Showing posts with label Richard Godwin. Show all posts
Showing posts with label Richard Godwin. Show all posts

Saturday, July 13, 2013

One Lost Summer By Richard Godwin

If you're not reading Richard Godwin, you have no idea what noir is.

His third novel, One Lost Summer, has been out for a little less than a month now and is getting rave reviews. Duh. Because it's Richard Godwin, whose noir has solid bite.

You can order One Lost Summer HERE.

Or HERE.

Or HERE.

You can go to Richard's own page devoted to One Lost Summer HERE.

Paul Vogel reviews One Lost Summer for Midwest Book Review HERE. Scroll down only slightly.

Tara Fox Hall reviews One Lost Summer at Good Book Alert HERE.

Richard talks with Nick Wallis on BBC Surrey about One Lost Summer HERE.

You can look at Goodreads and decide what you think about One Lost Summer HERE.

You can read the review of One Lost Summer in the Seattle Post Intelligencer HERE.

Les Edgerton talks about One Lost Summer HERE.

Long And Short Reviews talk One Lost Summer up HERE.

B.R. Stateham talks with Richard about One Lost Summer HERE.

A Knife And A Quill review One Lost Summer Over HERE.

Mike Stafford reviews One Lost Summer HERE.

Paul D. Brazill has a short, sharp interview with Richard about One Lost Summer HERE.

Tom Gillespie interviews Richard about One Lost Summer HERE.

And this is just the tip of the iceberg, folks. If you're not reading One Lost Summer, you're really missing out. Go and get several copies. Give them to friends and enemies alike.

Thursday, February 14, 2013

The Valentine's Day Tap Dance by Richard Godwin

THE VALENTINE’S DAY TAP DANCE - RICHARD GODWIN

I always tell the truth on forms. So when I filled in the dating service application I wrote under persona details:

“82 year old lesbian interested in group sex and bondage.”

It asked for my favourite song.

“She may be the face I can’t forget.”

Aznavour. Remember that? Truffaut, Les Quatre Cents Coups.  Mabel used to put it on after she phoned him. I also wrote:

THERE ARE NO AMENDMENTS BANNING THE IMPERSONATION OF DEAD ROCK STARS IN A LOVE AFFAIR.

Right at the bottom of the form. I guess whoever read my information ignored that bit, or didn’t understand what I was driving at. It was one of Mabel’s favourite words, ‘amend.’

‘I am amending things round here,’ she used to say when she spotted a speck of dust on the floor.

I hated the flat. All the cupboards full of cleaning products. Elvis’s face stared at me out of the sticker on the fridge.  Mabel put it there. She worked for the IR and told me never to lie to them, ‘Because,’ she used to say, wagging a bony finger at me, ‘if you lie, they find you and if they find you they...’

‘What Mabel?’

‘Say that word, the one I refuse to utter.’

‘What word?’

‘F-f-f-fuck you,’ she used to say, stamping a tiny pink foot. ‘You know I hate obscenities, clean kitchen, clean floors.’

Out came the finger again. I used to wonder what she did with it when she visited him smelling of bleach and heartache.

The last time she uttered that incomprehensible, nonsensical mantra I said, ‘LIKE YOU FUCK ELVIS?’

She counted out all her detergents right there. She got down on her hands and knees and scrubbed, a little foreplay before the tartare with Hound Dog.

‘Do you like to get dirty Mabel?’ I said. ‘Is that it, you need a bit of filth?’

She kept scrubbing, removing imaginary swear words from the highly polished floor. I could see her face staring down, maniacal, lost in the religious ecstasy of the sexually cleansed.

I pounded the wall with my hips. I pounded the brickwork.

She was the Queen of comedy with her act, and her pretend demureness. My frustration felt like boiling water. I tried laughing at her. I took pictures of her in her outfit, the one she wore when she went to see him between cleaning shifts. She always put it on in the bathroom and covered it with her overcoat. She dressed up as Shelley Fabares. I heard her on the phone to him.

‘I think smut and do dirt just for the King,’ she said.

She refused to touch my tap shoes. She would clean around them, considering them an object of such deep menace she sometimes screamed when she came near them.

‘Do you have a problem with Mr. Bojangles?’ I once said as she stood sweating, cloth in hand.

‘It’s obscene.’

‘And Elvis the pelvis isn’t?’

‘He is not, he is not! “He danced a lick across his cell. He grabbed his pants and spread his stance”. Filth, filth!’

She said I had ideas above my station.

‘You and those shoes,’ she used to say.

Still, a dancer’s life is one of drudgery.

I was chief icing controller at the factory, the place where Elvis worked. He made the fudge. He used to croon of how “it’s now or never” and squirt sugar at all the young women, chasing them with a cake syringe tucked into his flies. All the young women lined up for eternity in the waffle factory. He puckered his lips for the camera. He pumped his hips into their rears as he passed behind them. He ran his greasy hands through his thick black hair, one eye on the mirror, one eye on a piece of ass.

I knew his reputation, Mabel refused to listen to me. I knew where he operated. I’d seen the dating service form in his desk.

I see the donuts ride the belt to oblivion, all the young minds not destroyed by madness but diet. The sugar heaves and falls. There are no explicit revelations in monotony, only the bored yawn of a donut chewing guard.

I masqueraded as an aging voyeur to restore order. The factory belt was a bad trip, and I had to stop him singing anymore. I met him at the Toffee Bar, dressed in black leather and suede shoes.

He couldn’t dance. I took him to my flat, the one I rented at Cheapside. Elvis strutted and he waddled.

I said, ‘Love, Elvis, love is not a song.’

He said, ‘Love, do it to me granny.’

He removed his tie, his imitation Elvis shirt.

I said, ‘OK, honey, I may be some time, but I will never leave the building.’

‘I understand,’ he said, curling his lip.

He didn’t see my shoes on underneath the ridiculous dress I bought. I put them on and entered the room again as Doris Day.

‘Who the fuck are you?’ Elvis said.

‘I am a legendary actress and singer, I want to perform for you.’

He was unzipping his flies when I broke into my routine. I stole his eyelids. I stole his song, the cheap trick he played on the mornings when Mabel coughed blood. He’d ring her when I was out and sing down the line.

He sang for me that night.

He sang, ‘Please, please.’

‘Don’t know that one Elvis, try harder you tosser,’ I said skipping across his head and slamming him into the wall.

I removed my girdle and tap danced all over his fat face. He didn’t know the song I sang nor its precise relevance, I don’t think he even knew Aznavour.

I didn’t want Mabel’s flesh. I only wanted to remove the false idol in her never ending fall.

I asked him to recite the amendments.

He sang All Shook Up.

I said, ‘The right to Viagra among aging would be singers is not the eleventh amendment.’

I did it to him one more time.

And so there I was on Valentine’s Day with Elvis rotting in the deserted flat. What can a man do faced with such an impasse in his imponderable maze?

I ordered pizza and phoned Mabel.

She sobbed, or she tried. Elvis missing, no fudge, what can a girl do?

I found her signed transactions, I found all the statements recording how they tried to steal my life savings from me. I took her back and fed her fudge every day, spooning it into her dumb salivating mouth. She stared at me with grief stricken eyes pondering the hygiene of the flat.

Maybe she was my plan all along. Elvis liked her until I kicked his face across the wall.

‘Mabel I’m making an amendment,’ I said, putting on my tap shoes and handing her a bottle of detergent.

The next day I got promoted, now I hold the cake syringe.

Monday, August 27, 2012

Interlude: Richard Godwin's Apostle Rising Is Now An E-Book

If you don't already know, now you do.

As I said, Richard Godwin's kick-ass first novel, Apostle Rising, is now an e-book.

But there's more.

Not only do you get the entire novel, you get an excerpt from his stellar second novel, Mr. Glamour, as well as four of his tremendous noir stories and other extras.

If you're in the US, you can find the entire package here and in the U.K. here.

Less than the price of admission for a film, at just over three dollars US, and £2.05, Apostle Rising kicks the shit out of any summer blockbuster.

Friday, August 17, 2012

A Twist Of Noir 701 - Richard Godwin

BATTLE FOR THE LAUGHING CITY - RICHARD GODWIN


I fed them on heads and severed limbs. And I starved them of the meat they craved as the battle drew near. I had a supplier at the Ravaged Depot, a storehouse for the mutilated corpses of renegades. He’d hand me the meat, lumps of flesh on ice housed in plastic. I’d slice them open and the bags would hiss and I’d let my army work its fangs into it. I wanted them savage and ravenous when the time came. I catered to their primal desire for murder and knew by their eyes that these men were the most extreme band of killers anyone had gathered together in the name of a military unit.

Ever since I blew his father’s brains out Simeon Baw had threatened revenge against me. He was a spoilt daddy’s boy and I took his rumblings as seriously as I did the threat of a broken nose from a pansy. He’d made a lot of money and ripped a lot of people off. Now he’d crawled out of the sewer smelling of shit and he’d set up his army with the intention of removing me. But I was ahead of him. I was going to take the Laughing City. First I was going to crush his army and hang every head of every man who served him from the ravaged poles that lined Tryton Avenue.

It had been named after the new chemical weapon developed by Panacea Drugs. The renegades had got hold of it and been dropping it from the sky. It caused instant madness and genital mutations. As a result we had a new breed of mutant on our hands. The side effect of Tryton was it gave those who survived it extreme physical strength. Monsters with ambiguous genders strolled the streets looking for food.

I saw one that morning as I met with my army. He ripped the head off a passing citizen, tearing it from the neck bone and crunching the skull in his mouth like a piece of chicken. The poles of Tryton Avenue were placed there as motifs of conquest. They resembled Roman spears and stood in the ground pointing towards the Laughing City.

I met my men in a charred field beyond the town and told them what to do.

‘We’re taking the Laughing City,’ I said, ‘but first I have an old enemy who wants a fight.’

I looked at them.

They were as hungry as sharks for blood and as indifferent to who they fought.

‘Simeon Baw has an army and I want it destroyed,’ I said. ‘I’ve worked too many jobs for too many users and now I want my time, we’re taking over.’

Bertolino was my captain. He was a renegade mercenary who’d killed more men than you could count. He was adept with all weapons. He stood there as the distant sun caught the scars on his face and said, ‘Do you want us to capture him?’

‘No. Kill him and his men, burn their bodies and we go to the Laughing City.’

We headed out to the quarters owned my Baw, passing the house he used to breed a race of warriors. They held prostitutes with the right DNA he’d investigated for his purposes and the women were routinely fucked by his breeders, mutants with oversized genitals breeding replicants for his army. The surgery his women needed made any efforts by me to maim someone look lame.

I could hear one of them screaming as we headed down the street in our weapons carrier.

Rape and imprisonment were justified methods to Baw.

We passed office after office bearing the Baw name. He had the money all right. I doubted his expertise when it came to organising soldiers.

We searched all afternoon for him and found out he’d gone. He’d taken his men up to the Laughing City before us. And so we headed after him.

The laughter was insane now. I could taste Baw’s blood in my mouth as we landed. There’d been a few changes since the last time. A supernova had imploded near the Laughing City and Crystallus Carvex, the android warrior who’d invaded many towns, had passed through the event horizon to another galaxy. It was rumoured there were now two of him and he was operating a stealth campaign from his new star, Duplex Android, and waging war in the parallel universe we inhabited. So as far as I was concerned he was parallel to me and if I saw him I’d burn his fucking body.

The Laughing City was full of fighting factions, most of them mercenaries from other planets who in passing through had got addicted to Drip 02. They’d fucked a few whores and started hallucinating. They hung on for the drug and the illusion they were taking over a planet, one of the side effects of addiction. In reality they were having fights in bars and lying in the shit stained streets while they dreamed of glories. Panacea Drugs had improved Drip 02. Now it not only gave you the most extreme hallucinations known to man or mutant it also left you with a ravenous hunger for raw meat. The addicts would routinely eat the tourists. I saw one attacked by a rabid band of them as they set their rotten fangs in their flesh and stripped them to the bone. Hence the shit stained streets.

And then there was the laughter. It was at maximum volume all the time and sounded like Bedlam. A cacophony of wails and shrieks, guffaws and chuckles broke across the frozen wind that hissed at you as you stepped out of your vehicle. It was impossible to shut out. Even if you plugged in your personal music console the laughter was programmed to override it. Within the chortling, snickering, giggling howls of merriment we passed into the Laughing City.

The Silver Crows and Lizard Dogs were out. I saw a Crow rip the head off a dog who wandered about showering the place with blood.

I had a building I owned which housed weapons. We headed there through the burning streets. Mercury rained from the sky and what little vegetation remained blazed in the smoke filled neon air. Mutant plants blazed like Roman Candles in the ravaged landscape, like some last hope of growth burning in a deranged world. The air was sulphurous, as light refused to yield to darkness and every shape and person had a spectral glow to them as if they were walking underwater in a floodlit swimming pool.

We got to my building and took what we needed. We armed ourselves to the teeth. I watched my men walk out with every conceivable method of killing at their disposal. They had rocket launchers, flame throwers and snibe shots. These were metallium guns that fired a small deadly hole in the target that released an acid that could burn through a man’s flesh in two seconds. They had multi shots, which fired so many rounds they could take out an army.  They had razor knives and the incendiary golf balls I’d designed. Throw one of them at someone after you pull the pin and they’ll lose their head, which is what I guess it takes to play golf in the first place.

We headed out into the carnival streets where the Silver Cows were chewing on the Lizard Dogs’ flesh as they scattered and came again at them, mouths open and fangs dripping. Fragments of fur and meat lay scattered everywhere.

And the laughter was obsessive, incessant, like the manic roar of a madman at your shoulder. It sounded like the pathological ecstasies of the deranged.

Down at the River Ha Ha’s end, where the stewed foetuses floated and bobbed, Baw’s army was assembling to take over. We saw them walk towards the citadel which was ruined by the explosions that rocked the Laughing City. We passed along the edge of the water with the sight of the bloated heads lying on the black surface. And we followed them to the citadel.

The Mayor of the Laughing City, an obese pervert with two heads, was eating fruit from a fork held to his mouth by a mutant prostitute as she squirted milk from one of her tits into his other mouth as we entered the decaying building. Baw’s army got there before us and we heard the rapid gunfire as they opened up.

By the time we got there the Mayor was splattered all over the ceiling and the whore’s tits had exploded. Nipples and skin lay embedded in the chandelier that swung above our heads dripping blood. The Laughing City’s slogan loomed over us in neon: ‘No breeding, just whores’. It was part of the promotion of the city as a hot spot for tourists.  They’d pass through, fuck the women and leave, taking new diseases with them.

Baw’s army saw us and opened fire. I launched several golf bombs in their direction.

Limbs and heads flew through the air. They moved in, throwing fire, and we retreated to the back of the citadel where the skins of rival politicians stretched across the walls like some tapestry of hate. Whores ran out of rooms clutching at their mutant bodies. The citadel had been turned into a brothel.

They came after us and I let rip with one of the bigger bombs. We sheltered against the fire as the blast halved his army. Then we fired round after round on them. I found Baw hiding in a room and I scalped him, running my knife around his head as he stared at me with dazed eyes. I blew his head off and stuck his scalp to the wall of skin.

I took my men to the nearest Fuck House and they ate and cavorted with the women.

As we sat there I received news that Crystallus Carvex had landed.

He wanted a war and I was ready for him.

BIO: Richard Godwin is the author of crime novels Mr. Glamour and Apostle Rising and is a widely published crime and horror writer.

Mr. Glamour is Hannibal Lecter in Gucci. It is about a glamorous world with a predator in its midst and has received great reviews.

Pulp Metal Fiction has published Piquant, Tales Of The Mustard Man, his culinary genius. His Chin Wags At The Slaughterhouse are interviews he has conducted with writers and can be found at his blog.

You can also find a full list of his works on his website.

He lectured in English and American literature at London University before becoming a professional writer.

Tuesday, June 5, 2012

A Conversation With Richard Godwin


Christopher Grant: My first question is, when you sit down to create, do you have more than just a blank screen or page in front of you? Is it different with short stories than with a novel?

Richard Godwin: When I sit down to write a story I do not plan, sometimes it can start with a voice, a character talking, or an image, a variety of forms that seem to be demanding growth. Sometimes a story takes shape immediately and others need pruning. I write from all sorts of places. I also write every day unless it is impossible to do so. It is about practice and I like what Pablo Picasso said when he was asked why he worked so hard, he said because 'I want to be at work when inspiration strikes'. A novel is different. Apart from two novels I have written, I plan and edit. The edit is a critical part of the process and I make copious notes.

CG: What was the process for Apostle Rising like? How long did you spend researching? And how much of what you wanted to write wound up in the novel versus how much wound up on the cutting room floor?
 
RG: Writing Apostle Rising was non-linear with a linear plan. The truth is if you plan you need at some stage to let go of it. I researched certain parts heavily, certain parts I already knew. I wanted the characters to live and breathe. I wrote the first draft flat out in six weeks and then engaged in a heavy editing process. That involved layers of discovery. It is like an archaeological dig in which you find out truths about your own characters. A lot of passages I liked ended up on the cutting room floor. I think John D. MacDonald said sometimes you have to kill your darlings. If the passage has no relevance to the plot get rid of it. I can see now there is scope for more ruthlessness within that. The edit is revealing. It is a key part of the process.

CG: Do you prefer writing or re-writing? Do you consider yourself a better writer or re-writer? Or does it vary from story to story or story to novel?

RG: I love writing and all parts of that. Writing a story is quicker and in some ways more immediately satisfying than a novel, which requires careful editing. That can be a laborious process. When the breakthroughs come they are more satisfying with a novel.

CG: Let's talk about Apostle Rising now. I have said that I think it reads like a true mystery. By which I mean that in stories that are lumped as mystery stories or novels, you usually get the crime happening and the writer tries to set the stage for your eventual discovery of who the criminal is but, for some reason, they can't help themselves and, by the third chapter, either the writer has revealed who the criminal is or the reader has been given enough clues to make that discovery for themselves. Whereas, with Apostle Rising, it seems that you played your cards very close to the vest.
 
Did you deliberately set out to do so or did the novel just start to come together like that as you were writing it?

RG: I set out to keep the killer's identity hidden. I wanted the reader to experience the mystery a cop finds himself in when he is tracking an extreme psychopath, as well as the effect of dealing with evil. Within that process the novel assumed an organic life of its own. I kept the revelation about who is doing the killings back and the discovery is a surprise. No one has said they guessed who the killer was. That involves careful structuring, peppering the story with clues and involving the sub plot, in which there is also a guessing game about the killer's identity. Apostle Rising is as much about psychopaths who want to destroy and leave scars as it is about the resilience necessary for a cop to survive the investigative process that catching a psychopath involves, and as you know, the story is far from over.

CG: Without ruining the ending for those that haven't yet picked up Apostle Rising (and those who have already know the ending so the question will not be lost on them), is there a sequel to Apostle Rising in the offing?

RG: Yes there is a sequel. I am writing it now. My second novel, Mr. Glamour, was released in paperback by Black Jackal Books in April of this year, and the sequel to Apostle Rising will be released next year. It has just sold foreign rights to the largest publisher in Hungary, Alexandra, and there are other offers tabled. Suffice to say the sequel will explore the key characters in more detail and contain some fireworks.

CG: The violence in Apostle Rising and in many of your stories is over the top and very surreal. I believe that it's justified in all cases, but especially in a novel like Apostle Rising where the story is that of the police, and in particular two partners, dealing with extreme psychopaths, as you put it. The violence in Apostle Rising must be what homicide detectives in particular, worldwide, deal with on a daily basis and not the sanitized for your protection crap that they show us on police procedurals such as Law And Order and the like.
 
That said, have you ever had complaints about the level of violence that are contained in your stories or in Apostle Rising?

RG: No I have never had any complaints about it. If you really want some hard core violence try the Bible. The truth is I have read of worse things in the papers. People are encouraged to avoid the stark reality of the predatory universe we live in, F Scott Fitzgerald referred to it as crooning there are no wolves outside the cabin door. It is also a beautiful universe. If you study what serial killers do or what the Nazis did to their victims it makes Apostle Rising look like a vicar's tea party. Men and women were held in concentration camps where women were systematically raped and healthy men were castrated in the name of medical science. You see a nation in psychosis. I am writing about one or two individuals in psychosis. The surreal aspect may be to do with the fact that if you slow the camera down to ensure all aspects are visible the reader's brain goes into a self defence mechanism. If we ignore the lessons of history, if we conveniently brush away the less savoury aspects of human experience then we are doomed to repeat them. Crime cannot be sanitised and wrapped up at the check out in a department store. I have tried to be realistic about the fact that sometimes there is no moral redemption for those who have crossed the line and those who, badge bearing law enforcers they may be, have followed. We live in a culture full of myths. I am interested in opening them up and seeing what purpose they serve.

CG: What do purpose do you think these myths serve?

One of the myths in America (at least) is that pornography and sex should be swept under the carpet, that it's worse than violence. People with brain cells believe that wholesale slaughter, such as the massacre of people in Iraq or Afghanistan, is more pornographic than two people with their genitalia showing or touching someone else's genitalia, but these people are generally few and far between.
 
Why do you think it is that violence is more acceptable than sex? Do you think Hollywood has something to do with that?

RG: If you look at the mythologies of Ancient Greece as described in Ovid, they serve many purposes. They explain the world the Greeks inhabited and also their religious system. Some of the myths are interpretations of nature. Sex features heavily in them also, they use symbolic language to create meaning. Modern mythologies have become less complex and more part of a propaganda machine. I think Hollywood is responsible for the sex phobia that is appeased by images of violence. The Hollywood machine wants to sanitise sex and relationships to the point where it is actually peddle lies. There is no realism in Hollywood and if you look at the sexual habits of the key players you have to wonder. People fuck. They always have and always will. It is part of the human condition, and a valid subject. I think the fact that so many Hollywood films stick to a formula may be one reason the industry fears sex. It doesn't want to make a porn flick, which is probably all it would come up with. But erotic films never come from Hollywood. People are fed violence every day. That appeals to a certain machismo and head set about defence when defence may not be necessary. Lenny Bruce once said it is interesting that they describe sexual content as obscene and it is not obscene to show someone's guts hanging out. Perhaps because Hollywood caters to fantasies it is nervous to cater to sexual fantasies, it might be tantamount to admitting it is a massive whore. At the end of the day it seems mythology has come to mean lies. Lies about sex, lies about the economy, about the need for violence, about the lifestyles people enjoy and others aspire to. It is also connected to the rise of the theocratic right. Young men and women are meant to go to church and think pure thoughts, as Zappa paraphrased their saccharine values in Joe's Garage. The reason for this has to lie in the fact that if you shackle them into marriage and let them breed it's good for business, more punters for church. I think Hollywood is brainwashed. It is also in the pay of the plastic surgery industry, itself another mythologiser. Never age, never wrinkle. Some doctor somewhere has a drawer full of noses and they all look the same. Many of the shrieking crusaders bearing placards denouncing sexual acts are themselves so diseased their prurience is all they have to hold onto. They are frightened of their own desires which is why the seek out the thing that offends them. Politics is also a source of mythology. The need for war is surrounded by propaganda and myth. If you ask what a myth is doing in the modern world it will usually serve the economy or a belief system that is intent on denying some value that the ruling class finds threatening. The ruling class may be Hollywood or the pharmaceutical industry.
 
CG: How much of what we see in the news is actual news and how much of what is actual news is kept from us?
 
RG: I think most of all the real news is kept from us. There is a line in a William Burroughs novel in which a journalist says we make the news quite literally. I think it is fiction. Badly written fiction aimed at as Zappa said keeping you docile and ignorant. Propped up by the companies that commit serial rape on a daily basis. While they pursue all the bad guys. You know the most wanted ones. They bury the news beneath a massive plot. A newspaper is a narrative structure. If you study the juxtapositions of stories you are aware you have been placed in  a plot structure that is supporting the men who own the newspapers. Now some serious facts. Let's talk about Halliburton and Bechtel. Who pays them? The US taxpayer. The same taxpayers fund the military-corporate system of weapons manufacturers. Bomb and rebuild, same old army game as William Burroughs says in From Here To Eternity. Now for the Marshall Pan, the act of benevolence. Whose benevolence? Of the $13 billion of the Marshall Plan, as cited by Noam Chomsky in Imperial Ambitions, about $2 billion went to the US oil companies. If you look at the rest of the aid, it moved from one pocket to another. Go do the maths. The Financial Times is the best newspaper in the world because it contains detailed economic analysis that businessmen need. If you read between the lines you can figure a lot out. The truth is we depend on newspapers that are in the pay of their shareholders. The truth is in their pockets.
 
CG: I've been on your end of your question about parallel universes. So here's me returning the favor.
 
What are your thoughts on both parallel universes and doppelgangers? Have you had any experiences with doppelgangers?
 
RG: I believe there are multiple universes and we inhabit one. I think the powers that wish to capitalise out of us want to convince us of the universe. Henry Adams spoke of the multiverse. It is also a discontinuous one. Fragmented by the belief structures that aim for monopolisation.
 
The worm hole theory is a possible. Also the implosion of a supernova as one example of an event horizon being created. I have no experiences of doppelgangers. Although you have to ask yourself are you the ideal or the failed version. Poe wrote William Wilson. Edward Thomas wrote The Other in which a failed man pursues his alter ego through a rural landscape to be met with disappointment. Parallels are not about narcissism. Remember Echo imitated Narcissus.
 
CG: Taking off on that, do you think that the doppelganger is a manifestation of the ideal self or the manifestation of evil? And if the former or the latter, what does that say about ourselves?
 
RG: It depends which position you occupy.You have to remember most of the morality we are taught is riddled with guilt and religion. Now take Catholicism. We had a Pope banning the use of condoms in Africa when they may have halted the spread of AIDS. He was a good man. Or was he evil? What he did is certainly open to moral questioning. In whose eyes? In certain communities burying your parents in boxes is considered evil. Who's right? It's about moral relativism. Nietzsche said there are no moral phenomena, only moral interpretations of phenomena. Hamlet said there is no right or wrong but thinking makes it so. Now you have to draw the line somewhere. Most of us know where that is. An enlightened society would protect the vulnerable, the young and old, without propagandising and protecting the abusers of power while using the newspapers to point the finger at irrelevant statistics that amount to nothing. It all depends on the mirror. Maybe your double is yourself or your devil. What does that mean to you? Many people spend every other second hiding something, some sick little secret. William Blake frequently conversed with the devil. But you have to know what he meant by that. Gide wrote The Immoralist. Are your morals holding you back? Does the glue on the world seem to be holding fast? Maybe the devil is your shadow, all those things you brush under the carpet. See what you find out.

CG: We've talked about perception and about myths in society.
 
What, in your opinion, is the greatest lie of our time?
 
RG: That all parents love their children.
 
Many hate them because they fail, and that is a by product of the conditioning we were talking about earlier.
 
CG: Since we were talking about the pope just a moment ago, first, I suppose I should ask, are you religious? And, whether you are or not, what are your thoughts about organized religion?
 
Just for the record, I'm not religious in the least. I think there is a big difference between being spiritual and being religious. When I'm asked about whether I believe there's a god or not, I say, "I don't care one way or another. I'm not living my life so that I can get into a concept like heaven or hell. I don't treat someone differently just so I can get through the gates." And you'll notice that I don't capitalize the word god.
 
RG: No I am not religious. I have thought and read a lot about religion and while I believe there are spiritual truths within the texts of religions I believe institutionalising spirituality corrupts it. Then you have the organisers of the religion. History is packed with examples of the corruption of the ideals represented by religion. Let's turn our attention to war. So many fought on the back of religion. So it seems a good tool of propaganda. It often appeals to the uneducated and exploits them. I think it is an extension of politics. I also think if you get enough followers and enough money as L. Ron Hubbard did you can start a new religion.
 
CG: Burroughs wrote many, many times that we must evolve as a species and travel into space.
 
Do you think we will ever, as a species, evolve to this point?
 
Do you think that we have been deliberately kept from evolving to that point which we would be able to travel into space by the powers that be?
 
Have they kept us on this planet to milk every last resource off of it and only then, when that time comes, will they abandon the planet?
 
Or do you think that it is a fear of the unknown that has kept us grounded? The unknown represented by outer space itself.
 
There was a time on this planet (and it ended about the time the west was finally stolen from the Native Americans) when you would grow up to about the age of fifteen or sixteen and you would get yourself a mode of transportation (usually a horse) and you would set off over that hill and see what was beyond that hill.
 
When we, as a species, started into space, we set a goal of getting there, then going to the moon and then there was a goal of going to Mars (and I can still remember the Time Magazine cover talking about how, by 1986, we would have a colony on Mars; still waiting).
 
We don't have goals like that anymore, unless they come out of a windbag like Newt Gingrich, who would have a colony on the moon but it would be a US colony (no Russkies and darkies allowed, I'm sure the sign would say) and that when there were 13,000 people on the moon, they could become a state. Don't ask me how he arrived at 13,000.
 
And, even if you want that colony on the moon, you don't want this dickhead running anything, especially not supposedly running the United States.
 
RG: Many of Burroughs's observations about space travel are based on mutation theory. We have mutated as a species if you consider Darwin's theory of evolution which is an adaptive one. If we travelled to space it would present a different environment and therefore mutation would be involved. He posited various scenarios. One likely one would be politicians colonising outer space while the rest of us were left below. Burroughs thought the future of mankind may depend on outer space since we are messing up this planet.
 
If it is already happening it would be hidden from us. Programmes like the X Files put forward various theories to that effect. The military may have invented forms of space travel. However evolution doesn't always look pretty. Brion Gysin, who Burroughs credited with the cut-up technique, saw artists as explorers of space. Burroughs said writers are cosmonauts of inner space.
 
You may ally physics with Art. Take the latest theories from physics about event horizons and worm holes and see how these ideas are already present in Art in all its forms.
 
The two biggest economic forces on the planet are war and pharmaceuticals. So it may be likely that war and medicating the population is preventing them from understanding what is going on with space travel. A revolution may be a non violent one. If everyone threw all their medication away consider the outcome. Einstein talked about the space time continuum. Kurosawa said if all clocks were stopped worldwide there would be havoc. Space is in time, and outer space is in time. A medicated population digests what it is given and doesn't know what time it is. You have to consider to whose advantage that is. People treat newspapers as factual yet they are a narrative and contain fictions. Or maybe the earth is being replaced as a big theme park with one benevolent president and endless shopping malls. The West talks a lot about propaganda in other nations. Yet at the same time the propaganda machine of the West is subtle and more evolved and works through the channels on which its population has become dependent. The medical industry has an investment in people being ill, despite its claims to the opposite. The consumer society is based on acquisition and status as bases of identity but in fact they do not give identity, and the consumers are being consumed by a series of financial commands that ensure they are trapped in debt and imaginary need for things which they are told will improve their lives.
 
CG: In the grand scheme of things, was Orwell more correct or was Huxley?
 
In Orwell's 1984, the state is totalitarian and there are punishments for those that do not conform. The general populace is basically cut off from reality.
 
When I read 1984 for the first time, I thought of the populace being underground and, when they were above the earth, behind walls, much like a concentration camp.
 
Whereas, when I first read Huxley's Brave New World, I never got that sense. I always got the sense that here are people living lives that are not their own. They are us. They are medicated off their asses and just pop another pill to feel good and everyone has become homogenized.
 
This is what frustrates the fuck out of me when people, especially so-called liberals, talk about how we should all be one race and no one should have different cultural identities.
 
Are we all one human race? Yes. Should we treat each other as such? Yes. But should we give up our cultural identities? Should I stop being proud of my German and Russian and Irish and English and Italian and Polish ancestry? Should Barack Obama, for example, stop being proud of the fact that his father was from Kenya? I don't think so but you'll notice that the media and the right-wing have attempted to make him ashamed of this, going so far as to suggest that the president was not born in Hawaii but in Kenya.
 
RG: I think it is a mix of both visions and I use the word visionary. I believe we inhabit a pharmaceutical totalitarian state in the West. People are medicated off their asses and do not know who they are. They are cut off from the Naked Lunch as Burroughs put it, by which he meant that naked moment when you see exactly what is on the end of your fork. The homogenisation of man starts at school and continues through the one dimensional careers pursued by some in corporations which want to clone their workers. This may take the form of family roles. The word family derives from the Latin word familia meaning family, servants and domestics. Society is structured on that unit as a way of engineering human response to a set of stimuli which are political agendas aimed to benefit the interests of the ruling party. Being cut off from reality may take the form of extreme totalitarian propaganda or the medicated man we see now as the product of a society with certain economically based views about health.
 
CG: Do you think it's possible for dreams to predict future events?
 
RG: I think it is more than likely that dreams predict future events, since they scramble time lines. Grammar is a language and dreams communicate through an alternative means, they are more allied to a hieroglyphic sign system. If you consider the signifier and signified and you randomise the sequence then you have it. The subconscious rearranges events to suit our particular mode of reference and we need to interpret that, to understand it you have to go beyond causality.
 
CG: Tell us about your new novel, Mr, Glamour.
 
RG: Mr. Glamour is Hannibal Lecter in Gucci. Something dark is preying on the glitz of the glamour set. DCI Jackson Flare and Inspector Mandy Steele investigate a series of bizarre killings targeting the wealthy and glamorous. Cameras, designer labels, beautiful women and wealthy men fill the pages. The killer in Mr. Glamour knows all about design, he knows what brands mean to his victims. He is branding their skins. He is invading and destroying at will. And he has the police stumped.
 
Detective Inspector Flare and Inspector Steele try to catch a killer who has climbed inside their heads. As they investigate they step into a hall of mirrors and find themselves up against a wall of secrecy. The investigation drives Flare and Steele—who are themselves harbouring secrets—to acts of darkness. And the killer is watching everyone. In it I explore some of the areas we have been talking about, particularly narcissism and designer labels. Paul Brazill's called it a great London novel. It's receiving excellent reviews and is available here, among other places.

The Mustard Man Interview With Richard Godwin


Christopher Grant: Minus the use of human material, of course, how did the love of good food or cooking play a role in the genesis of The Mustard Man stories (if any)?


Richard Godwin: The host gives the meal. The parasite digests, he sits at the shoulder of the diners and watches their habits.

The Mustard Man is a mythology. He is a modern mythology of desire and need. As such the monopolies of homogenised food are part of the thematic materials that comprise the narratives. He is part and parcel of what we eat. He is also a character who will feed to you the thing you ought to eat and as such he goes beyond waiters and the catering industry which are a reflection of our own commercial narcissism and economic need.

CG: As I read Piquant, and I mentioned this to you, I began to see The Mustard Man as a hero. He doesn't target the everyman but rather those that hold themselves above the common person and the laws that the rest of us have to follow. Do you consider The Mustard Man a hero, an anti-hero, a force of nature, something else?


RG: The Mustard Man is all of these, he occupies the precise position in modern history where all terms lose their meaning and he injects them with renewed vigour. Heroism is a product of the political system it serves, and an anti hero is now subject to surveillance, those subverters of the order of things may be subject to the system they rebel against but a force of nature is that precisely because of his knowledge of his own destiny. The key here is the people the Mustard Man eviscerates with great gastronomy and there we have the food chain. Darwin posited an evolutionary model we inhabit as a paradigm that may be juxtaposed to those theories about what we need to survive propagated by the political systems we inhabit, the Mustard Man has been in all of these and is beyond them too, because his identity is part of an ongoing historical revolution that has always been here and always will be. He is the Saviour of Art and the Champion of Art. He is placing certain people back into the food chain.

CG: In Kentucky Ketchup, it is said that Jack Laretto has a new novel out called Pony Trip. You, of course, had a story about a deranged serial killing spirit by the same name. To intentionally get meta on you, is Pony Trip the novel Pony Trip the story leaking into the fictional stream now that The Mustard Man has re-seeded the space/time continuum?


RG: The Mustard Man works with herbs. He understands the nature of soil. The farm lay untenanted for months that passed with the slow resolution of some grim prophecy. Winter turned and settled a million leaves deep in the soil that acquired new fecundity from the mulch and insects that bred there.

CG: What is Julius Pharaoh in the whole thing? Is he is follower/recruiter or is just biding his time to usurp The Mustard Man's leadership? Or would that be telling?


RG: Julius Pharaoh is a product of the changes the Mustard Man makes in the space/time continuum. He is the prophet of a parallel position in time to the characters he meets.

CG: William S. Burroughs talked about good versus evil in terms of Johnsons and Shits. In the collection, The Mustard Man doesn't target your common man (or woman) and even goes out of his way to help one of these people. Instead, he targets those that Burroughs would have called Shits (the politicians, the reviewers of art that don't know what art is, et al). How much influence did Burroughs have on these stories (if any) and how much of it was your own distaste for the Shits amongst us?


RG: I like Burroughs's depiction of the Johnsons. There are certain people who like to stick their noses in but do nothing when needed. That is not the Johnsons. If Burroughs was an influence here he was not a conscious one. However the Mustard Man is a champion. Those who wish to impose a facile moral order based on their own prejudices are undoubtedly going to end up in the food mixture. If one has a palate it is impossible not for feel distaste for the Shits among us. The Shits who make moral judgements without due consideration.

Friday, May 11, 2012

Interlude Stories: Richard Godwin


MEMORY LOSS - RICHARD GODWIN

Chicago. It’s winter. I’m losing my memory. The alliance will move me on soon.

Cars are frozen solid, women scurry by the blocks of iced metal, hiding their skins from the cold. Skin has a price. Even yours.

I’m opposite Millennium Park and I ask myself what I’m doing here. There are no answers in the bottles of Jim Beam and Twinkie wrappers that litter the apartment. I pull down my eyelids and stare at my face in the tarnished mirror. You never know where your next job is coming from.

Every time I think of the alliance I see cakes, endless galleries of cup cakes, chocolate gateaux, éclairs and Victoria sponges spurting cream into the sunken jaws of vagrants. I salivate in this comatose virtual realm at the images paraded before me like some sick twisted little sadistic film. I consider that I am a vagrant, an actor in a film with no script. I have to leave the studio. Survival never respects the law.

I’m stepping out of the shower when the door buzzes. Frankie’s standing there with his briefcase. He walks in, sits down, slings a cowboy boot over his Wrangler jeans, and pops a strawberry Zinger in his mouth.

‘So, Harry, ready for the next one?’

He slides a picture of a fat man eating a lollipop across the stained coffee table. It has the usual details on the back, address, schedule of target’s movements.

‘Usual payment?’ I say.

Frankie nods.

‘Bake him. Then we’re moving you to another city.’

‘Where this time?’

‘Does it matter?’

It doesn’t. It doesn’t matter where I am because the life’s the same, except I’m losing myself. ‘How did I get here?’ I say.

‘You don’t want to know that, Harry.’ He leans forward. There is ice on his tongue. ‘We want you this way.’

I watch him on the street down below as he walks to his car, a small man with small ideas, and I get ready.

The reel of my memory is faded, the world is sepia.

*

It’s an easy hit. Fatso’s in the shower when I get inside his house, I can hear him singing Leonard Cohen’s Famous Blue Rain Coat. He’s croaking, ‘What can I tell you my brother my killer,’ when he stops and gasps like a virgin as he sees me there in my black leather gloves. I say, ‘Bye, baby,’ and spread his head over his nice white tiles. Problem is there’s a half-naked blonde in a G-string in the hallway, who screams and covers her large breasts as I run my eyes down her full figure. Pity to miss a fuck but I pop her too. She looks good enough to eat and I’m hungry as I head out of there. I stop on North Sheffield Avenue at the DMK Burger Bar.

The only beer they’ve got is Heineken and that’s when it hits me. Memory shudders briefly into being. I’m sitting at a bar in Detroit drinking Heineken when Frankie’s boys come in. They blackjack me in the john with my dick in my hand. One minute I’m pissing, next thing I’m lying in a white room listening to Mantovani. A pretty nurse comes in and checks my pulse. I’m aware of something solid in my head, a small hard thing at my temple. It’s a blur of pills and hotels after that.

It’s called the sponge filling. When a gun gets to know too much they control his brain, spooky but true. Soon he’s put in a cake and shipped out to the diners. This job’ll eat you alive.

*

Back at the apartment I open my temple with a scalpel. I cut just deep enough into the side of my head and peel back two inches of skin, removing the chip, which I put in my pocket. I stitch myself up, and put on my hat. Then I pack and head downstairs to the Lincoln waiting to take me to the next city.

The two bozos in the front yap about football as they take the detour. I shoot them at a junction and get a taxi to the airport, calling Frankie from my cell.

‘Think you could do away with me? I’m going freelance.’

‘Good job we have a code. Await your next instructions,’ he says.

Soon I see Bessie Coleman Drive and I taste freedom. It tastes of salt. I move like a shadow through the crowds. I ditch my Glock in a trash can.

As I’m booking my ticket, I feel a hand on my shoulder and a cop asks me to come with him and his colleague. I’ll show them the pictures, I’ll tell them about the alliance. I’ll work for them.

The cop smiles.

‘Do you like cup cakes?’ he says.

BIO: Richard Godwin is the author of crime novels Mr. Glamour  and Apostle Rising and is a widely published crime and horror writer.


Mr. Glamour is his second novel and is out now and is available online at Amazon  and at all good retailers. Mr. Glamour is Hannibal Lecter in Gucci. It is about a glamorous world with a predator in its midst and has received great reviews. Pulp Metal Fiction recently published Piquant, Tales Of The Mustard Man, his culinary genius. His Chin Wags At The Slaughterhouse are interviews he has conducted with writers and can be found at his blog.


You can also find a full list of his works on his website.


He lectured in English and American literature at London University before becoming a professional writer.

Wednesday, January 18, 2012

Interlude Stories Two-Fer: Richard Godwin

THE LIARS OF THE LAUGHING CITY - RICHARD GODWIN
Previously published on this site on January 7, 2010

I waited for the sound to die down. The screaming had gone on all night, my first night in the Laughing City. I was there on a job, the remit to assassinate Artemus Lime.

No one had heard of him, and he had not been sighted since his murder of the president. Their lies dripped from their tongues like semen from a hooker. Not that I cared, another lying politician out of the way.

The case had been chewed over and effectively buried by the press, since it had coincided with the leak about the missing millions.

Yes, the president had siphoned off a sizeable chunk of the economy. So sizeable that the hungry mobs on the streets committed more murders in yet more savage fashion. Women were raped and mutilated, their body parts sold off to fast food chains that had no other supplies for the hamburgers the soup kitchens fed the workers on. The lies here were worse than those back home. The whole place stank of dead flesh and cover up.

The city was a mess. Anyone out after dark risked dismemberment. And thanks to the president, there was no police force. Only the extremely wealthy were protected by private security firms who shot on sight.

As the cold grey dawn rose like a leper, I looked out at the horizon of the Laughing City and wondered how it had got its name. I hadn’t heard laughter in years. Back home it was bomb blasts and bullshit.

I poured a protein drink and ran through the quickest way of finding and killing him. I’d start at the downtown bars. Lime had a reputation for liking prostitutes and there were some really tasty ones, I heard. The mutations which resulted from the last dirty bomb were endless and threw up some surprising sexual combinations, for those with a taste for that kind of thing.

Artemus Lime, bounty hunter and killer, space nomad and politicians’ whore. If the money was right he’d do it.

I’d heard he was a multi-hole man. I guess it beat golf.

I hired a shuttle downtown and watched as the light changed to that opaque, colourless fog that characterised the poorer parts. The stench of rotting flesh was overpowering. They still hadn’t cleaned up many of the body parts after the last explosion. Silver crows and lizard dogs scavenged in the trash for human parts, chasing each other for bits of spleen and ruptured kidney. The crows usually won, tearing strips from the dogs’ balls.

I found the place I was looking for, my only lead.

‘Horny Holes Fuck House’ loomed out at me beyond the spare rib kitchen. The carcasses hanging outside certainly didn’t look animal.

Felix Baw had been typically unforthcoming with me. I’d worked for him before and he came across as if he despised everyone he employed, giving them only the barest of facts about a case and expecting them to get on with it. Baw, child of the Laughing City.

I got out of the shuttle and a pimp in a white suit walked up to me.

‘Hole or hat? We got em all, juicy hole, multi-hole, can do a hat job if you like, drugs, have you tried free spurt? Come in, we got some inside, want to see my ladies?’

‘I’m looking for someone.’

‘Yeah, I got. Free spurt?’

‘I don’t need it.’

‘You try, you like. Guaranteed.’

I wasn’t about to blow my brains on a plutonium enriched smoke that would give me cosmic come and turn me into one of the gibbering wrecks I now saw walking toward me.

‘How about hat job?’

‘I thought it was illegal, even out here.’

‘We don’t blow all brain into hat for fuck, just some of it, use smaller hat so some brain go on floor, and dancer can do dirty stuff to em.’

I felt like hitting him. ‘Might as well sell a bag of warm vomit.’

‘I do good deal.’

‘I’m going in there,’ I said and pointed to the fuck house.

The pimp switched on his really upset look, but I wasn’t buying.

‘No. I got better ones, come see.’

I walked on, dodging the beggar.

Inside, it was dark and stank of mustard for some reason. Someone or something grabbed my arm.

‘Try me.’

Adjusting to the light, I made out a hybrid lady with several eyes and tits the size of rocket launchers.

‘I’m looking for someone,’ I said.

‘You find her,’ she said, wiggling her arse at me.

I showed her the picture.

‘Ooh, he real ugly. I no fuck with him,’ she said. ‘Come on, I give you good one.’

She was trying to drag me upstairs when a man dressed only in shorts and with a belly the size of a large animal kicked her so hard she jumped several feet in the air and crashed against the bar.

The blind barman dropped a glass and the only customer sitting there tried to help her up, grabbing hold of one of her tits by mistake.

‘Get off me, you fuck. You pay touch.’

‘Can I help?’ Fatso said.

‘I’m looking for this man,’ I said, and showed him the picture.

He rubbed his chin. ‘Mmm, look familiar. Yes, I have seen this man before. Now, where was it?’

I put a hundred then another one in his palm.

‘Much more for address,’ he said.

I kept throwing them at him, all expenses of course, and eventually he wrote it down on a slip of paper.

‘0 Screech Avenue.’

‘This it?’

‘Sure, why not?’ he said. ‘You go. See if I give you bad dose, come back fuck my ladies.’

‘Just one question.’

‘Yes?’

‘What’s that smell?’

He sniffed the air and then held his arms up. ‘What smell?’

‘Smells like mustard.’

He snorted. ‘Not mustard. P2.’

I was out of there and in the shuttle.

P2 had been developed by Panacea Drugs, which had a monopoly on all medical supplies. It was a chemical specifically designed to wipe out the smell of rotting flesh.

Horny Holes Fuck House should have had ‘Necrophiliacs Welcome’ in neon lights underneath it.

As it was, Screech Avenue turned out to be a good lead. Fatso had been worth the talk. Number 0 was harder to find, located just at the intersection of a shop selling weapons parts and a derelict house. From the street you couldn’t see it, camouflaged as all zeros were, hence their popularity. But when you looked from the air, there it was, all gleaming pole and glass metal.

I took the flier up and saw it the first time. That’s always the way with zeros, if you don’t see them straight off, they use their programmed disguises to throw you off the scent. Popular with all killers and politicians, they had been snatched up when first built and were prime real estate.

I wasn’t going to waste any more time than I had to.

I assembled an A1 bomb back at my hotel and returned at nightfall, just as the tribes were crawling out of the sewers.

The smell of shit and menses was overpowering and after checking to see if any lights were visible from the flier and deciding that even if Lime was in, he wouldn’t be that obvious, I just blew the door off.

Shards of glass and burning metal swept across the street like a tornado, catching in the flesh of the tribes who had now surfaced. Heads and limbs flew through the air as their mouths, stuffed with scraps of human meat, dropped their goodies on the floor and salivated long thick shreds of drool onto their wasted hands. They shrieked like slaughtered animals and ran back into their shelters.

I put out the blaze and entered his place.

Typical assassin’s pad: metal furniture and nothing on display. I mean nothing. Like a display hotel room. No pictures on the wall, no personal effects, save one: a monitor on the wall giving read outs of activity across the city. I flicked the screen: it was focused on the spaceport.

He knew I was here.

Back at my hotel I considered my options and knew that the lead was squandered. I decided to check out in the morning and go underground. This was going to take longer than expected, and I would need more expenses.

I tried Baw, but it was a no go.

Black-out had fallen down below: another terrorist strike.

Except that night, Lime came looking for me.

He obviously wanted this out of the way.

I knew he was a busy man and his services much in demand. I was in the bathroom when I heard the door open.

Through the crack in the sealant I saw his shape move against the wall. He was making his way into the bedroom. I engaged my weapon and crept out after him.

Just as I lined his head up, he turned and the blast caught his ear, shooting it off and making him jump. He leapt through the window and landed down below without difficulty. From the window I saw him disappear.

He had dropped something, a scrap of paper. It made interesting reading. It was a job sheet, ordering my assassination, signed by Felix Baw. Agent: Artemus Lime.

I knew what I had to do.

Staying underground was easy. Second nature. Finding Lime was harder.

And all the time the laughter got louder, more insistent.

At times as I paced the city I wondered whether it was more a cackle than a laugh. At other times it sounded like a guffaw, then it would trill into a melodious giggle, like a little girl’s. Sometimes in the middle of the night you would hear a booming laugh, then in the morning a gentle titter. The noise started to drive me crazy and I was no nearer to finding Lime.

Baw was inaccessible. No surprise there. I kept trying him so that he wouldn’t suspect I knew. The lies mounted up like spare flesh.

Then, one day, one of my leads paid off.

The owner of a weapons shop Lime used called me. I gave him the money and he showed me straight to him: in an apartment at the back of some government buildings.

Artemus Lime was a government man.

It all made sense.

The ease with which the President’s assassination had been forgotten, Baw’s sudden interest in hiring me. He’d made a lot since the assassination, and there was something I obviously knew which bothered him. What?

Meantime, I took care of Lime.

My source said he often took delivery at nights and after a few hours waiting, I watched as an armoured van arrived and two guys went in. After they left, I silently walked down the government corridors and stopped outside his flat. This time I would use a blaster. I had no questions to ask.

The A1 blew the door off, and I saw Lime jump up at the back of the flat and race toward his weapon. I shot him from the blazing doorway, a good first shot that took his head off, spraying brain matter and tissue right across the hallway. It was a pointillist effect and quite becoming to the apartment, which needed a little cheering up, all metal surfaces and nothing homey about it.

As I walked over to him, Lime lay twitching like an insect in a pool of blood. One arm reached uselessly across the wet floor. I think he was looking for his head, which lay in bits several feet away. You only get one shot at me, and he failed. His neck was still showering the flat and it was a little messy, so I just burned him up and looked around the place for any evidence which might be useful, but found nothing.

‘Bye, Lime,’ I said. ‘Can’t shut your door, but I guess they’ll find you in the morning. Hope the tribes enjoy what’s left of you. I don’t know if they like it barbecued.’

I spent one more night in the Laughing City, convinced that the noise was getting louder.

That is, apparently, one of its effects, the volume.

It’s personal, you see, a strangely hallucinogenic experience.

Some people hear a titter, some a whine, but it’s different every time. It doesn’t always start with laughter, as with me. After the screaming, the laughter came at first as a welcome relief. But then it got louder and louder until by the last night it just sounded like an audience roaring at a joke I’d missed.

I went out for dinner and every road echoed with it. At times obscene, at times gentle, it followed me like a beggar.

The waiter must have noticed my disquiet. As I paid, he said, ‘Everything all right, sir?’

‘That obvious?’ I said.

‘Food no good?’

‘Food was fine. It’s the laughter that’s getting me down.’

‘Oh, you get used to it. Tribes are out tonight.’

‘How?’

‘How what?’

‘How do you get used to it? Why the Laughing City?’

‘You don’t know? Oh, well, after the war, you know the old one, when the first wave of mutants were created, the noise at night was terrible. Screaming, choking, all night, drove you mad. When people first heard them scream, they didn’t know how they could make so much noise. You take a good look at the tribes tonight when you leave here. Most tourists don’t see them, but have a good long look at them. The noise was terrible, the screaming as they found survivors and dismembered them, tore them apart, flesh scattering everywhere, disgusting, never have that in my restaurant. So they keyed it in.’

‘The laughter?’

He nodded.

‘They run it on a loop. Sometimes, when the tribes are quiet it go down. And sometimes, it get louder and louder when they really tear bodies apart. Then the noise is much worse, you prefer the laughing if you stay here, believe me.’

‘It’s a disc,’ I said.

‘We need tourist. Tourist like it.’

On my way back to my hotel, I saw a tribe descend onto the street like a pack of animals. Their teeth were red with the proceeds of their night’s feasting, blood dripping from their fangs and splattering the road. They’d obviously been on a feeding frenzy, and must have found fresh supplies, even though I hadn’t heard any blasts, but then the laughter would have covered it up. Chunks of flesh were scattered around the street like debris, and as I got into the shuttle, I had a good look. I’d seen the fangs, but there was something I’d missed: not obvious, especially since you only ever got to see them in the gloom of nightfall.

It was as the shuttle sped away that one of them turned its head and that was when I saw it: they had no ears. The mutations had left them without hearing. Only something stone deaf could scream like that.

Now I knew why it was called the Laughing City.

I spent a final night in it, driven mad by the noise and left the next morning.

The silence back home was a welcome relief, and as I got the news, Baw’s plan made sense.

He had financed his own army, a bunch of renegades mostly, and was rounding up all vagrants and criminals and sending them off to the camps. That was why he wanted me dead: I’d worked for him before and he was always a satisfied customer, inasmuch as satisfaction was discernible in the limited range of his human responses. But my criminal record from the old regime was the blot in my copybook and he wanted it to go away.

Baw had plans, all right, and the President had been sitting in his chair.

I knew most of the recruits, having trained and worked with them. I also knew they were mercenaries and only wanted the money. The army was in its infancy and hadn’t even got running yet. But it needed to be stopped.

I knew these guys and knew they had no loyalty to Baw.

And so I took him out.

Guys like him are easy. They never see it coming. He didn’t even know I was back.

I marched right into his office, past the secretary who always waved me on, and found him seated at his desk. Looking up from his computer, he let out a gasp. Even his shock looked like a lie.

‘Surprise,’ I said, and blew his brains across the four walls, leaving them to dry a little.

I collected my pay from his bank account, which took a little hacking into to get, and then proceeded to issue instructions from his office to disband the army.

They all got paid, of course, with a little bonus.

And that’s how I got to keep my friends on my return from the Laughing City.

RETURN TO THE LAUGHING CITY - RICHARD GODWIN

Previously published at Thrillers, Killers N Chillers on March 2, 2011

I was trying on one of the newest suits.

I strapped it on like armour, standard mechanized metals mined from the Azure Fields.

It felt like an Iron Maiden without the spikes.

I never needed that kind of protection, a kill’s a kill, wearing that shit was like fucking with a condom, playing the piano with gloves on.

I took it off and handed it back to the bounty salesman. They were amassing weapons for the new breed of assassins. I thought they were a bunch of pussies.

If you don’t like blood don’t take the job.

I needed to feel every vibration, every fluctuation in the kill, like the tremors in a lover’s body and soul.

I went outside and stared at the Azure Fields.

A pale blue ghost in some hallucination.

They blew in the wind that kicked up from nuclear fall out when the punctured sun bled.

It had a certain poetry, a half orange dripping red from a broken skyline. Beyond it you could see the event horizon of an imploding supernova.

Nothing was real in this desert of scars and broken humanity.

I looked out at the wounded horizon, it felt like witnessing a rape behind reinforced glass.

You want to punch your way through it but your knuckles are bleeding.

This place will strip the flesh from you and chisel your bones.

I thought about the assignment.

Baw had been long forgotten when I took the job.

I’d been smoking a few renegades out and handing them in to local government bureaus where they just shuffled papers and threw them back in the water with a few more scars than they already had.

I’d got my own army by now and these men were hungry for killing.

I’d kept them since I assassinated Artemus Lime.

When I put the suit on I didn’t expect to be going back to the Laughing City.

But then I knew not to expect a fucking thing from the cold comfort farm of my life.

If I was going back I was going naked.

I wanted to move with the air on my skin.

*

Jarves Long was a fat cat businessman.

He was part tetronium, the new metal that guys were smoking because it gave them erections that lasted for a year.

Painful flaming unrelieved hard ons they could only alleviate by mass fucking.

Panacea Drugs was behind it and once again hadn’t banked on its side effects.

What the fuck did they care?

The hookers were happy, wives less so. I’d made a load of money buying shares in KY Jelly.

It was such sweet pleasure to see their value rocket while men with obscene bulges ran amok in the streets.

The air was full of the acrid smell of spent semen for weeks on end.

Long spent little time with me in his air conditioned office.

He looked like a fat walrus. There was something wrong with his face.

‘I want you to remove this man,’ he said, sliding a photograph across the table at me.

I knew who he was.

‘You serious?’

‘Do I look like I’m joking?’ he said, scratching his prick.

‘You want me to kill Manuel Blaize?’

He met my comment with a blank stare.

I looked at his face and realised what was missing. He had no eyelashes.

‘Why do you want him dead?’ I said.

‘Let’s say he has reneged on a deal and is a threat.’

Outside, in the lift on the way down, I thought it through.

Manuel Blaize was the nastiest killer you’ll ever meet.

Face covered in scars, Mexican, army trained, half android, liked eating the brains of his victims and good with a knife.

I headed up to the Laughing City.

I had my flame gun with me and my usual array of weapons, hardcore killing machines that can do the job just right depending on the situation and the man.

Always read your man, that’s the way you get to clean up in this business.

If you get him wrong, you’re wasting your time.

I like shootings best, a quick shot, spurt of blood and home.

Home is where the empty metal surfaces are, the lack of human life, an assassin’s pad.

Like a hotel room built for fast exits and entrances.

I live in a theatre of the macabre, and I count the bodies.

I wanted to scalp Blaize.

He’d killed so many men I knew.

I also promised a friend a little something from the Laughing City.

Lynn Queen was after some Crow and I knew just how to hand it to her.

She’d been brave enough to expose the lies of the system down below and I wanted to give her something back, even if she was a Royalist.

I arrived in the City as mercury rained from the sky.

It was crazier than the last time.

The light flickered orange and red like a deranged traffic light and the Lizard Dogs and Silver Crows were out.

I watched one fly off with the mangled remnants of a dog’s penis in its mouth, sit on a burned out car and tear it piecemeal with its claws.

I headed to the hotel where I began my search.

I found two locations for Blaize, one where he met his recruits, young Mexican militaries who would kill anyone for the right money, the other a whorehouse he used.

My hacking showed me he also liked Drip02, the new hallucinogenic drug, a million times more powerful than LSD.

He’d shoved some up a whore’s cunt and performed a little operation with his knives.

As I was about to leave Long messaged me.

‘Dispose of the body,’ was all he said.

I passed by the River HaHa, filled with aborted foetuses. These were the mutated terminations of hookers’ encounters with some of the more extreme customers of the City.

From time to time one of them would float to the surface with a distended hand or an eyeball the size of a blood orange popping out of a collapsed head.

I got a shuttle and headed to Blaize’s headquarters.

It was black there, no light and I figured I’d go in.

Nothing except empty space the size of a hangar.

Blaize never left any trace, he killed with precision.

I left.

As I made my way back I bent to check the time and felt something hiss by my ear.

I ducked and saw one of his knives land in the side of a Lizard Dog.

It ripped right through it spilling a mile of coiled and swirling guts on the menses strewn pavement.

I turned and saw Blaize’s scarred face vanish.

I made my way back as the laughter started that night.

It was worse than the last time.

It was as if an audience were screaming insanely at a joke.

A high pitched whine of a cacophony of deranged hilarity took over the air waves until I made my hotel room and closed the door.

I was going to kill him tonight.

I got my flare gun and my A1 which can shoot through reinforced steel.

I ate some powdered heart and made my way to the blood bath.

*

The Tripped Out Fuck House lay at the edge of the City.

It was the last stop beyond the Whore’s Hole.

The driver wouldn’t take me there and I had to walk.

Some mutant hookers were strutting past some garbage that spilled onto the broken road.

I could make out the tip of the desert beyond the City, the place where no one goes.

‘Fuck me any way you want,’ one of them said.

She wore neon boots and a skirt the size of a rag and put her hand inside herself as she licked her face with her ten inch tongue.

‘It’s OK I’ve eaten,’ I said.

The other one approached me, swaying with what I assumed was intended to be an erotic gesture, although she looked like she desperately needed to pee.

Her eyes were made with beaded jewels and she pulled out an obscenely large breast.

‘I can clean the floor with my clit while hanging from the ceiling,’ she said.

‘I have a cleaner, thank you.’

They squealed with obscenities as I passed them.

The Tripped Out Fuck House was busy.

I don’t know what was worse, the fact that they used lights that turned everything yellow or that they were playing Black Lace.

Even in a good mood, Agadoo made me want to kill.

Its popularity in the Laughing City stemmed from the fact that it encouraged tourists to dance obscenely and make merry, like some grotesque backdrop to the endless tapes of the chuckles and guffaws.

A couple of whores laid their sweating hands on me.

‘You want some wet snatch?’ one of them said.

‘No, I’m just here to push pineapple, shake the tree.’

‘Don’t you like us?’ the other one said.

‘I met a hula mistress somewhere in Waikiki.’

I edged past the whores and disappeared up the back staircase.

I’d checked out the layout and it was simple.

The fuck rooms were upstairs.

I’d timed it right, Blaize had gone in earlier and downed a huge dose of Drip02.

I disturbed a few fucks and found him in a room with a glitter ball hanging from the ceiling.

He was fucking a whore up the ass while another one sprayed him with come.

They saw me. He saw a series of mutant animals and began throwing knives, and as the whores ran out I incinerated him. I fried him to a crisp.

Then I shot him for good measure.

I held my gun against his ravaged face, pushed deep into a cicatrix the shape of a swollen gash and blew his head apart.

I looked around the room.

Shards of obscenities lay among the waste and used condoms, dildoes of all shapes and specifications adorned the fuck room.

Blaize’s jaw bone hung dripping from the glitter ball like a detumescent penis.

And I dragged his smoking body down the back stairs and into the street.

His skin looked like it was covered in burnt potato chips and syphilitic scabs.

Outside mercury rained from the sky and bombed and ricocheted like malign stars falling from a hole in time.

The whores were gone, the Dogs and Crows were out and they were not in a good mood.

I watched a Crow peck a Dog’s eyeball from his head. He squawked in wild delirium.

I walked to the edge of the River Haha dragging Blaze’s body on the ruined ground.

His skin was falling from his bones and lay lodged with chunks of flesh that were skewered on the sharp stones.

The sound was deafening now, the laughter had been turned up full volume.

I leaned down and scalped Blaize, running my razor sharp knife in a perfect circle round his skull and peeling it away like a label.

‘Well, looks like you lost this one,’ I said.

The old assassin’s methods are the best.

I took one last look at his bleeding head, and using the knife he had tucked in his pocket, cut his stomach open, releasing all the gases. Then I tied some rocks and waste metal to him.

‘Can’t have you floating,’ I said.

I threw him in the red and foaming water and watched him sink below the decayed foetuses that hovered like deformed nightmares on the black current.

Then I returned to my hotel where I packed.

I wrote ‘invoice’ on Blaize’s scalp with a marker pen.

As I made my way to the space port I stopped in the street and took a shot of a Silver Crow.

Back home I went to get my money from Long.

‘Good job,’ he said, sliding the cash across his desk.

‘A little present for you,’ I said.

I’ll never forget his face when I laid Blaize’s scalp on his desk.

He had the outraged shock of a meat eater who has never seen an animal slaughtered.

His lashless eyeballs stared into space.

I paid a visit to Lynn and gave her the shot.

She looked down at it and seemed unable to remove her gaze from it.

‘You’re not avoiding eye contact, are you?’ I said.

I could see she was delighted.

Her efficiency never failed to amaze me.

She put it on the cover of her magazine the next day.

I invested my money in some new weapons.

I began training my army for what I had in mind.
 
BIO: Richard Godwin is the author of crime novel Apostle Rising, in which a serial killer is crucifying politicians and recreating the murder scenes of an original case. The novel has received great reviews.
 
It has just sold foreign rights to the largest publisher in Hungary.

He is widely published in many magazines and anthologies and also writes horror and Bizarro as well as literary fiction and poetry. You can find out more about him here. His Chin Wags At The Slaughterhouse are popular and penetrating interviews he conducts with other authors at his Blog.

His second crime novel, Mr. Glamour will be published in April of this year by Black Jackal Books as a paperback.

Wednesday, January 4, 2012

Interlude Stories: Richard Godwin

BLOODBATH AT THE PERFUME FACTORY - RICHARD GODWIN

Rosemary of the soft skin had been acquired by Ronald Noble as his latest accessory.

She had wild blue eyes that had been switched off by the drugs and she liked to cover her skin in the oils sent from the exclusive perfume makers of France.

She had accounts with them all and knew the combination still used from the originators from Grasse.

Now, one Sunday, away from the sweaty advances of her husband, she dipped her body in the hot water of her bath and read about the US economy.

The book she held in her hand was called ‘Pissing It Up The Wall’ and she already loved the first paragraph.

She enjoyed the sensation of hot water lapping around her body as she digested the economic jargon and felt herself sliding into a tidal world of politics and manoeuvres.

Beneath the fiscal pomp she sensed a darker glory, a codification of need based on the control of dependence engendered by the economic relation between the pharmaceutical companies and the politicians.

And as she sipped her wine she sensed a way to crack her husband’s hollow skull.

She read about the waste incurred by the government, its statistical lies and obfuscations, its declaration of foreign support based on nothing more than reinvestment in its own economy and she began to feel hot.

Outside the window cleaner leaned on his ladder, a twisted allegory of pain.

He was the hanging man of her dreams, the one she could sup from.

And within that dark and bleeding moment she thought she was haemorrhaging on knowledge borne from the cup of sinful knowing.

That she had transgressed some hidden law and she felt the water had turned dark and she were bathing in blood.

The window cleaner leaned to watch the flesh on offer and his ladder slipped.

He reached out a hand and caught hold of an electrical cable plunging Rosemary into darkness.

He hung from the wire and managed to fall softly into a tree from which he made his escape with the cash he had earned.

Rosemary reached for her handbag, fumbling for her torch.

But there was no light in this economic blackness and she dropped a wad of cash into the bath.

The moon broke through some clouds and sent a distant ray of light into her steaming bathroom and as she stood and reached for the cash it seemed to her she was pulling the notes out of blood, each dollar dripping with blood and strangely erotic by the light of the moon.

And she realised as she stood there that the economy was nothing more than that and she knew all she needed to know.

Downstairs, she found the trip switch and lit the house.

Then she poured some wine and returned to her bedroom to dress.

She went into the bathroom and watched the steam swirl in the air and it seemed to her like the vaporous economy she inhabited.

She pulled the plug and watched the red water disappear down the pink drain and she knew the menstruating economy was another shell.

She made a salad Nicoise and waited for her husband to return home.

As she handed him his plate, she said, ‘I’m thinking of starting up a bank.’

BIO: Richard Godwin is the author of crime novel Apostle Rising, in which a serial killer is crucifying politicians and recreating the murder scenes of an original case. The novel has received great reviews.

It has just sold foreign rights to the largest publisher in Hungary.

He is widely published in many magazines and anthologies and also writes horror and Bizarro as well as literary fiction and poetry. You can find out more about him here. His Chin Wags At The Slaughterhouse are popular and penetrating interviews he conducts with other authors at his Blog.

His second crime novel, Mr. Glamour will be published in April of this year by Black Jackal Books as a paperback.

Friday, November 25, 2011

Interlude Stories: Richard Godwin

ICING SHYLOCK - RICHARD GODWIN

So I’m sitting in Parkside, Anthony Federici’s place. I got connections. What the fuck, I was made at eight. There’s been a few scuffles in the administration, nothing major. Only a few dead bodies. I’ve just ordered Osso Bucco, I can smell the veal sizzling. I love a bone with a hole, and my comare Graziella has her hand on my thigh. Her nails are Chianti red as she slides her fingers upwards when he walks in. Freddy the fucking Shylock. No more than a babania, a babo.

‘So, Tony, how’s it going?’ he says, laying his sweaty palm on my shoulder.

I check my Armani suit for grease marks and catch the angry flicker in Graziella’s eyes.

‘Good, I’m a little busy right now but-’

He cuts me off.

‘There’s a little something owing,’ he say, cupping his hand next to my ear.

I return his gaze and watch his eyes wander down Graziella’s cleavage, hovering at the edge of her La Senza bra.

Look, I gotta tell you this guy’s a cafone, his mother used to hide him under shopping when she took him out, you know. He’s got this puckered face. Gotta pay for his snatch. I ain’t respecting some smart ass like that. But they call me Tony Two Times and I stand by my name. I always give them a chance. I mean, you gotta play fair, right?

‘Excuse me,’ I say to Graziella, and leave her sipping her Prosecco.

I wander the marble corridor.

‘What the fuck do you think coming here and embarrassing me like that? Do you know I’m getting married?’

He smiles, flashing his big yellow teeth at me. It’s ugly his smile, like someone cracked an egg on his fucking face and I think of pliers, my favourite tool. I like to remove their teeth when I’m on a hit, one by fucking one. It’s surprising how much information you can get like that. Crack. Scream. Crack. Scream.

They whine like little girls. They want their mommas. They pray to Christ.

I was hired once to get some vig. Some smart ass reneged on his debts. I like that word renege. So I kidnapped the guy’s son and friend. I called him, I gave him a chance. The asshole never paid. I killed them with a broken Corona bottle and drank a cup of the son’s blood. That was before I gave up coke.

Now I look at Freddy and see he’s nothing more than an empty suit.

‘I’ll get you the money,’ I say, ‘next week.’

He shakes his head.

I can see he’s enjoying this.

‘Na.’

‘You know what’s happening in a few days?’ I say. ‘Me and Graziella, I’m a fucking earner.’

He starts to walk away.

‘Not good enough, Tony, bye bye.’

He waves and that’s when it comes to me. I have to do it. The guy’s half a hard-on with a suitcase, he’s a fucking problem, got no respect. He needs to go. I’ll do it for Graziella. She’s a fucking diamond, my best asset.

‘OK, I’ll pay it,’ I say.

He stops.

‘When?’

‘Now.’

I go through to Graziella and she flashes her eyes at me.

‘I’ll only be a few minutes.’

While Freddy’s waiting, I steal out front and slash one of his tyres. Then I walk with him to his Benz.

‘Hey, what the fuck?’ he says.

I lay a hand on his shoulder.

‘Kids these days,’ I say. ‘I’ll change it in two minutes.’

He opens the trunk and hands me the jack. Dumb fuck. I smash his head in, bundle him inside, and drive him to Long Island.

The night’s like black velvet as I cut his gut open, release the gases, and weigh him down. Not a murmur, he sinks like a stone.

Back at Parkside, Graziella’s a little mad, but she soon calms down. I marry her two days later. Tony Federici puts the call through for me and I pay my debt. Fuck, she’s his only daughter. Freddy was small time.

These Young Turks, what do they know? Me, I’m enjoying the finest comare snatch this side of Sicily.