreal reality
or unfanciful fancy, so don’t write it.
Don’t write it, don’t write it as poetry!

Swinging in the Break

This talk was given at ‘Making and Breaking the Rules: On Operating and Other Systems‘, the third salon hosted by The Wire Magazine at London’s Cafe OTO. The presentation was preceded by a Fluxus performance by Loré Lixenberg and Elaine Mitchener, and followed by a talk from Vicki Bennett (People Like Us).

After a request from an attendee for the full text, I’m posting it below. A heavily edited TL;DR version was published in issue #500 of The Wire and can be found on their website here.


When thinking about the growing influence of artificial intelligence, not only on the music industry but on music production as such, it is interesting to see how arguments for and against its use echo those made around sampling at the end of the last century. In many respects, these similarities are obvious – there are questions around authenticity, originality, formal experimentation, property rights. But the way these questions are brought together are also disappointing, as an anxiety around our capacity to think for ourselves becomes embroiled with anxieties around property rights, with the two being made co-constitutive.

Personally, I am of the opinion that the discourse surrounding artificial intelligence is little more than a black mirror, utilised too often as a convenient scapegoat to distance ourselves from the problems we’ve already been facing. AI presents us with very real problems, but rather than address these material concerns, we fall into an AI idealism. We might worry, for example, about the capacity of automated systems like ChatGPT to spread misinformation, whilst research has shown this is only because our media landscape is saturated with misinformation already. Rather than address this, our conservations slide too readily into reactionary positions that blame generalised ideas about technology itself for our all problems, and what I personally find most frustrating, in the context of the arts in particular, is that the rise of AI has led us to engage in conversations about ‘property’, ‘authenticity’ and ‘originality’ that quickly start to sound no different from a standard liberalism.

This is particularly apparent in conversations around electronic music. To give you an example, out of numerous to choose from, I recently read Liam Inscoe-Jones’ book Songs in the Key of MP3, which seeks to canonise some sonic pioneers of the 2010s like Oneohtrix Point Never and SOPHIE, but ends with a discussion of AI music that attempts to ward off a bleak future generated by algorithms. “If purely iterative music does one day become the norm,” Inscoe-Jones argues, “then originality will become an increasingly treasured characteristic, and there are few better things for a culture to hold dear.”

But how are we supposed to measure originality, exactly? What becomes of an aesthetic sense of originality that is now framed as a return to tradition, or a return to the ‘authentically’ human? Is it ever possible to demarcate an origin or a true original, and does this have any real significance outside of property law? How does this make sense in the context of musicians, like Oneohtrix Point Never and SOPHIE, who were so enthralled by questions of authenticity and artificiality, constructed identities and the uncertainty of memory, the ways in which we can become alienated from ourselves through all of these things, for better or for worse? Artists who precisely question whether any of us are really as original as we like to think, or who enjoy both the generative and degenerative effects of technology? Who might well understand themselves already as fleshy large-language models playing around in regimes of signs?

In order to suggest how we might rethink our contemporary moment more effectively, and better understand the not-so-dissenting arguments of so-called ‘poptimists’, what I’d like to do today is reflect on a few different ways in which various writers have sought to contextualize our fascination and discomfort with cultural appropriation and derivation, all within the context of what is still tentatively called ‘postmodernism’ or ‘postmodernity’.

Postmodernism is an all-too-familiar term, of course, used as a kind of shorthand for the contradictory character of our present, which can quickly (if appropriately) lose all of its meaning when invoked superficially. Nevertheless, I want to begin by defining it as simply as possible.

The late Fredric Jameson is our best source for this, and we can immediately relate his definition of postmodernism to sampling and music production. Jameson begins his 1991 book, Postmodernism, or, the Cultural Logic of Late Capitalism, by offering a distinction between modernist and postmodernist understandings of history, and relatedly, the imperatives that have constituted their different understandings of cultural development and progress.

Modernism, for starters, “thought compulsively about the New and tried to watch its coming into being (inventing for that purpose the registering and inscription devices akin to historical time-lapse photography)”. Postmodernism, in contrast, “looks for breaks, for events rather than new worlds, for the telltale instant after which it is no longer the same; for the ‘When-it-all-changed,’ as [William] Gibson puts it, or, better still, for shifts and irrevocable changes in the representation of things and of the way they change.”

Now, what better indication of the arrival of postmodernism into music culture do we have than this? Yes, the postmodern looks for breaks, and in the context of dance music in particular, it has found plenty to play around with.

But it’s also in this context that the paradox of postmodernity arises, further scrambling cultural temporalities. For all our hunting for breaks of a political nature, what we are struck by is how difficult they are to concretise, or what’s more, the way in which breaks themselves become ubiquitous, even normalised.

When regarding sonic breaks, which we might make analogous to the political, we can take the ‘amen break’ as an obvious example. The track from which the ‘amen break’ was sourced, as is today well-known, was an obscure 1969 B-side by Washington, D.C. soul outfit The Winstons. But it wasn’t until almost twenty years later – in 1986, when the track was featured on the inaugural Ultimate Beats and Breaks compilation – that it began to be interpolated by just about everyone, starting with Salt-N-Pepa and NWA most significantly. Plucked from obscurity, the break was only felt, then, when it was not only repackaged but bootlegged as a DJ tool, readily accessible to anyone and everyone, and even becomes fixated on, despite being curated as one break among many.

This re-contextualisation and eventual ubiquity perhaps helps illuminate what is strange about the breaks sought in postmodernity. The breakbeat is so named, after all, for its interruption of a song. Most exuberant in the context of jazz performance, in the break the band stops playing and the drummer goes off-piste, before returning to a groove. This motif, in itself, isn’t necessarily new. But what then happens when we normalise the break that has been extracted from the song? What happens when the break, the interruption, becomes a foundation, even making it interminable? A further question of interest is: How is this new methodology of break-sampling, like the black mirror of AI, already reflected of certain structures of feeling that are at work within society?

This is how Simon Reynolds and David Stubbs approach sampling in a collaborative essay later included in Reynolds’ 1991 debut, Blissed Out: The Raptures of Rock. Beyond sticking it to record company execs and beyond the apparent democratization of technologies for music production, the “‘real’ politics of sampling”, they suggest, “may lie in [its] effects on [a] consciousness of formal futurism”, even suggesting that sampling took off as a methodology precisely because of the ways in which it reflected certain structures of feeling already present in society.

Considering the work of the late Mark Stewart, Reynolds and Stubbs argue that the “cut-up”, as an aesthetic technique, already “signifies the psychic state of being cut-up”, that is, the “destabilizing of … values [and] common sense perceptions”, such that the cut-up “reflects … what’s already happening in popular culture” at that time: “the death of the Song, to be replaced by the decentred, unresolved, in-finite house track; the brain-rotting vortex of quick-cutting in video and TV; the supersession of narrative, characterization, and motivation by sensational effects.”

But by emphasising this reflection of pop culture at large, Reynolds and Stubbs also displace where the drive to sample comes from. If we are all already cut-up, then it is not music producers who are stripping culture for parts; they are rather reflecting a process already at work in our collective (un)consciousness and trying to make good on it, even attempting to put things back together, albeit in disjointed ways that further reflect contemporary modes of subjectivation. Sample culture is, then, like two mirrors facing each, with the first iteration of this cut-up process being hard to identify. We are but cut-ups making cut-ups of cut-ups, just as a rose is a rose is a rose. Thus, with music culture already long stripped of any semblance of linear historicity, sampling is innately deconstructive (if you’ll forgive me for the Derridean reference) – that is, not destructive, in the sense it destroys something whole, but rather plays with what is already cut-up to interrogate how a sense of wholeness is artificially generated. Deconstruction thus interminably perpetuates a break that has already occurred, if only to fully extract all of the possibilities that exist virtually with it.

This is something characteristic of modern music production in general. Reynolds and Stubbs note how, in the modern music studio, “[d]ifferent auras, different vibes, different studio atmospheres, different eras, are placed in ghostly adjacence, like some strange composite organism sewn together out of a variety of vivisected limbs, or a Cronenberg dance monster.” But since this is already a methodology common to music production as such, in the sense that most recordings are not documents of a single live take, but numerous takes spliced together, what sampling does is exaggerate a breaking already ubiquitous. Sampling takes “the fictitious nature of recording even further,” not only by splicing together recordings of events that have already occurred, but by “creating events that never could have happened”, achieving a strange sort of “‘balance’ between fusion/fission, between the organic/machinic, between seduction/alienation.” A ‘balance’, that is, within the break itself, such that the break is simultaneously a bridge, but between objects that are themselves without a clear origin, like a mutant jigsaw made up of pieces from many other puzzles, with what was ‘original’ being impossible to reconstruct.

It’s worth remembering that Reynolds and Stubbs are making this argument in 1991 or thereabouts, with Reynolds’ debut published the same year as Jameson’s Postmodernism, but also two years before the publication of the first English-language translation of Jacques Derrida’s Spectres of Marx, where the ghostly nature of political breaks is considered so explicitly, giving the world the concept of ‘hauntology’, which Reynolds would notably sample from and repurpose to describe a new sonic sensibility around fifteen years later in the mid-2000s – another example of a break, like the ‘amen break’, only being felt at the level of popular consciousness once it has already been spliced and bootlegged from its point of origin.

This is significant, as we should also note that this argument is being made at the height of rave’s cultural power, rather than after its apparent demise. But rather than jumping the gun, Reynolds and Stubbs are in fact describing a situation that made rave itself possible, or at least already defined its quasi-existence. This is something forgotten today whenever hauntology is invoked. Although it’s a concept generally associated with the death of rave, rave itself was always-already hauntological, in being described as a spectral or otherwise hallucinatory heterotopia out of phase with dominant culture at large. Rave culture, then, was already another world existing within this one, destabilizing prevalent norms and common-sense ideas of what constituted culture as such (at least for capitalism).

When hauntology, in the context of music culture at least, was later popularised by Reynolds and Mark Fisher in 2006, with a surrounding discourse eventually reaching its saturation point with the publication of Fisher’s second book, Ghosts of my Life, in 2014, it is important to remember that this was hauntology’s second coming. It was arguably an attempt to preserve rave’s hauntological essence, once it had gone mainstream, albeit with its melancholia intensified. Fisher’s interest was thus in the effects of capitalism on music culture in this way, its depressive qualities, but also ways in which the ghosts lingering on the B-sides of ‘original’ recordings later became the A-sides themselves. Here again, the break, the fugitive background process of dubbing and queering, is now in the foreground, privileged over its now-discarded source material.

This is a process common to all of postmodern culture, with the tension identified by Fisher being the way in which certain forms of fugitive music are eventually recuperated by capitalism itself – a process that has only accelerated over the decades. Here, Fisher remains indebted to the critique of capitalism advanced by Gilles Deleuze and Felix Guattari in their first collaborative work, 1972’s Anti-Oedipus. For all that book’s difficulty, a more succinct version of their argument is supplied by Deleuze in a Paris seminar he held a year earlier, where he outlines

what we call the well-known power [puissance] of recuperation within capitalism – [and] when we say recuperate we mean: each time something seems to escape capitalism, seems to pass beneath its simili-codes; it reabsorbs all this, it adds one more axiom and the machine starts up again. 

Deleuze and Guattari identify this process in the very origins of our understanding of class struggle. It is the bourgeoisie, they argue, who are in the business of defining and categorising social life, taking their own position as normative. So the bourgeoisie, first of all, defines itself as a class. But then they ask: ‘what are we to make of this hoard of plebs who live beneath us and who swarm errantly underneath our social codes?’ They realise they must necessarily define them as a class in their own right: the proletariat.

Fisher takes this understanding and applies it to the music industry itself, and even to its critical armature, being critical – even self-critical – of the role of the critic, whose job is to codify the new and recuperate what is fugitive into a more stable understanding of any given cultural moment, to place ‘the new’ back into an already-existing order of things. This was Reynolds’ contention also, with Blissed Out being a ‘nihilistic’ work of criticism, asking “whether people really do have ordered desires that are expressed clearly through style or ‘passionate consumption’”, and answering that the role of music criticism in 1991 is to stay with the trouble, stay in the break, and assert that “the only way for rock to live again” is to allow “the rock discourse [to] somehow manage to end itself – again and again. Enter gladly into an endless end.”

This is the position that inspires and is engraved within Mark Fisher’s now infamous cultural negativity, often mistaken for a cultural pessimism, as he becomes a thinker who is primarily responsible for the idea that there is nothing new under the sun. Cue, in response, a host of writers who have, over the decade since Fisher’s death, thrown polemical punches at him for failing to notice the new in his midst, and who make arguments, to the contrary, that there are breaks everywhere for those with ears to hear them.

Each critic of Fisher thus attempts to identify specific breaks within the recent past that we should all remain excited about. But as we’ve already pointed out, this defiance – no matter how enjoyable it is to read – is nonetheless a core symptom of postmodernity itself, which, as Jameson argues, is defined by its desperate attempts to identify and locate breaks in the midst of a resistant structure of feeling with regards to pop culture’s increasing homogeneity.

This is the tension that Fisher’s work investigates explicitly, asking repeatedly: what are we to make of the very real and identifiable breaks of the twenty-first century – for instance, grime, the financial crash, the rise of social media, even the pandemic – in the midst of a feeling that so much of what surrounds them remains the same? What is the significance of a break within our capitalist world – and note here again that these are breaks within the world, rather than escapes announcing a new world as such – that is, breaks in a world that already feels so broken?

Other attempts were made to nonetheless challenge the popularity of hauntology, including accelerationism and salvagepunk. Although each has its own particular emphases, they still share much in common. Accelerationism, for instance, to the contrary of a political enshittification it is not associated with, was, for Alex Williams in 2008, an attempt to rescue hauntology’s cultural psychedelia from its weighty melancholia. As Williams explains on his Splintering Bone Ashes blog:

Hauntology’s ghostly audio is seen as form of good postmodernism, as set against the bad PoMo of a rampaging retroism. Beached as it seems we are at the end of (cultural) history, it is certainly a seductive argument. By foregrounding the processes at the material level (sampling, versioning, deliberately invoking buried/false childhood memories etc) it is contended that such music comes to terms with the deadlock which we face, the inability to properly think the new as such, and makes of this condition something positive.

But Williams takes issue with the fact that remaining within a never-ending break can ever make good on an otherwise melancholic position, in the sense that hauntology tries to sustain a tension within capitalism’s homogenising tendencies, but is so self-aware of this fight that it gets sad about this secondary position in relation to a process of recuperation more powerful than the process of creation itself. Williams instead suggests that “we might posit an explicitly nihilist aesthetics of pop music” against this, “which in some senses would operate in a similar manner [to hauntology, but] would be crucially bereft of the quality of mourning.”

Williams suggests two ways we might achieve this: on the one hand, “[r]ather than an act of reverence, of mourning, of touching at impossible universes from a distance,” we should seek “a deliberate and gleeful affirmation” of the ways in which capitalism is capable of scrambling its own codes; on the other, “we might consider … a more strategic examination of precisely where the pop-musical evental sites and historical situations exist within our current time: those regions which appear, from the in-situational point of view, to be marginal, and properly undecidable.”

Although a confusing set of assertions out of its temporal context, Williams’ argument isn’t that different from Reynolds’ here. Both attempt to break with a prior generation of critics, through a kind of nihilism – understood as a questioning of all values – which must be reasserted once the last generation to make this call succumbs to melancholia. Rock critics, then, on both sides of the millennium, find themselves caught between each other’s breaks. It was the task of accelerationism to knot these two positions together, both understanding the historical development of capitalism’s power of recuperation, if only to better identify the moments of the recent past and unfolding present that remain fugitive to common sonic sense.

Fisher later came around to this position, providing the best summation of the accelerationist position for e-flux in 2013, writing:

A certain, perhaps now dominant, take on accelerationism has it that the position amounts to a cheerleading for the intensification of any capitalist process whatsoever, particularly the “worst,” in the hope that this will bring the system to a point of terminal crisis … This formulation, however, is question-begging in that it assumes what accelerationism rejects – the idea that everything produced “under” capitalism fully belongs to capitalism. By contrast, accelerationism maintains that there are desires and processes which capitalism gives rise to and feeds upon, but which it cannot contain; and it is the acceleration of these processes that will push capitalism beyond its limits.

Here again we have a preoccupation with errancy and fugitivity from capitalist recuperation, but this is not a blind lust towards some future ‘originality’. If Fisher retains a certain predilection for hauntology, it was in the sense that he did not see even the past as fully neutralised by capital. He saw the role of the nomadic cultural producer as one oscillating between a popular modernism and a postmodernism, capable of intervening in a paltry sense of novelty to extract the new from what is already in the process of being recuperated. He believed that:

The terrain – the crashed present, littered with the ideological rubble of failed projects – is there to be fought over … We can only win if we reclaim modernization.

One way in which we might do this is via what Evan Calder Williams has called ‘salvagepunk’. The best summation of salvagepunk’s relationship to culture is again found in the writings of Mark Fisher, specifically a short column he wrote for issue 319 of The Wire magazine, published in September 2010, where he considers the ways in which a more attentive consideration of certain approaches to sampling can provide “a broader context for thinking about how these methodologies deviate from their banal twin, postmodernity.” Enter salvagepunk, which, for Calder Williams,

is opposed to the “inherent flatness and equivalency of postmodern cultural production” [by] draw[ing] together (and from) the 20th century’s chief arts of reappropriation: montage … collage … detournement … and farce.

By opposition to postmodern pastiche, in which any sign can be juxtaposed with any other in a friction-free space, salvagepunk retains the specificity of cultural objects, even as it bolts them together into new assemblages. That’s precisely because salvagepunk is dealing with objects rather than signs. While signs are interchangeable, objects have particular properties, textures and tendencies, and the art of salvage is about knowing which objects can be lashed together to form viable constructions.

All three of these positions – hauntology, accelerationism and salvagepunk – thus share something in common, which is an attempt to preserve the formal potentialities still latent in objects strewn throughout the scrapheap of our crashed present. And over the last few years, it has become my personal bugbear that none of these positions has been sufficiently understood in our popular discourses, which leaves us wanting as we attempt to make sense of the functioning of AI, which – at its worst – demonstrates a rapid recuperation of what was previously always in question for sample culture – that is, the tension held not between originality and derivation, as Inscoe-Jones frames our present moment, but rather between an artist’s capacity for making decisions about the bolting-together of particular cultural forms, and a latent indecision with regards to the production of the new.

The threat of AI is that it not only emphasises this indecision – such that we relegate the act of decision-making to a machine – but also the sense in which AI, in striving for ever greater fidelity and mimesis, neutralises its own capacity for true invention. AI is, in this sense, the ultimate postmodern technology that is desperately sought by those wanting to unburden themselves of their own autonomy.

AI was most interesting prior to this moment, when it seemed incapable of this unburdening; when its errors were so much more blatant, when its outputs were incomplete without human intervention and discretion, that is, when its productions were still dominated by the frictions of its infancy, when its own understanding of what was a viable construction was skewed and challenged our own preconceptions of formal viability. AI was most interesting, that is to say, when its interventions within culture at large came from a far more marginal and inchoate position.

Here we can emphasise the point at hand. AI is not a threat to originality. As we go about trying to correct its errors and make it a monolith to ‘truth’, we are threatened in the sense that AI will neutralise what is most human in culture – our excessiveness, our irrationality, our errancy. Take the example of the Fluxus performance we have just listened to. A Fluxus score is inherently incomplete. It is a set of inputs used to generate unpredictably human outputs. We might well consider how a Fluxus score is similar to the new ‘art’ of writing AI inputs, but this equivalence can only be made right now, and perhaps not in the future, as it is hoped by many that the outputs of AI systems will be entirely predictable and verifiable. Fluxus, to the contrary, has no interest in veracity.

Returning to the break, I want to end with a brief consideration of how Fred Moten understands the break, positioning him as an integral successor to the maligned discourses so far discussed.

Moten’s interest in the break focusses on its centrality within m black performance in particular. Blackness is itself a break, he writes, since blackness “continually erupts out of its own categorization”, which is to say that blackness is only in that which

exceeds itself; it bears the groundedness of an uncontainable outside. It’s an erotics of the cut, submerged in the broken, breaking space-time of an improvisation. Blurred, dying life; liberatory, improvisatory, damaged love; freedom drive.

But what happens to this freedom drive, exactly, when the break never ends, or when the break is recuperated and normalised? How do you continue to identify a break as such when it is seamlessly conjoined with the perpetual crises that surround it? For Moten, it seems the only thing to do is stay in the break, stay with the trouble, but rather than regiment the break, we must continue to make it swing.

This, for Moten, is the heart of black art: breaking is the methodology of those he refers to as “my people”, whereby another paradox may well appear before us. Sampling, after all, has long been enveloped in a politics of ownership, of property rights, just as AI training models are today. But what is owned, in the break of blackness, is not an origin. For black people in particular, what is owned is a shared experience, itself broken and made to swing, of having been owned quite literally. What comes to swing is a tension between enslavement and self-possession, with freedom and unfreedom all too often discussed in the same terms – we can think of Grace Jones’ 1985 single ‘Slave to the Rhythm’ as an especially explicit example of this tension, in being a song about chain gangs turned into a disco anthem. We might say that what is owned, then, less pejoratively, is a movement; paradoxically, what is ‘mine’ is a displacement. The tension that remains is that the break is not so much placed in ‘common ownership’, but what Moten and Stefano Harney might instead call an ‘undercommon ownership’.

For this reason, at a certain point, the source of the ‘amen break’ – its originality; its origin – becomes irrelevant, or rather, it should do. This is only really a concern for capitalism, after all, and knowledge of the break’s origin has been recuperated primarily for the sake of profit for the Winstons – or rather, their label – who own it as a piece of property. But against sampling discourse’s preoccupation with property rights, what is more difficult to describe, because of its disturbing of an undercommons, are the broader, more “formal possibilities and aesthetic implications” of sampling as a practice, quickly cutting through all proprietary prevaricating to instead consider the impact of sampling, as a form of cut-up, on a collective and creative (un)consciousness that is itself already cut-up, as well as its ability to reflect upon affects already felt within us – thus producing another kind of swing.

In the foreword to Moten and Harney’s most recent work, 2021’s All Incomplete, Denise Ferreira de Silva brings this difficult position, as it pertains to the swing of decision-making, to bear on AI explicitly. She writes:

Every decision always includes a choice of one thing among others: a choice is always also of the lesser because no one thing can meet all demands of what is called desire … [T]he algorithm, the formal deciding tools of logistical capital fails where it has to work with more than what is adequate for it to do its thing, to choose, to decide. When the input does not match the data, the process stalls … Input is data, it has a form and a purpose. It is always ready to be in relation, to make a connection … [In order] for it to work, for the algorithm to do its thing, the input needs to fit as part in the structure and be able to facilitate the procedure it is submitted to, it needs to be processable. This is the way an input cannot be a thing. It is always an object.

Here we can think of Fisher’s summation of salvagepunk, which is similarly interested in the properties of a given object, which is not a sign. Signs are interchangeable; objects, however, are excessive.

The example I think of here is an attempt to play a game of chess. I take the chessboard down from the shelf, and in laying out the board, I find that a piece of missing – let’s say a bishop. In order to continue playing the game, I rummage around for a replacement. I go into the kitchen and take a pepper pot from the cupboard and place it where the bishop should be. The structure of the game itself makes this metonymic shift possible, as it is ultimately irrelevant that the pepper pot is a pepper pot, since it now takes on a new position in the symbolic order of the chessboard. I continue with the game as planned. However, the sign – in this case, the bishop-pot – always means more than it wants to. We are thus ‘forced’ to exclude an excess in order to maintain the meaning of the bishop-sign that the pot is standing in for. We recuperate the bishop, at the level of the sign. But the pepper pot remains an object, which exceeds the new regime of signs I place it into. For de Silva, this is what is significant: “That which in the thing exceeds the parameters of form and efficacy can never enter into the process [of recuperation], unless it is already deject, reject, or just as well as dead.”

The task of a near-future AI is to eradicate this excess, either through semiotic recuperation or through discard. This is how capitalism has long functioned in its attempts to eradicate the objects – the bodies – that confuse and frustrate and even reject the system. We need only look to Israeli’s ongoing genocide in Gaza, aided by AI systems, which fights to eradicate the excesses of its colonial endeavours – the Palestinian people. This is why the only two outcomes of the “conflict”, for the decaying liberal mind, are genocide or a two-state solution: discard or recuperation. Israel functions as a recuperation for the near-eradication of the Jewish people. But there is power and force in being the dejected, rejected, and the dead.

This is the point at which hauntology intervenes, and this example isn’t so distant from our present concerns today, as the Palestinian people also constitute a culture. How a culture remains fugitive to the powers of recuperation and annihilation, which are in many instances the same thing, is the question of our age. AI, at its most interesting, exacerbates the tensions found within this presently incomplete process. The fear is that it will one day be completed. Some artists find a certain fugitivity within AI’s infancy, and this is, to a certain extent, valid. But as AI matures, it will constitute more of a threat to what we hold dear than we presently realise. Not a threat to our originality, but a threat to the very fugitivity of all those objects – human and machine – that interest us precisely because of their excess and lack of origin.

Thank you.

Leaving Watkins:
A Statement from Tristam Adams

Today I am hosting a statement written by Tristam Adams, friend of the blog and formerly Editor-in-Chief at Zer0 Books.

Both Zer0 Books and Repeater Books have continue to stagger on, in spite of the boycotts organised against them this year (see here and here). The internal goings-on that have led to a moment of fissure — which Watkins Media has sought to avoid any acknowledgement of, ignoring both the private and (later, necessarily) public concerns of its own authors and staff — have been shrouded in obscurity.

Tristam’s statement below sheds some much-needed light on what has been happening behind these beloved but beleaguered imprints. My thanks to Tristam for his trust in wishing to host this reflection here.


I started working for Watkins in 2021 as Editor-in-Chief of Zer0 Books. Tariq Goddard, the then founder, publisher and EiC of Repeater Books (and previously Zer0 Books) brought me in to oversee the imprint he founded and left (along with other Zer0 founders) to form Repeater Books. I am generally quite ‘British’ in my expression, nonetheless it is perhaps appropriate for me to say here how grateful I am for his trust and faith. Thank you, Tariq.

With both imprints under the same ownership, there was certainly a risk of the pair being in competition with each other, but in practice it was harmonious. Occasionally, submissions not quite right for Zer0 found their home in Repeater, and vice versa. At Zer0, my objective was quality control. Zer0 had, in the years before 2021, pursued a volume-first approach, to such a degree that it had damaged its own reputation and market standing. I worked through approximately 80 titles, contracted by the previous EiC, with quality as priority. During and after this ‘turning the ship’ period, I contracted authors and edited for both Repeater and Zer0.

Both imprints were gaining momentum and in good financial health when Goddard was dismissed. In my view, his treatment was beyond unfair. But there is something more notable and curious here. The episode that initiated Goddard’s ‘redundancy’ was the business owner’s disagreement about the signing of an open letter in support of Palestine. Parking the painful urgency of this for a moment, two questions from a flatly financial and business perspective are apposite:

Firstly, why remove a man that had largely built two successful imprints, against the odds of trends in publishing, when Repeater was doing well?

Secondly, and from the same gilet and pinstripe POV, was it an adroit business decision in terms of optics for the investor of ostensibly the UK’s largest radical-left imprint to veto the signing of this letter?

I am a dreamer. But my imagination for a business rationale behind these decisions fails me, leading to speculation that it was either personal or political or both. After Tariq’s departure, there were ‘no plans’ to cease publishing. Staff were told how financially viable the imprint was. Then there were plans to cease commissioning new Repeater titles. Then there were plans to mothball the imprint indefinitely. Watkins’ management of Repeater has been a pattern of disingenuous and subtle ‘mismanagement’ and ‘incompetence’ – an opaque and covert project of smothering and dismantling.

Since Goddard’s ostracism and the details of the business owner’s politics and financial connections to Israel, and the resulting boycott, I have worked in a state of torsion between supporting authors (many of whom are releasing their first books), and my own ethics and politics. During this time, I was informed more than once that there were no plans for any changes at Zer0 and that the imprint remained financially viable.

My thoughts were this: We are all complicit. One cannot be pure from genocide. Complicity is always a question of degrees. I was supporting authors on the just side of politics and publishing texts with urgent humanitarian arguments – some of which have pro-Palestine sentiments (not least my introduction to the new edition of Goddard’s The Picture of Contented New Wealth). Despite the discomfort of complicity, I felt on balance it was better to give voice to arguments and causes I support rather than no voice at all in a pyrrhic and doomed attempt towards purity.

This view shifted in October when my working arrangements were changed. I’d no longer be free to contract authors independently. Instead, I’d only contract titles subject to sign off from the business owner. Editor-in-Chief in name, not practice. This change fits the pattern of the unsaid and unacknowledged strangulation that characterised Repeater’s ‘pause’. It also meant that my agency to do good, to publish and promote the causes and arguments that matter, was gone. I worked for a single frantic month under the new terms, pushing as many authors as I could into production to ensure their books would be published, and resigned.

Much of the bravery and conviction of youth is no longer with me. I’ve grown cautious, perhaps reticent. I am wary of partisanship and dogma and latterly I increasingly hold that trust, empathy, commitment, and love are the routes to good without the former’s risks of violence. Yet the irk, the smart, of being subject to dishonesty, specious manipulation or deception has not waned – only my patience. As I type this, there remains the offensive managerial guise that these imprints may continue. In some comatose sense, they do – the back-catalogue rights continue to be sold around the globe, ensuring future profit. Yet any investment or conviction for new titles from authors with urgent arguments about today has gone.

I am very proud of the authors I contracted and had the pleasure of editing. Tom White’s Bad Dust: A History of the Asbestos Disaster, Torn: Fashion and Postmodernism by Eugene Rabkin, and Trav: A Novel by Taylor Burns are just some I am particularly fond of.

I feel for those I have left behind. And I feel for those I did not join sooner. Torsion, but it feels right.

Memories of Music:
XG in No Tags, Vol. 2

An underground is, by definition, one that exists outside the mainstream of popular culture. There may be no more potent underground of listeners in the UK than those who tune into National Prison Radio. The general population can listen to some past shows and podcasts online, if they so choose, catching up on highlights. But if you want to listen live, you’ll have to find yourself a prisoner first.

Things have been quiet around here the past few months. In late August, my partner was remanded to prison after being arrested for alleged involvement in direct action. Our separation has devastated me and all writerly energies have been going into exchanging love letters.

When I received an email from Chal Ravens — whilst waiting outside the prison walls for a visit, no less — inviting me to contribute to the second volume of No Tags: Conversations on underground music culture, I initially thought I’d have to turn down the opportunity. But a few days later, a short essay poured out of me.

Maintaining connection — maintaining our relationship — is a daily challenge. Prison is more inhumane than most are able to imagine. Nevertheless, we’re getting through it as gently and as gracefully as we can, taking one day at a time. The most effective way to feel grounded is to make time for a long phone call, during which they tell me about songs they want to hear and we listen to them together down the phone.

That’s what I ended up writing about. With my partner’s approval and Chal’s editorial insights, it became something I feel really proud of. It is a reflection on music listened to together and in isolation, revolving around a comment made by Oneohtrix Point Never in a 2023 interview with The New Yorker: “The goal isn’t to thrash against disconnection … but to somehow integrate it.” We have spent the past few months trying to do exactly that. I think it’s changed both of us profoundly.

You can buy a copy of No Tags, Vol. 2 here, and there are still tickets available for the launch at the ICA on December 11th.

Lorde:
A Ghost of My Life

This was a nice surprise to see this morning (thanks to Michael Nanopoulos for the heads up). Two worlds that I did not expect to see meet, but which first met for me alone a decade ago.

When Lorde’s debut album, Pure Heroine, was released in September 2013, I had just moved back home to Hull after three years at university in Wales. I listened to it a lot, finding something so dissonant and captivating in its reflections on life in a nowhere town, its teenage dreams of glamorous escape. Songs like Tennis Courts and Royals are like incantations, manifesting a self-fulfilling prophecy, where fantasies of alienating oneself from humble beginnings become the fuel for stepping outside of one’s comfort zone. If the album had been released a few years earlier, I imagine I would have heard it very differently, so excited to leave Hull for new pastures, feeling like adolescence was finally over and life was truly about to begin. Instead, I listened to Pure Heroine whilst rediscovering streets I thought I’d never haunt again. It hit different.

Things were brought sharper into focus when, in late 2013, my mum suffered a psychotic breakdown. Newly paranoid and prone to violence, not wanting anyone to leave the house in case we never came back, she too fulfilled her own prophecy when I left home again in 2014. I never did go back to my childhood home, not because the door wasn’t open, but because I knew what lay behind it, and I could never put myself in that position ever again. Lorde’s debut was a surprising soundtrack to that shift in me — less defiant youth finding its own path, more traumatised escape seeking self-orphaning.

Before I made my jailbreak from the family home, Mark Fisher’s Ghosts of my Life was published in May 2014. I’d read an excerpt on The Quietus and had it pre-ordered. When it arrived, his ‘lost futures’ were felt acutely as haunted hallucinations; let’s-see-what-you-could-have-won bittersweet oscillations between hope and resentment. I remember trying to channel Fisher’s wisdom, his honest appraisals of the present, his mourning of the past, his hope for the future; his insistence that things can be different amidst a cultural landscape that insists they absolutely cannot.

It was a difficult thing to ponder at that time. What is this relationship between hope and resentment? How to affirm the former without being crushed by the latter? How to balance idealist dreams alongside informed appraisals of material conditions? Fisher’s pop-modernist purview was always a Gramscian “pessimism of the intellect, optimism of the will,” at once loving and seeking to exorcise the angel of history. How to read Fisher and listen to Lorde? How to reckon with reality and dream of entries into new worlds?

Fisher was the person I wanted to follow on my way out of the nightmare. First, I bounced between Hull and Cardiff for two years, trying to break free of family ties, before finally ending up in London in September 2016, thinking this was where I wanted to be, needed to be, if I wanted to escape from suffocating domestic traumas and build the life I wanted. I’d read Ghosts of my Life and Kodwo Eshun’s More Brilliant than the Sun; inspired by their tandem visions, I wanted to study under both of them. When Mark died in January 2017, however, it tripped me into all that I’d sought to escape from. I’d elevated him in my mind to a last hope, and then discovered he had none left for himself. I’d primarily found Mark’s death so difficult to reckon with for that reason, but in hindsight, the experience was compounded by everything I was trying to run away from, which bit down hard on my heels after falling head first into a new kind of grief.

Later that same year, I saw Lorde perform at Alexandra Palace on the Melodrama tour. It was a deeply cathartic moment, and the world started to open out a bit again. Hope and horror were still in each other’s orbit — both in my life and on the Melodrama album especially — spinning faster and faster around each other than they ever had before. But that is why we sought out joy wherever we could find it. Joy was so precious because despair was so heavy. It has long remained so.

Fast-forward to 2025, I’m living through another nightmare, trying to maintain a relationship with my fiancé, who is currently being held in prison on remand. One of the earliest earworms they caught inside was Lorde’s song ‘Team’, head on National Prison Radio. “Livin’ in ruins of a palace within my dreams / And you know, we’re on each other’s team” — a sentiment shared out loud down the phone, caught between lost futures and a love that endures through an enforced pause placed upon a time we hoped to share. We are still on each other’s team. It’s the only way to survive this.

The prison system’s insertion into our lives, like some Kafkaesque entity that has kidnapped the person I love, makes our relationship feel as vital for survival as it is fragile to behold. A few weeks ago, a blue tit found its way inside my flat, and as I tried to catch it and set it free, my knees trembled to the point of collapse as I felt reality mirror my emotional turmoil. “Let me grab you tight enough to set you free, but gently enough that I do not crush you with care in the process.” That is how it feels to love someone in prison.

We have spent the last nine weeks writing each other love letters every few days, trying to keep this relationship watered and tended to. Every time I write, I worry that the love I feel and choose to share is messy, desperate and unbecoming. Then I read Lorde’s fan journal / newsletter and find a sentiment that has long fueled not just my love of blogging, but also a new approach to a relationship that I am holding onto for dear life:

Skittish of my own mess, I keep waiting for chapters to deliver themselves all sewn up with a neat ending before I tell them to you, even though I know by now the real story’s always open heart and you can’t tell it without blood gushing everywhere. Better to treat this like I do my journal, I think, scuzzy tangle of images transcribed from the whitewash, not the shore. I miss you too much.

I copy this down in a handwritten letter to my partner, and then a few days later, there’s Lorde, holding a book I wrote the introduction for just a few years ago, on the verge of another crisis (always another crisis); a book that has influenced me so much and which I have wrestled with repeatedly over the eleven years since it was first released.

It’s just an Instagram story post, I know… And everyone should read Mark Fisher! But the serendipity of it all gives me pause. I quietly approach a brief instance where I see the melding of two worlds, perhaps alien to some but oddly synonymous for me, in a Proustian manner, where an album and a book first encountered during a pivotal point in my life leave their indelible marks on memory, only to return now again, reminding me of lessons learned, not forgotten, but in need of new affirmation.

This was not the personal profundity I anticipated this morning when I woke up in my lover’s bed without them, turning unhealthily towards my phone to fill the space where they should be. Life is riddled with ghosts, with absent presences, present absences… Lorde’s Pure Heroine is one for me. I cannot listen to it because the emotions it brings to the surface are overwhelming. It is one of the ghosts of my life. I wonder what she’ll make of Fisher’s ode to the ghosts of his.