Literature of Resistance, As Literal Resistance - Werewolf

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The Seven-Author Novel Seaton

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It is a novel which resists many of the attributes of SUSTAINING
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the postmodernist literary novel as we understand it
– and falls stylistically and conceptually close to the
work of Tony White. In an interview with 3AM Join the alternative to
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the experience of writing for a speci c audience mind-set!
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his novel Road Rage!, drawing on Stewart Home’s month to support
early novels (and the Richard Allen skinhead pulps Werewolf. This can be
which inspired them) produces a Modernistic avant- done either via:
garde e ect. Like these works Seaton Point
demonstrates an interest in the performative quality Automatic or one-o
of writing as an activity which produces its own logic; payments to our bank
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for the writers of Seaton Point, the collectivity and BNZ - Gordon Campbell.
social activity informs every aspect of the text. 02-0500-0890468-01
The authors of Seaton Point describe their text as ‘an Or via paypal using your
inner-city tale of magic, mayhem and gratuitous sex credit card:
scenes’ and wrote a provocative introduction in which
they propose multi-author texts as an opposition to Monthly Subscription
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When nally written down, oral folklore such as

the Odyssey is allocated a single creator – the
mythical Homer – in order for it to be
understood by those of a limited outlook.
Make A One O
Thenceforth, the work is immutable, it is killed Donation
as an evolving story: to add to it now would be
to invite accusations of presumptuousness
from outraged classical ‘scholars’. We are a
Instead of spending $10 a
corrective to such cultural imperialism. In this
month on magazines and
work, the process is transparent and we lay no newspapers, why not
claim to it. But we do lay claim to our culture. pledge that to sustaining
We are not postmodern or ironic or any of that one of the most
self-indulgent Western nonsense. We mean it.[3] promising media
prospects on the New
Zealand media landscape
The uncertainty surrounding our conception of the
today!
historical Homer makes him useful for resisting
literary canons in their contemporary form: there is
considerable doubt as to when, precisely, he lived;
whether his work was the production of a single
person or a group; whether the poetry of ‘Homer’ was
compiled from many anonymous sources; whether
‘Homer’ is a real name or a title or alias for a man or
group, and so on.
The point that the authors of Seaton Point make, both

by using the example of Homer and by emphasising
the collectivism of their own writing process, is this:
although the novel is a form de ned by individualistic
notions of authorship it is only one possible way of
thinking about literature. The production and
reception of novels always involves collective activity;
authors have agents and editors, and friendly, trusted
readers or writers’ groups, who each give feedback
on manuscripts and work-in-progress, who each have
in uence on the ‘authorial’ text before it enters into
the realm of public consciousness. Once in the realm
of public consciousness it takes ight in the minds of
(hopefully) a multitude of readers whose perspectives
on it are a form of mutual investiture or reciprocal
imaginary with that of the world of the text and the
‘author’. The writers of Seaton Point are interested in
two key aspects of textual production: what the
writing of ction means as an experience for them
and, through sharing that experience, what it might
come to mean for their readers and for writers who
follow their approach. The emphasis is on the social
production of literature as the experience of literature,
and Seaton Point makes a very distinctive intervention
into literary theory in this regard; the catalogue in
publication page of the novel declares boldly: ‘No
Copyright. Unauthorised reproduction, transmission,
adaptation and circulation without the publisher’s
prior consent are actively encouraged. Disks to
facilitate this are available free of charge from the
publisher.’
Seaton Point operates within a framework of critique

of the place of the novel as a product of isolated
individualism alongside other important international
publications such as the novels Q by ‘Luther Blissett’
and 54 by ‘Wu Ming’ (‘Wu Ming’ comprises the four
authors who were Luther Blissett plus one more—the

latest book by Wu Ming to be translated into English
is Manituana (Italian, 2007; English , 2009)). The
thrillers, Q and 54 are based in historical periods of
upheaval—the Reformation and post-War Italy/Cold
War Europe respectively—and interrogate
individualist and collectivist political positions
through dramatic events. As novels, they resist the
individualism associated with novel-writing in some
very strong ways. Both Q and 54 emphasise their
existence as objects within social exchanges rst
through their collective production and second
through the CIP pages where both novels state:
‘Partial or total reproduction of this book, in
electronic form or otherwise, is consented to for non-
commercial purposes, provided that the original
copyright notice and this notice are included and the
publisher and source are clearly acknowledged’. Such
international avant-garde declarations in favour of
the social exchange of literature outside of
commercial avenues are a powerful context to situate
Seaton Point against.
Paul K. Saint-Amour o ers an interpretation of the

relationship between such notes of resistance and
the dominant forces of copyright law in his book The
Copywrights: Intellectual Property and the Literary
Imagination, he writes that:
The contemporary artworks that antagonise

copyright and the scholarly studies that
interrogate it participate in a deliberate and
reasoned engagement with an overextended
legal regime that may still be reined in. But
because these oppositional works are launched
from within cultural and academic markets
where copyright not only dominates but partly

predetermines subject-positions and conditions
of utterance, they cannot fully exit the thing
about which they would speak. The
counterdiscourse to strong copyright, in other
words, is a symptomatic discourse.
But of course, this is only a partial impression and

only concerned with one aspect of Saint-Amour’s
book; the work of Luther Blissett and Wu Ming is not
primarily aiming at this academic milieu, while Seaton
Point is operating in an arena which has been largely
invisible to academic discourse and on the margins of
contemporary literature. To term it a ‘symptomatic
discourse’ is to reduce the impact of agency within
the cultural exchanges of literature. Left radical
voices like the Luther Blissett Foundation and the Wu
Ming Foundation are operating from a perspective
where the role of agency is central, they are not
setting out merely to antagonise copyright as a
construct but aim to o er up a system of literary and
intellectual exchanges of ideas which are freer in
their designation of ‘fair use’ for cultural producers as
people with creative agency. The seven authors of
Seaton Point are taking up a position which gives the
experience of collective creative activity absolute
primacy even over engagement with academic or
commercial literary concerns.
Literary Production—Social Production—

Experience of Literature: Or How to Avoid Writing
Equations in Literary Theory.
There is something whimsical about Seaton Point.

Although it is a novel which takes a militantly
materialist stance on the act of literary production, it
still manages to evoke a genuine sense of play as a

meaningful activity. Literature is an exciting
playground in this novel; literature is also an
unrestricted space: Seaton Point demonstrates that
literary forms have rules and expectations (the
writers show that they are aware of them) but it also
asserts very strongly that the act of producing
literature can do with these as it sees t in the
moment (i.e. the logic of the text evolves during the
act of writing). It e ectively folds up Trotsky’s
discussion of literature to cut through the argument.
Trotsky carefully distances literature from overt

political activity on one hand, emphasising that the
rules governing literature are necessarily literary
rules, not political ones, whilst asserting on the other
that all art necessarily re ects the political and social
conditions governing its production—literature and
art always allow political critique of their time to be
conducted through them because they hold the
conditions of their production within themselves as
artefacts which will persist beyond their moment, but
to hold them to a single ideological position is to miss
what makes them literature.The inevitable space
opened up by Trotsky regarding politicised literary
theory remains: How do we square literary aesthetics
and politics?; and: is it really desirable to do so when
reading literature? Seaton Point takes up a position
which resonates directly with this question and in
arguing for literature as process comes up with a kind
of anarchic aesthetics of permanent revolution which
neatly moves the debate on. In resisting any form of
closure the novel asserts not only that its condition as
text supersedes political and aesthetic debate (by
being always a potential sphere where both, and
more, can be played out to multiple conclusions—a
Barthesean free play of meaning) but also that the
experience of using literature as an unlimited dialogic

form (no single author, no copyright) will, as a social
act, resolve such debates by giving them a limitless
space in which to speculate with new ideas and grow
into new forms. This has parallels with the analyses of
‘defamiliarisation’ in Russian Formalism, the value of
Fantasy as ‘secondary creation’ in Tolkien, and even
the importance of Science Fiction’s ‘cognitive
estrangement’ in Darko Suvin but for the comparison
with the council at setting of Seaton Point I would like
to consider the rather more domestic and, in some
respects, more eccentric case of Nathaniel
Hawthorne’s ‘Custom House’ introduction to The
Scarlet Letter as literary theory.
In ‘The Custom House’, Hawthorne describes ction

as a space where readers’ and writers’ imaginations
meet through comparison with a domestic household
rendered almost alien by moonlight:
There is the little domestic scenery of the well-

known apartment; the chairs, with each its
separate individuality; the centre-table,
sustaining a work-basket, a volume or two, and
an extinguished lamp; the sofa; the book-case;
the picture on the wall; —all these details, so
completely seen, are so spiritualized by the
unusual light, that they seem to lose their
actual substance, and become things of
intellect. [….]
Thus, therefore, the oor of our familiar room

has become a neutral territory, somewhere
between the real world and fairy-land, where
the Actual and the Imaginary may meet and
each imbue itself with the nature of the other.

[4]
He reminds his reader of the concrete social

substance of the interaction between writer and text
and reader and text, it acts as a shorthand theory of
literary production: literature happens where
readerly and writerly imagination coalesce like
homely objects seen in unusual light to make the
familiar strange and the strange familiar. Because
Hawthorne is writing before the emergence of the
modes and genres that the others are used to refer
to, his co-mingled Actual and Imaginary, mutually
‘imbued with the nature of the other’, is usefully uid
conception for a text which respects no genre or
formal distinctions. Hawthorne’s metaphor also
indicates a sense of the irreducible pleasure of
literary creation, something that the seven authors of
Seaton Point assert to be of vital importance:
literature has certain concrete conditions of
production (Hawthorne actually worked in a Custom
House) but it supersedes them through its
transformation in the imaginary (he spins a yarn of
discovering the story of Hester Prynne) which then
becomes something else again for its readers (The
Scarlet Letter as text becoming a reading experience).
Seaton Point is the name of an actual block of ats in

Hackney, the seven authors of Seaton Point are each
taking the peculiar combination of ‘Actual’ Seaton
Point and ‘Imaginary’ conventions, forms and
narratives in di erent directions: for one contributor
it the combination becomes something like a
contemporary version of Kafka; for another,
something using Horror motifs more like Anne Rice
or Stephen King; while for a third a clearly satirical
take on the modern comic novel of class, akin to the

Punk-in ections of Martin Millar’s Good Fairies of New
York rather than, say, something by Martin Amis. The
meeting of all of their di erent approaches within a
single text causes the novel to undergo a shift into a
kind of excessiveness of representation which
becomes the reading experience of engaging with the
text Seaton Point. Like canonical Modernist texts,
Seaton Point aims to go beyond a single formal
register, reaching out towards a conception of the
contemporary world that can include dreams and
fantasies as part of the actually existing social
circumstances of modernity within its social vision.
The ambitions of this slim text are Joycean: they aim
to rewrite The Novel; their collective e orts are
asserted as a methodology to be emulated in
formulating a critique of contemporary ction and
the history of the novel in general.
Seaton Point: Collage, Aesthetics and Genre
The narrative strands which make up Seaton Point

criss-cross several lines of genre, employing an
understanding of populist modes and atmosphere
building but subverting each one within the
overarching anarchic aesthetic.
Like the texts I discussed in the previous Werewolf

article on contemporary ction, particularly Hal
Duncan’s Book of All Hours and Iain Sinclair’s City of
Disappearances which I think make very interesting
analytical comparisons, Seaton Point is de ned by its
excessive use of formal conventions as a resistance
to codi cation and as part of its aesthetic attempt to
overcome limitation and grasp its moment. It
employs more genre markers than its brief form
would be expected to support but, in playing them
against each other produces a compelling sense of

wider circles and networks of interaction; it reaches
out beyond the constraints of form and expectation
in terms of genre, as its CIP page reaches out beyond
the internationally recognised conventions of
publication. This is more than a gesture; it is a poetics
of contemporary literature: it proposes a political
ethics of literary production and a manifesto for
literary renewal—not bad for a book of only 160
pages. Its accessibility is the rst part of its power.
The unifying principle of Seaton Point is that of stylistic

collage derived from the DIY aesthetic of Punk Rock
(this is particularly clear from the front cover
illustration above).
The
styles of
the
novel’s
chapter
s and
sections
are
absurdist one moment, gritty realist the next, always
maintaining a clear awareness that both
postmodernist pastiche and gritty realism are
a ected positions in the production of literature.
The opening pages introduce a gender- uid vampire

named Lee Christo, mourning over the body of
his/her latest victim, Poppy, a young woman who had
embraced his secret. The two had got drunk, ‘kissed
and ended up having sex on the oor whilst the ten
o’clock news serenaded them’(10); Lee Christo
entertains the classic modern vampire’s dilemma in
this brief introduction, his inability to love without
destroying, and a concurrent obsession with both

love and death. Acting much like an Anne Rice parody
he returns to his ‘boudoir’ to sit ‘on a huge, blood-red
sofa’ watching TV:
He gazed lifelessly at a tedious American lm,

the images of which meant nothing to him; the
story line was trivial compared to the power he
harboured. Hollywood annoyed him. It was all
about commodities, commercialism and
standardisation: sti ing creativity and
strangling the essence of the human soul. It was
destructive in a way he could never be. (ibid.)
The campness of his vampirism is counterpointed by

a cultural knowingness; Lee Christo’s camp
performance of gender, acting a drag artiste is
re ected in the performativity of the potted critique
on the commodity system issuing from a sympathetic
predatory killer.
The next section begins with the introduction of a

mysterious Iolanthe, who is held prisoner in a lift.
Iolanthe’s entire world is de ned by the space of the
lift: its ‘silver walls, twinkling and glittering their cold,
dull, vacuous viciousness back at him’(11); the regular
rhythms of its movement; its ickering light ‘the same
time every 1,200 changes in lift direction’; and its
feeding tube:
Three times daily a slightly viscous pink goo

would ooze from the tube: yoghurt. With time,
in order to keep himself going, he learned to
anticipate the coming of the yoghurt with its
accompanying low and monotonous hum that

he now barely noticed; but time was a
nameless and intangible thing that he had no
real concept of. (ibid.)
Alone in the lift, he speculates on the possibilities of

an existence he cannot remember: ‘Was he married
at all? Did he have a house, a nice car and satisfying
job or career, any children? […] What would it actually
be like to have all or any of these things, to walk in
the streets or the woods and smell the air or hear the
birds sing and the soulless, destitute lost souls of
nowhere wail inconsolably?’. Like a thought
experiment becoming a narrative, his speculation
becomes a fantasy, which in turn becomes a concrete
world—but we have to wait for other narratives to
unfold before we see how this turns out.
These other narratives include: the story of ‘Ian

“Blokey” Blake: the bloke who could spend entire
weeks reading and re-reading the same book’ and
who has become obsessed with Luke Rhinehart’s cult
novel The Dice Man, adopting a die of his own to help
decide the path of his life; the story of Stan Bates, a
man employed to prepare empty houses for
demolition by destroying their basic facilities, making
them un t for squatters; the desperate, hate- lled
and self-loathing of Frank and Edie, and their very
own supernatural relationship (19-22); the
contemptuous self-delusion of Malcolm, convinced
that ‘[s]exual hang-ups with deep roots in childhood
experiences were a prerequisite for being a
philosopher’ (22), for whom the inner-city ‘was a semi-
mythical place inhabited by people who were not
quite the same as him’(23). Beneath all these stories,
but perhaps directing all of them, is the story of the
sorcerous alchemist; wearing ragged, stolen clothes,

he seeks to summon the demonic powers that lie
dormant beneath the towers of the council estate:
The shoes had belonged to a pimp, though their

snakeskin coating had long faded and the
alchemist’s big toes had gnawed through the
uppers. As a sarong, he wore a long, velvet
curtain that had once hung in his favourite
brothel. His leather jacket had belonged to a
drunken punk who had been killed in a ght.
The gra ti on its back had been sweated away.
(13)
The alchemist’s appropriation is part of the conjuring

of his magic; the alchemist can stand for the function
of genre conventions in the novel as a whole:
diversity and multiplicity form an excess within the
totality of the whole, reaching beyond any single
mode of representation and beyond the singularity of
the text as a bounded whole, feeding into its counter-
copyright declaration. This excessiveness manifests
the text’s production by multiple writers and its
demand for continuation as a dialectical progression.
Dialectics operates in several ways within Seaton

Point. By appealing to multiple forms for its di erent
character-arcs the novel asserts its own position
beyond any of the forms; the stylistic unity of its
totality supersedes the combination and
contradiction of its elements. Similarly, individuality is
asserted and subverted simultaneously within the
framework of the text. All seven authors are named
but the introduction tells us that all seven authors
took and ran with each other’s creations in the writing
process, so the unity of style and author known as

‘voice’ is also called into question within the novel: we
cannot link any one style or any one narrative purely
to any one contributor, the expression of individual
ideas takes place within the group dynamic and is
inseparable from it; we must think of them
dialectically as a group, greater than the sum of their
parts—any or all of them might have taken part in
re ning and re-writing any single sentence of the
other’s work.
As the characters and their stories can function as

short parodies of representational modes, from
Realism to the Gothic and, for want of a better term,
Kafkaesque allegory, so the plots and sub-plots of the
novel as a whole, working through these disparate
and non-consonant styles, stand for the endeavour of
its writers working dialectically through the
limitations of any one particular perspective. The
form of the novel re ects and re exively engages
with its collective production.
Collective work
as dialectical
progression
An important
precedent for
Seaton Point is
Surrealism, and in
particular the
promotion of
collective activity
by the Surrealist
group—for
Annette Shandler
Levitt in The
Genres and Genders of Surrealism, the collage aesthetic

is central to understanding Surrealism.[5] Surrealism
is in many important respects, a critically
misunderstood term but an important one, since it
forms a foundation stone of the contemporary avant-
garde. There are several critical aspects of Surrealism
as a practice that have been the subject of recent
reassessment which are pertinent here: chief among
them its collaborative nature and then, extending
from this: the place of women within the movement;
its various relationships with colonialism and
postcolonial critique, through the interaction of
Francophone Caribbean writers and poets with the
French Surrealists; and its precise periodicity as an
international avant-garde movement given that its
practitioners underwent various splits and breaks,
and moved o in di erent geographical and
philosophical directions from one another. The
anthologies of Surrealist work in Surrealism Against
the Current[6] and Surrealist Women in particular
emphasise that the Surrealist project was strongly
interested in devising responses to contemporary
modernity through new collective aesthetic practices.
In the case of many practitioners this then led them
towards strong left radical political positions;
Surrealism as a whole retains a strong sense of this,
tempered by the idiosyncrasies of the ‘outlaw’
Surrealists who broke with the group because of
opposition to communism.
We can suggest that from a post-Surrealist position,

individualistic aesthetic idiosyncrasy is not in
opposition to the group activities of literary
production but a necessary and complementary part
of it. An important collective practice of Surrealism
was a game which could take either literary or artistic
forms, which they dubbed Exquisite Corpse, after one
of its early attempts produced the sentence “The

exquisite corpse will drink the new wine”. In a game
of Exquisite Corpse the players each take a part of a
piece of paper and write either the beginning, middle
or end of a narrative/sentence, or draw the head,
body or tail and legs of a creature. Each contributor is
usually allowed to see a small part of the end of the
previous contribution, to allow them to be uni ed;
the resulting chimerae are products of individual
ights of fancy and collective rules which produce
some startling fantastical combinations.
More recent avant-garde literary games have drawn

on similar principles. One which is worth brie y
considering is the case of the Australian collective
writing project Speedfactory (2002). Supported by the
Freemantle Arts Centre, Western Australia,
Speedfactory was a writing game between several
noted Australian authors, some living outside
Australia at the time: John Kinsella, Bernard Cohen,
Terri-Ann White and McKenzie Wark. The text
explains that its basic principle is one of exchange: to
generate story or narrative spontaneously through
dialogue where each writer is a player:
This book does not have a point at which it is

authored, but a vector, these lines between. I
email you three hundred words, then you email
me three hundred words. And there is an error
correction protocol: if the receiver doesn’t
receive within forty-eight hours after sending,
the receiver sends the next three hundred
words too.[7]
This form produces a series of free-associative

digressions and explorations on the communication
of ideas. The pressure that each writer feels to ful l
their side of the obligation inherent in the game
becomes part of the play itself and hence part of the
exchange, a theme to be explored; similarly the
speed of communication and the occasional failure of
communication becomes part of the subject of the
game, hence the title. Seaton Point shares clear
aesthetic principles with Speedfactory as an Exquisite
Corpse ction, but by its polemical introduction and
‘no copyright’ statement, it places the further demand
that it be not only read as a practical manifesto for
playing literary games, but also o ers itself for
potential unauthorised collaboration by its refusal of
the discourse of international copyright. It can be
seen as a return to the underground or counter-
culture traditions of making and doing for the sake of
human interaction, an essentially anarchist poetics.
As a novel, Seaton Point demands an attention to the

collective social aspect of individually consumed texts
and stylistically it promotes a radical approach to
reading which encourages literary game-play. In both
aspects it urges us to understand novels as imaginary
spaces shared between its multiple contributors and
diverse interpretive communities of readers. It invites
speculation about how it might exist di erently as a
novel and as a literary project. Alternative Seaton
Points might exist; we could have, for the sake of
argument, a Seton Point for Scotland, a Seatown Point,
Jamaica Queens, NY for the US, a Seatoun Point:
Aotearoa, for New Zealand or a Seaton Point Road,
South Australia (or other state or territory-speci c
variants—or the principles of the novel’s creation
might be taken up and put to use in a way not related
to the original). These possibilities and more are
immanent in the formation of the original novel as an

open collaborative text, to be borrowed or adapted
along with the concept, or departed from entirely
according to the ideas of the contributors. Seaton
Point demands that we become conscious of the
diversity of potential in uences on textual production
and, in ultimately denying absolute authority to any
nal, nished version of the novel it throws the game
open to its reader.
Seaton Point is not merely revelatory of the conditions

of its literary production, it is militant and
revolutionary in its politics of literature, and highly
suggestive for the future reconception of literature in
Britain, and for contemporary literature in general—
and it manages all this while still being an irreverently
entertaining read.
Footnotes:
[1] Bate, Jonathan, Shakespearean Constitutions:

Politics, Theatre, Criticism 1730-1830 (Oxford:
Clarendon Press, 1989), p. 210.
[2] Marshall, Richard, ‘The White Stu : An Interview

with Tony White’, see:
<http://www.3ammagazine.com/3am/the-white-stu -
an-interview-with-tony-white/>
[3] ‘Introduction’ to Seaton Point by Rob Colson,

Martin Cooper, Ted Curtis, Robert Dellar, Keith
Mallinson, Emma McElwee and Lucy Williams
(London: Spare Change Books, 1998), p. 5.
[4] Hawthorne, Nathaniel, The Scarlet Letter (‘The

Custom House’) ed. by Ross C. Mur n (Boston and
New York: Bedford/St Martin’s, 2006), p. 46.
[5] Levitt, Annette Shandler, The Genres and Genders of

Surrealism (Basingstoke: Macmillan, 1999).
[6] Richardson, Michael and Fijalkowski, Krzysztof

(eds) Surrealism Against the Current (London: Pluto
Press, 2001).
[7] Speedfactory, Kinsella, John; Cohen, Bernard;

White, Terri-Ann; Wark, McKenzie (Freemantle,
Western Australia: Freemantle Arts Centre Press,
2002), Frontispiece, p. [4].
Mark P. Williams
http://independent.academia.edu/MarkPWilliams/A
bout
ENDS
 AVANT-GARDE MARK P. WILLIAMS
POLITICAL FICTION SEATON POINT
SURREALISM
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Literature of Resistance, As Literal Resistance - Werewolf

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08/04/2020 Literature of Resistance, as Literal Resistance – werewolf

COLUMNS ARTS ARCHIVE PREVIOUS ISSUES

Resistance, as Literal A home for longform

Resistance and culture.

 August 4, 2011  Mark P. Williams  Classics SEARCH

The Seven-Author Novel Seaton

by Mark P. Williams Gordon Campbell on the

When nally written down, oral folklore such as

The point that the authors of Seaton Point make, both

Seaton Point operates within a framework of critique

authors who were Luther Blissett plus one more—the

Paul K. Saint-Amour o ers an interpretation of the

The contemporary artworks that antagonise

where copyright not only dominates but partly

But of course, this is only a partial impression and

Literary Production—Social Production—

There is something whimsical about Seaton Point.

still manages to evoke a genuine sense of play as a

Trotsky carefully distances literature from overt

experience of using literature as an unlimited dialogic

In ‘The Custom House’, Hawthorne describes ction

There is the little domestic scenery of the well-

Thus, therefore, the oor of our familiar room

each imbue itself with the nature of the other.

He reminds his reader of the concrete social

Seaton Point is the name of an actual block of ats in

take on the modern comic novel of class, akin to the

Seaton Point: Collage, Aesthetics and Genre

The narrative strands which make up Seaton Point

Like the texts I discussed in the previous Werewolf

against each other produces a compelling sense of

The unifying principle of Seaton Point is that of stylistic

The opening pages introduce a gender- uid vampire

destroying, and a concurrent obsession with both

He gazed lifelessly at a tedious American lm,

The campness of his vampirism is counterpointed by

The next section begins with the introduction of a

Three times daily a slightly viscous pink goo

accompanying low and monotonous hum that

Alone in the lift, he speculates on the possibilities of

These other narratives include: the story of ‘Ian

sorcerous alchemist; wearing ragged, stolen clothes,

The shoes had belonged to a pimp, though their

The alchemist’s appropriation is part of the conjuring

Dialectics operates in several ways within Seaton

process, so the unity of style and author known as

As the characters and their stories can function as

Genres and Genders of Surrealism, the collage aesthetic

We can suggest that from a post-Surrealist position,

of its early attempts produced the sentence “The

More recent avant-garde literary games have drawn

This book does not have a point at which it is

This form produces a series of free-associative

As a novel, Seaton Point demands an attention to the

immanent in the formation of the original novel as an

Seaton Point is not merely revelatory of the conditions

[1] Bate, Jonathan, Shakespearean Constitutions:

[2] Marshall, Richard, ‘The White Stu : An Interview

[3] ‘Introduction’ to Seaton Point by Rob Colson,

[4] Hawthorne, Nathaniel, The Scarlet Letter (‘The

[5] Levitt, Annette Shandler, The Genres and Genders of

[6] Richardson, Michael and Fijalkowski, Krzysztof

[7] Speedfactory, Kinsella, John; Cohen, Bernard;