Still by prenza420 on Flickr, courtesy of Creative Commons Licensing
In 1977 I moved into Ebury Lodge student hall of residence in Bournemouth and lived there for more than two years, till I left the art college. That period encompasses the majority of the ‘psychonautic adventures’ described in The Mad Artist; and Ebury itself, as a community of wayward, madcap art student dopers, came to exist for me as almost a separate reality, hermetically sealed from regular life, complete with its own dream logic.
This sample chapter depicts the events of an afternoon and evening at Ebury—a marathon start-of-term dope session that set the tone for the remainder of the autumn! It introduces many of the colourful characters who appear throughout The Mad Artist, and also gives a good flavour of the approach and style of the book, concentrating on detail, atmosphere and in-depth subjective psychodrama regarding drug effect.
At the prescribed hour, I knocked on Sam’s door, and it was opened very cautiously by Big Jim, who gave a big chuckle when he saw it was me. Inside the whole gang were assembled, bright and eager like animals about to be fed. Sam was sat on the sofa, unwrapping the gear on a black lacquered coffee table. Next to him was Eric, a smoking mate from outside the house, who was busy assembling a set of collapsible brass scales that came in an indigo velvet-lined box. Race, Fiona and Sonya were languishing on a pile of cushions and beanbags over by the bay window, looking very decadent and bohemian. Gordon was sat cross-legged on the floor on the other side of the coffee table, a meditative expression on his face. Jim returned to his armchair on the right-hand side of the room, and I picked up a spare big cushion and sat next to him.
Jim and I chatted about our new rooms, with him especially pleased by the coup he’d pulled off in securing the big one next door. Meanwhile Sam was halving the slim oblong ounce of Leb with a serrated knife. He put a half in each pan of the scales, found one slightly heavier, so he broke off a corner, transferred it and found they matched. Then he split one of the halves into two quarters, which matched exactly at the first attempt. Sam was obviously a real expert at this trade. The two quarters became four eighths, two of which were passed to Race and Gordon respectively, and the other two further divided into sixteenths for Fiona, Sonya and Jim. The other half ounce was split into a quarter for Eric, an eighth for me, and the rest went into Sam’s tin.
Read the full chapter as a PDF on Slideshare.
To read another extract of The Mad Artist see previous post.
devotes its five opening chapters, 16,400 words, to that life-changing event that triggered the ‘psychonautic adventures’—the quest for metaphysical answers and spiritual truth which makes up the book. Underwent on a winter’s night, in the rural setting of the Plym Woods and neighbouring villages, the trip was poorly planned, chaotic, crazy—an object lesson in how to get it completely wrong regarding set and setting. But precisely because of the ensuing chaos, the adrenalin rush powered the trip into extreme realms, giving rise to the geometric progression effect that became a motif for the future…
Suddenly the trip jumped in intensity, and the visual effects burst through a quantum barrier into something totally unprecedented. The whole wood around me was reborn in another form: it was no longer a wood composed of trees, branches and leaves, but one composed of…letters. Letters of the alphabet. They were wrought in diamond-encrusted platinum and silver, and interconnected with their own vascular system of luminous, throbbing primary coloured energy. All the various geometric permutations of leaf cluster, twig and branch were resolved into letters in a crystalline fractal method — letters within letters down to the limits of vision, perfectly mirroring the scale and detail of what was being transformed according to the terms of some higher surreal logic. I watched as the wood pulsed, light and dark, light and dark — later, I would realise, in sync with my own heartbeat — each time breaking out into new symbolic foliage of impossible intricacy. It was utterly transcendentally fabulous, but I was too scared to derive any enjoyment.
Now the full five chapters can be read as a Book Preview on Lulu. Click on ‘Preview’ below the book cover image.
The same section can also be read as a free sample Kindle download from the Amazon Kindle Stores.
What better place for a discussion on the rarefied subject of magic mushrooms than the hippy-oriented Sunrise Festival in Somerset, England, just down the road from Stonehenge? On a hot Saturday afternoon in early June 2010, a group of us gathered in the Ancient Futures yurt to hear Andy Letcher’s talk on ‘Reading the Codex: Making Sense of Magic Mushrooms’.
Andy Letcher, a holder of two doctorates—the first ecology related, the second concerning Bardic performance in contemporary Paganism—is the author of Shroom: A Cultural History of the Magic Mushroom, a comprehensive and informative overview of mushroom culture and its position in the larger psychedelic pantheon. Published in 2006, the book was generally well received and critically acclaimed, but due to its revisionist stance on many of the cherished theories concerning psychedelic use throughout history, it has also excited much controversy and opposition. On some internet message boards this has escalated to open hostility and outright abuse, and, perhaps worse still, the accusation that Andy has never even taken mushrooms.
In a nutshell, Shroom argues that hard evidence for much of the received wisdom concerning past psychedelic use—with a particular focus on mushrooms—simply isn’t there, and it is largely a wish-fulfilment back projection on the part of the modern psychedelic movement. So, how come such an issue has got many people’s back up? Perhaps it’s the sureness of Andy’s academic position: I must be right because the evidence (or lack of it) speaks for itself. Perhaps it’s because he takes material that is understood by many to serve as myth or half-truth rather than solid fact, and by insisting on holding it up to factual scrutiny rather tramples it into the ground. Or perhaps it’s because his literal evidence-based approach to the subject cuts right against the grain of the enchanted, mythopoeic, supra-rational radiance of mushroom gnosis itself.
As he began his lecture, no doubt aware of this undercurrent of feeling, Andy laid his cards on the table. He described himself as a ‘hippy’, an insider, who, though he’s an academic is still very much ‘one of us’. Indeed he does take mushrooms, though he prefers lower doses, and he has experienced that all-important gnosis first hand. With long flowing centrally parted hair, earrings and a neat distinguished-looking King Charles I-style moustache and goatee, he certainly looks the part of a hippy; and as the talk progressed, he used demotic, non-academic language, such as ‘tripping their tits off’ and liberal lashings of swear words. Read more…
The Mad Artist is now available from the Amazon Kindle store, for $2.99, or £2.21 including VAT from Amazon.co.uk Kindle. The first five chapters—covering the epic first acid trip—can be sampled for free, and the Kindle app is now available free for many devices, including PC, iPhone, iPad and BlackBerry.
E-book sales are soaring and the ease with which they can be obtained is increasing; like it or not, the paper-free revolution is gaining momentum. Just by downloading the PC app and going to the Kindle store, you can now read many literary classics absolutely free. Some contemporary titles are also offered free, as part of promotional campaigns, and others are priced very competitively.
The facility to price competitively is a great boon to authors of print-on-demand books, such as The Mad Artist. One of the great drawbacks of POD is the high cost of production, leading to the handicap of a higher retail price than regular books. For a relatively long book such as The Mad Artist (170,000 words), the handicap is greater still, as more paper adds up to more cost. But in the e-book world this disadvantage vanishes at a stroke, and the e-version is actually considerably cheaper than most. For struggling independent authors, this has to be the way to go!
Still: Roger Keen playing the drums ‘…imitating the style and technique of Mogadon Sammy.’ (as described in Chapter 12 of The Mad Artist)