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Books
  • Jude: Level 1
    Jude: Level 1
    by Julian Gough

    Shortlisted for the 2008 Wodehouse Prize for comic fiction.

    The novel's prologue won the biggest prize in the world for a single short story - the BBC National Short Story Prize.

    "Sheer comic brilliance" - The Times

    "The best comic novel I've ever read" - Tommy Tiernan

    "Could be the finest comic novel since Flann O'Brien's The Third Policeman" - The Sunday Tribune

  • Juno and Juliet
    Juno and Juliet
    by Julian Gough

    My first novel, of which I am very fond. The adventures of teenage twin sisters Juno & Juliet, in their first year away from home. Life, love and literature, in Galway and Tipperary.

     

    "Like Roddy Doyle in an extremely good mood" - The Washington Post

    "A modern, at times brilliantly ironic reworking of the classical fairytale, with nods to Shakespeare, Austen and Beckett." - Literary Review

    "Hugely entertaining" - Vogue

Tuesday
01Dec2009

Best albums of the noughties?

CDs and lots of them. Not sure who took the photo (contact me!) From http://www.jazzchicago.net/

I've been asking friends and strangers all week on Twitter about the best albums of the past decade. (A mixture of the joy of conversation and research: I'm discussing the decade's albums tonight - Tuesday, December 1st 2009 - on RTÉ's Arena program at 19.30 GMT, with Luke Clancy and others.)

In a spirit of internetty openness, here's a copy of the email I sent last night to the producers of the show, with some thoughts on the subject of music, albums, decades, technology, Twitter, and the Long Tail...

 

Please do add your thoughts and comments...

 

"Hi Penny, hi Luke,

That sounds fine. Here's a rough overview of my thoughts: I'd quite like to step back and talk about the whole idea of an album, and how it changed over the past decade. I suspect this might be a bit more original, and interesting to the listener, than my own personal taste in a top three (though I will give that too!)

That would mean talking a little about the technology. It's technology which secretly shapes musical eras. Pop music as we know it became possible with the 45rpm single, and the pop single.  Then the 33rpm, 12" vinyl disc made albums possible, so people bunched some songs together. Then multi-track recording allowed the Beatles to happen (and thus allowed rich, complicated, overdubbed albums to happen). Transistorised electronics allowed Kraftwerk to happen. Digital technology allowed techno to happen. And so on.

But you could argue that the invention of the CD meant albums were suddenly a bit too long for listeners to comfortably pay attention to all the way through. (The human brain can only stay focused for about 45 minutes before it needs a break.) And that, in the noughties, with the rise of  iTunes, iPods, and the iStore, the album as a collection of songs in a particular order is beginning to disappear, as people download individual songs off an album, or listen to their music at random, on shuffle. (As the great music site Pitchfork pointed out, the decade is a few months younger than Napster and only a year older than the iPod.)

So lists like the NME's favour quite a retro thing, the old-fashioned, short sharp rock album. The Strokes, at number 1 in the NME poll, are incredibly old-fashioned. They're rich kids who met at a Swiss finishing school, and pretended to be a gritty, streetwise New York 1970s band. It's absurd to say they sum up the noughties. In fact the NME's list is full of young bands knocking off old bands. Interpol, Strokes, Yeah Yeah Yeahs, Bloc Party. They knock off specific 70s and 80s bands! Interpol are a Joy Division tribute band.

I've read a lot of these lists, thinking about this, and the big problem is, where can anyone stand - on what sacred gold mountain - to take their view?

The noughties was the decade of the obscure album that you stumbled on and loved. A Top 10 made sense in the 60s when only a few hundred albums came out each year, and you could, with a bit of effort, hear most of the music released. But for the past decade, a top ten would be misleading and wrong. It was the decade of the top ten thousand. I put up a hashtag on Twitter, and got a fairly random bunch of lovely people to name their favourite album of the decade. The range of albums suggested on Twitter was astounding. The vast majority were not on any of these best of lists. What has happened is the same as what has happened to books with the rise of Amazon, and the rise of the long tail. The majority of Amazon's sales and profits don't come from selling loads of the top ten books. They come from selling a tiny number of copies of each of the bottom two million books. It's very democratic. Likewise, many more people are recording albums, and finding small, loyal bands of followers.


The forties had Sinatra. The fifties had Elvis. The sixties had the Beatles. We don’t have a Beatles, and it's possible nobody will be able to dominate a whole decade like that ever again. Which is fine.


And that ties into a final point: We probably haven’t heard the greatest albums of the decade yet. The people that do the thing that is new are not instantly recognised. If you look back at the lists from previous decades, they are full of forgotten bands. But truly influencial bands like, say, The Velvet Underground - the band the Strokes want to be - don't appear on any of these lists. It took twenty years for the first Velvet Underground album to go gold.

Meanwhile, guys that were already out of time, out of step with fashion, have aged really, really well. Maybe Tom Waits made the album of the decade. Maybe it was Johnny Cash, with The Man Comes Around.

As for legacy... it was a transitional decade. I suspect the noughties will be remembered more for its computer games than its music. But there were many, many wonderful gems, in all genres. So, a golden age of democracy, with no real king of pop.

I'll send you a top three tomorrow! Still thinking about it.

-Julian"

A nice picture of vinyl albums (ask your mum) from the wonderful Wikipedia Commons

Wednesday
28Oct2009

Twitter & Tweets: Who Can Read What (And How And Why To Use The Dot).

I started to use the mighty "." on Twitter today, and immediately got into about 50 confused conversations about it, most of which started "What's with the . thing?" Trying to tweet 50 different bitesized answers did not lessen the confusion, so I thought I'd explain here what I'm doing (or what I think I am doing).

May this post give you the strength to make the dot a good thing, the self-restraint to avoid making it a bad thing, and the wisdom to tell the difference.

See? Many of humanity's problems, incredible as it seems, predate Twitter. (Explosm sell this as a T-shirt! Site seems down, so I've linked to info on the Cyanide & Happiness guys.) 

SOME BACKGROUND ON HOW USERS DRIVE TWITTER'S EVOLUTION

A lot of people, especially new users, are not entirely sure how Twitter works, or who can read what, when and how. This is unsurprising: Because Twitter has evolved so fast, features that didn't even exist a year ago are at the heart of the Twitter conversation now. Users are constantly finding new implications of those new features, and creatively using (& misusing) them, in turn. And those new, user-invented features and workarounds that are popular and useful get turned into new, official features: When I started using Twitter only a few months ago, for example, retweets had to be done by hand, and there was no agreed syntax ("Retweet", "(RT)", "RT:", "Via" and others were all in use.) ...Twitter only installed an official button for retweeting in September this year. (We will get to the meat of the matter after you jump the shark. With its black dot for an eye.)

A lovely blue shark 

SO WHO CAN READ WHAT?

Before we talk about the mighty dot, we need to be clear on how tweets work. As things stand today (and this wasn't true last year, and may not be true next year), this is who can read what. Let's say I send a nice ordinary tweet, like "I am eating the most amazing pickled shark testicles." That tweet
will appear in the stream of everyone who follows me. It also appears in my own stream (where I can read all the incoming tweets from those I follow), and on my own page (where all my tweets are stacked up one after the other.)

But if I reply directly to someone else's tweet, like this: "@sharklover Sorry, I forgot you were a vegetarian. And married to a shark. Whoops." ...then that reply will only appear in the streams of the people who follow BOTH me (@juliangough) and her (@sharklover). Twitter don't make this very clear, and it isn't intuitively obvious, so a huge number of Twitter users assume that everyone who follows them can read all their replies. Not so. However, that last tweet is defined by Twitter as a reply simply because it STARTS with a name, @sharklover. If I hand-crafted a reply like this: "Well listen, @sharklover, obviously I wouldn't have eaten his testicles if I'd known he was your husband" ... then, because it doesn't start with a name, Twitter will treat it as a regular ordinary tweet, and all my followers can see it in their stream, whether they follow @sharklover or not.

 

WHICH IS WHERE THE DOT COMES IN...

Which is, at last, where the dot comes in. Hitting reply is handy: there's the person's name, the cursor is blinking after it, all you have to do is type the message and send. Building your tweet either side of the other person's name, however, just so your reply will be visible to all your followers, is not handy, and can sound really awkward, like a tweeted, 140-character version of stilted Victorian dialogue: "So, @moriarty, we meet again, in the shadow of the Reichenbach Falls..."

 

Of course, most replies are not of general interest and the system, by hiding them from most of your followers, works fine. ("@mum I left @dad drunk in the coal shed.") But sometimes a reply would be of interest to many, or all, of your followers (not just those who follow you and the person you are replying to). For example, I sometimes get asked interesting questions about my novels, or about my old band: I know that a good chunk of my followers are fans who would appreciate seeing my reply. And sometimes you just want to open up the conversation with a reply, and give others a chance to join in. And sometimes you want to start a big fight.

But how do you quickly and easily convert the reply into an open message? You can't just type a letter, or letters, directly in front of the name with no space, like this: a@sharklover. That stops it from being treated as a reply by Twitter, sure, but any letters touching the front of the "@" mess up the name, stop it from being searchable, prevent it from appearing in the @replies box of the person you sent it to, and mean it is no longer hyperlinked (that is, you can't click on it and go to their page). So, what, add a letter and a space? A quick abbreviated explanation? It starts to get messy, and distracting. And eat up scarce characters.

But you CAN type non-letters, such as punctuation marks, directly in front of a name, without messing it up and breaking it as a link and all that bad stuff. And the simplest, smallest, least annoying punctuation mark is the full stop. This guy, inside the quotes: "."

So if I send this: ".@sharklover I've always loved you, I've had fins surgically attached also intromittant organs, feels weird having a double penis, marry me", now everybody who follows me can read it. Which may or may not be a good thing, but it's a nice option to have.

 

A WORD OF CAUTION

The dot allows a personal conversation to be overheard by many others, so use it sparingly. Think - is this private remark really going to interest many of my other friends? If not, don't dot. Otherwise you run the risk of being the person at the bar shouting loudly at their friend, in the vain hope of impressing the whole pub. Don't beat yourself up if you overuse it at the start and annoy a few friends. It is natural to get a bit carried away at first (he said, after an entire day's experience). I certainly did. But I had calmed down by teatime, and so should you. A cup of camomile should do it.

 

WHO INVENTED IT?

I've no idea, but I'd love if you could tell me. I first noticed guys like @glinner using the dot recently, I had no idea what it was, and (too shy to ask) worked out what it meant by context. I have noticed that comedians and scriptwriters are prone to use it. (The dot is particularly useful if you are replying to a friend with a cracker of a joke and don't want it wasted.) It just seems to have spontaneously evolved, because it was needed, and may have many mothers and fathers.

 

A FINAL THOUGHT ON DMs (DIRECT MESSAGES)

Oh yeah, while we are at it: there is one other type of tweet. DMs (direct messages) can only be sent to people who are following you, and can only be read by you-the-sender, and the individual you sent it to. But bear in mind, if YOU aren't following THEM, they can't DM you back, which can lead to an embarrassingly public tweet like this: "Sure thing @juliangough I'll DM you an answer to your DM requesting the name of my drug dealer as soon as you follow me." So it's probably best to follow people BEFORE you DM (direct message) them.

 

Also bear in mind that nothing in human cultural history has grown as fast as Twitter, and that this is just a snapshot of the evolving situation in late 2009. It will all change, change utterly, and within a few months this post will seem as quaint as advice on the kind of red flag your servant should be carrying as he walks sixty yards ahead of your self-propelled mechanical vehicle.

 

THE PREHISTORY OF TWITTER

For those interested in the prehistory of Twitter, and how such arcane events as the great #fixreplies revolt of May 2009 shaped the current Twitter universe, here's a couple of links:

The Evolution of Retweeting. This article from August 2009 (only two months ago as I write!) gives a flavour of how users drive the development of Twitter, and of how tentative and confused the developers can feel in the face of such pressure from below. The retweet option they initially planned to build is nothing like the one that they eventually delivered.

The Great #fixreplies Revolt of May 2009. This battle reshaped the modern @replies. A bit like the slaves' rebellion in Spartacus, the revolt failed but left an enduring legacy, and scared the pants off the Emperor (ie this is when the chaps who set up Twitter first realized they were not in fact in total control of it).

The Invention of @replies and @mentions. Back in November 2008, when the world was young, @replies were formally adopted by Twitter. This Twitter blog post now feels like the Magna Carta.

 

Throw in comments, advice, argument below, or attack me frenziedly on Twitter itself (@juliangough). Feel free to link to, copy, or pass this onto friends if you think it's helpful. And be nice to each other out there. Oh, it's all fun and games in the Twitter playground till somebody loses an eye.

 

Meanwhile, to reward you for reading so much stuff about such a small thing, here's a real dot to play with. Focus on it. Now lean forwards, and backwards. Feel the power of the mighty dot! (This probably won't work for you, Momus, or any other visitors with one eye.)

Feel its power

Friday
09Oct2009

See the smallest film in the world, on the biggest TV in the world.

This has been popping up on the internet anyway, so I thought I might as well share it with my three devoted readers here on the website... News of my tiny new film below the photo... Cheers!

The Playhouse Project lights up Liberty Hall in Dublin


"The Playhouse Project in Dublin has been showing short animations for the past two weeks, using two sides of Liberty Hall – the tallest building in Dublin - as an immense 16-story television screen.

Now Tod & Viv, a two and a half minute animated movie by Irish novelist Julian Gough, will premiere on Dublin’s Liberty Hall late Friday night.

Says Julian Gough, “It’s a very low resolution TV screen – each window is a pixel, so it’s only 10 pixels by 16 on each side. So very strong, simple images show up well. People have done some great stuff, mostly a single idea, often a single image, moving or repeating, and a bit of music as a soundtrack. Someone did Space Invaders, someone did static… But I thought it would be interesting to be madly ambitious, and make an entire feature film, with love and death and murder and forgiveness… I wanted to see if you could make a film with a bit of a narrative. A story that was strong & simple enough to work on this amazing screen, that was so primitive and high-tech at the same time. And a film that was written for Liberty Hall, that used the fact that the screen was also a building in Dublin. And could you pack it all into in a couple of minutes?”

The result is Tod & Viv, a-two-and-a-half minute murder mystery/ghost story/drama that starts with the words “Tod & Viv live in a big house…” as two windows light up on Liberty Hall. It wouldn’t be giving anything away to say that Tod & Viv are trapped in a hellish relationship. And, as Flann O’Brien said, (in the original title for The Third Policeman), “Hell goes round and round…”

“You could loop the film, and they’d be killing each other forever,” says Julian Gough. “I wrote it as a loop, because I couldn’t be sure people would catch the start of it, walking along the Quays, or over O’Connell Bridge. This way, they’d get the whole story even if they only started watching halfway through. But you wouldn’t want to watch it more than twice, it would wreck your head pretty quickly. It’s all death, nightmares, and slamming doors.”

The project is high-tech: 100,000 low energy LED lights light up 330 windows. Inspired by the amazing, seminal Blinkenlights installation in Berlin, Playhouse has gone one, or even two, better, and added colour, and sound.  But the animation in Tod & Viv is minimal in the extreme. “Yeah, Tod is a single pixel. And Viv is also a single pixel. Two pixels in love. It doesn’t get more minimal than that. My favourite bit is where Tod takes off his clothes to have a bath. A single window turns from white to pink… Most of the effort went into the soundtrack, which will go out simultaneously on the radio in the area around the building, 94.3FM. I had kids pounding up and down five flights of stairs in our apartment in Berlin to get the footsteps, and slamming doors. Luckily, our upstairs neighbour is a professional actress, Elisa Gelewski, who’s done a lot of TV and theatre in Germany. So she popped downstairs, we put on a pot of coffee, and she recorded the only line of female dialogue. So the total cost of the film – apart from everyone’s time – was a pot of good coffee. Berlin is a bit like Sesame Street, if you need someone to help you with a film or anything else, you just lean out the window and shout.”

Tod & Viv has its world premiere late on Friday night, half an hour after midnight, and is best seen while listening to the soundtrack, broadcast on 94.3FM in the vicinity of the building. It can be watched live on the internet at here at justin.tv. A film of the performance, taken from across the river, will be available later on the internet. You can check out more details here."

Thursday
13Aug2009

Twitter, Death, and Football

A football, yesterday

I note, with interest and a little unease, that I have posted four hundred and fifty three (453!) tweets on Twitter since I first had a poke at it last month. In that time I think I've put up two (2!) blog posts here.

 

Given that the occasional bazooka rounds of my blog have been replaced almost entirely by the countless shotgun pellets of Twitter... if anyone has any interest in what I'm blasting away at, please feel free to follow me here.

 

Something I didn't mention yet on Twitter is that a top-floor neighbour of ours was carried out of the building on Sunday evening, wearing an oxygen mask, strapped to a stretcher, and accompanied by eight paramedics (two ambulances turned up). She had been very, very sad lately.

 

Cast rather a pall over the week.

 

Anyway, let us turn our face away from sorrow, if we can't comfort it. And we can't... Football is back, back, back on Saturday, when the English Premier Division ("See the most overpaid young men on earth kick an imitation pig's bladder!"), QUITE LITERALLY kicks off. I have selected my unstoppable team (Bike Dynamo Berlin), and will be playing in my usual Fantasy Football League (The Stoney Battery... full of friends who live, or once lived, in Stoneybatter in Dublin). If you would like to join our league, or would like my mighty warriors to play in your league, contact me through that unobtrusive "Mail Me" button on the right hand side of the page...

 

 

Saturday
18Jul2009

What I'm Doing In 2010. (Books, Mostly.)

In 2010, I plan to make lots of paper aeroplanes

Allan Cavanagh (or @AllanCavanagh, as I fondly know him) just tweeted to ask me, "have you got a poetry collection coming out?" Which is one of those embarrassingly intimate questions about shameful practices best unmentioned. Apparently he had heard the magnificent Jessie Lendennie mention it earlier tonight on Lyric FM.

But the question reminded my that I haven't actually talked about, you know, books. The things I write. And what state they are in. For a long time. So let's deal with that distasteful stuff, category by category.

 

1.) Poems. Yes, I do have a poetry collection coming out. Salmon Poetry will publish my first collection in February 2010, God willing. It will contain all the poetry I've ever written that I'm not utterly ashamed of (which means, mostly, the recent poetry written in Berlin, and a mutilated fistful of older pieces), and all the Toasted Heretic lyrics that are fit to print. Working title is Free Sex Chocolate (collected songs and poems). And if anyone has a suitable cover image for such a book, with such a title, I'd be very interested to see it. It's poetry, so there's not much of a budget, but the glory! The glory! (You can contact me through the Mail Me button, off down there to the right.)

 

2.) Novels. Yes, Jude: Level 2 will finally emerge into the harsh global spotlight in June 2010, blinking, eating roadkill, and shagging anything that moves. It's set largely in London, and indeed may well get called Jude in London. You can read a piece from it here.


3.) Short Stories. I am very happy to be the official representative of the Republic of Ireland in the Dalkey Archive's scarily ambitious anthology, Best European Fiction 2010. If I were capable of humility, I'd be humbled. Here's a description I nicked off Amazon:


"Best European Fiction 2010 is the inaugural installment of what will become an annual anthology of stories from across Europe. Edited by acclaimed Bosnian novelist and MacArthur “Genius-Award” winner Aleksandar Hemon, and with dozens of editorial, media, and programming partners in the U.S., UK, and Europe, the Best European Fiction series will be a window onto what’s happening right now in literary scenes throughout Europe, where the next Kafka, Flaubert, or Mann is waiting to be discovered."

They've chosen "The Orphan and the Mob", which a lot of you will know already.

 

My exciting adventures in the categories of:

4.) Children's Books

5.) Feature Films

6.) Animated Films

7.) Theatre

8.) Computer Games, and

9.) Opera

 

...will all have to wait till I've had a good night's sleep.

(I'm afraid I lied about Opera. I have no plans to write an opera for 2010. Although 2011, now, is another matter...)