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A remarkable anthology, including many largely unknown poems from the trenches, in which Martin Taylor illustrates the extraordinary range of emotions generated by the horror of the First World War and the experience of trench warfare.
These two volumes constitute the first substantial anthology of paederastic poetry and prose compiled since Men and Boys: An Anthology in 1924. It is a representative sampling of the diverse paederastic texts written by the English Uranians, ranging from William Johnson's Ionica (1858) to Samuel Elsworth Cottam's Cameos of Boyhood (1930). Forty-seven writers of Uranian poetry and prose have been included in the two volumes of this anthology, including, in this second volume: Edmund St. Gascoigne Mackie, Hector Hugh Munro (Saki), A. Newman, John Gambril Francis Nicholson, William Paine, Walter Pater, Mark Andre Raffalovich, Forrest Reid, Frederick William Rolfe (Baron Corvo), Charles Edward Sayle, Charles Kenneth Scott-Moncrieff, Arnold William Smith, Simeon Solomon, Lord Henry Richard Charles Somerset, Stanislaus Eric, Count Stenbock, John Moray Stuart-Young, John Addington Symonds, Edward Perry Warren, Joseph William Gleeson White, Oscar Wilde, Theodore Percival Cameron Wilson, George Edward Woodberry, Cuthbert Wright Despite a variety of approaches to the theme, the writers anthologized here have one thing in common: Boy-love was, for them, a profound passion.
"What I wanted after college was a job and my own apartment, but what I needed was a good comeuppance, and that’s what I got." When Dave Itzkoff graduated from Princeton in 1998–the first member of his family to earn a college degree–he expected to be rewarded with a career, and a life, that mattered. Instead, he ended up convinced that he was selling the entire institution of manhood down the river. After a series of personal and professional experiences stripped him of any lingering sense of entitlement, Itzkoff found himself working as an editor at Maxim, the pugnacious frontrunner in a new breed of men’s periodicals dubbed "lad magazines." There, he was initiated into a culture of heavily retouched girlie pictorials, dirty jokes, disingenuous sex advice, and shopping guides for expensive electronic gadgetry. And as Maxim continued its inexorable rise to become the most successful men’s magazine in modern publishing history, Itzkoff was left wondering what his work–and his life–really meant. Lads is the hilarious, heartbreaking story of Dave Itzkoff's efforts to define himself as a man while working at a magazine that was purveying a vision of young manhood–a state of perpetual adolescence–that was seductive to all but viable for none. Lads takes us deep inside one young man’s struggle with identity, responsibility, and sexuality, in an unsparingly candid account of how men really relate to one another, as fathers and sons, as employers and employees, as colleagues and friends. Lads is trenchant. Lads is perceptive. Lads is alarmingly funny. This is an unforgettable debut from a young writer of astounding talent.
Spanning one dynamite paragraph, Ten Storey Love Song follows Bobby the Artist's rise to stardom and horrific drug psychosis, Johnnie's attempts to stop thieving and start pleasing Ellen in bed, and Alan Blunt, a forty-year-old truck driver who spends a worrying amount of time patrolling the grounds of the local primary school. Bobby - the so-called 'love child of Keith Haring and Basquiat', holed up in a Middlesbrough tower block - works on his canvases under the influence of pills-on-toast, acid-on-crackers and Francis Bacon. When Bent Lewis, a famous art dealer from that London appears, Bobby and friends are sent on a sweaty adventure of self-discovery, hedonism and violence involving a 2.5cm-head claw hammer. A love song to a loveless Teesside and a portrait of a deeply dysfunctional, creative and drug-sodden world, Ten Storey Love Song is a ferocious slab of concrete prose peppered with beauty and delivered with glorious abandon.