Search results for ""Author Alan Burns""

Buster was the first, and arguably the most traditional, work of fiction by Alan Burns – dating from before his aleatoric style developed into “cutting up”, but displaying early examples of the trademark disjointed, brisk and biting style which earned him a cult following. Imbued with autobiographical sentiment, the novel shows a young man’s upbringing during World War II and his disillusioned vision of the post-war world. Never before published in standalone volume form since its original publication in the inaugural New Writers anthology in 1961, Buster is characteristically succinct and of huge literary merit, but in its autobiographical and pre-aleatoric style it provides, perhaps more importantly, a key to understanding the rest of Burns’s works.

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Celebrations, Alan Burns’s third novel, brings the inherent violence and oppression so apparent in Europe after the Rain into the setting of a family-owned factory, where social hierarchies, legal structures and humiliation keep the workers in line. By bringing the differences between workers sharply into focus, Burns creates a choking atmosphere of oppression and exploitation – heightened and upended by his trademark aleatoric style, peppering with seemingly random headlines and offcuts the text, which has not lost any of either its relevance or its acerbic bite in the intervening years.

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Dreamerika!, Alan Burns’s fourth novel, first published in 1972, provides a satirical look at the Kennedy political dynasty, serving up an idiosyncratic hotch-potch of history that gives an old tragedy new meaning. For this book, Burns collected newspaper clippings, headlines, cartoons and photographs, cut them up, filed them and then interspersed them throughout his text to create a collage of contrasting effects. Presented in a fragmented form that reflects society’s disintegration, Dreamerika! fuses fact and dream, resulting in a surreal biography, an alternate history which lays bare the corruption and excesses of capitalism just as the heady idealism of the 1960s has begun to fade.

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Babel, Alan Burns’s fourth critically acclaimed novel, contains all the hallmarks of the aleatoric style he helped to define – shot through with seemingly random newspaper headlines, poems, snatches of conversation and anecdote, which both heighten and undermine meaning, and characterized by extreme contrasts of mood and style and startling surrealist juxtapositions of images and ideas. By turns comic and tragic, tender and brutal, religious and blasphemous, the narrative rockets from London to the United States to Vietnam to interstellar space, familiar events are constantly fragmented and reset into new patterns, and ultimately Babel becomes a cautionary tale about the tragedy arising from attempting to build Utopia.

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Europe after the Rain takes its title from Max Ernst’s surrealist work, which depicts a vision of rampant destruction – a theme which Burns here takes to its conclusion, showing man not merely trying to come to terms with desolation, but combating human cruelty with that resilience of spirit without which survival would be impossible. The Europe through which the unnamed narrator travels is a devastated world, twisted and misshapen, both geographically and morally, and he is forced to witness terrible sights, to which he brings an interested apathy, without ever succumbing to despair or cynicism. Upon the novel’s first publication, Burns was heralded as presenting a picture of his age and capturing the ‘collective unconscious’ of the twentieth century – in a language that can have few rivals for economy, beauty and rhythm. His austere sentences glow with intelligence, colour and force, and evoke a powerful image for the modern reader of fears every bit as relevant today as on the day when they were written.

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