London, a city of constant transition, transaction, translation. London does not exist; London is a language without a place and it is the aphasic city; it's the mother of all languages. Lucifer Over London is a new anthology nine narrative essays written by a host of international prize-winning authors including Chloe Aridjis, Viola di Grado, Xiaolu Guo, Joanna Walsh and Zinovy Zinik. First published in Italy by Humboldt Books, Lucifer Over London is now appearing in English for the first time. This is a version of London as seen from the immigrants of recent migrations, of deportations to come, from those who create London even as they contradict it.
Artists Anonymous Catalogue for the exhibition 'Lucifer over London' at Riflemaker Gallery in 2009 Essay by J.J Charlesworth Reproductions and Installation views photographed by Gunter Lepkowski
In the beginning… Three brothers – Gabriel, Michael and Lucifer. Royalty. Archangels. United in devotion to their father and all his works. But when Lucifer learns of their father’s latest creation – a new race, fashioned from crude matter and yet made in his image – he is consumed with resentment. Why have he and his angelic kind been overlooked? After a bitter confrontation, Lucifer is cast out, doomed to an eternity of exile and punishment. Unrepentant, he vows he won’t suffer alone. Mankind has made a powerful enemy – one determined to lure it into darkness and torment any way he can… “There could be no bigger canvas for film-making.” – Mark Ordesky (Executive Producer – Lord of the Rings); “Alec not only re-frames pre-history; she also imaginatively illustrates how the realm of spirit impacts the contemporary material world.” Ileen Maisel (Executive Producer for the Golden Compass) “This is the best work of fiction I have read since the last installment of Dean Koontz’ Frankenstein series” Jim McDonald – 1340Mag – Online Entertainment Magazine.
“A fiendishly sharp, intelligent examination of modern human life that is as funny as hell.” —The Times (London) The end is nigh and the Prince of Darkness has just been offered one hell of a deal: reentry into Heaven for eternity—if he can live out a well-behaved life in a human body on earth. It’s the ultimate case of trying without buying and, despite the limitations of the human body in question (previous owner one suicidally unsuccessful writer, Declan Gunn), Luce seizes the opportunity to run riot through the realm of the senses. This is his chance to straighten the biblical record (Adam, it’s hinted, was a misguided variation on the Eve design), to celebrate his favorite achievements (everything from the Inquisition to Elton John), and, most important, to get Julia Roberts attached to his screenplay. But the experience of walking among us isn’t what His Majesty expected: instead of teaching us what it’s like to be him, Lucifer finds himself understanding what it’s like to be us. By an author hailed by the Times Literary Supplement as one of Britain’s top twenty young novelists, I, Lucifer is “a masterpiece . . . startlingly witty, original and beautifully written” (Good Book Guide). “Duncan’s witty and perverse, yet somehow life-affirming, Lucifer is powerful indeed.” —Booklist
Cast out of Heaven, thrown down to rule in Hell, Lucifer Morningstar has resigned his post and abandoned his kingdom for the mortal city of Los Angeles. In this final LUCIFER volume, the war in Heaven reaches its universe-shaking conclusion, as the forces of Heaven, Hell, and everyone in between wage a final battle to determine the fate of both Yahweh and Lucifer's Creations - a fate no one, not even the Lightbringer, could foresee. And in the aftermath of the battle, how will Lucifer and his cohorts pick up their lives and tie up loose ends? Collects LUCIFER #62-75.
An allegorical morality comedy about criminality and the rivalries between London, Lincoln and Spain. This play is an exercise by a young dramatist who is grappling with understanding philosophical and legal concepts by simplifying these into personifications. Three Lords of London (called Pleasure, Pomp and Policy) declare their superiority with puffing emblems and insist that they have an innate right to marry the three Ladies of London (Love, Lucre and Conscience). The Ladies have been imprisoned in the first part of this series (Three Ladies of London) for their sins, and Nemo has decided that he would only release them if precisely three suitors bid for all of their hands in marriage simultaneously. The Ladies are told to remain silent and to obey whoever is willing to marry them, or they would have to return to prison to be tortured by Sorrow. Thus, instead of the standard comedic objections from female characters to potential matches, the only obstacles to this pre-determined resolution are that the three Lords of Spain and the three Lords of Lincoln appear to also bid for the Ladies. The defeat of the Spaniards is presented in an exchange of insults about emblems and epithets during a meeting that alludes to the Spanish Armada attack. And the Lords of Lincoln are briskly defeated when they are told they merely deserve the symbolic stones the Ladies have been sitting on. The introductory remarks explain how Lords should be part of the main canon because it might be one of only three pre-“Shakespearean” British comedies. And a section presents an alternative explanation for the mystery of how the seven copies of Lords’ print-run ended up with strange combinations of varying typos. The annotations explain how the detail of Usury’s parents being Jewish has been misinterpreted by previous critics as anti-Semitic, when this passage actually summarizes the ethnic backgrounds of the actual members of the Ghostwriting Workshop, as the merchant-lender among them Sylvester was Jewish, and Percy was from a region near-Scotland and had been educated in France. And evidence is presented why the series that includes Lords and Ladies should be re-attributed away from “Robert Wilson” and to Percy. “Enhanced for academia with the inclusion of a 6 page listing of Acronyms, a 1 page Summary, a 23 page Exordium, 21 pages of Plot and Staging, a 104 page Text, and and 5 pages of Terms, References, Questions, and Exercises, The Three Lords and Three Ladies of London is Volume 10 of that Anaphora Literary Press British Renaissance Re-Attribution and Modernization series. A unique and unreservedly recommended addition to community, college, and university library Shakespeare, British, and Irish drama collections”. —Midwest Book Review, James Cox, The Theatre/Cinema Shelf Exordium Plot and Staging Text Terms, References, Questions, Exercises
The story, set in the sixties, follows the life of Ian, a rising star in global finance. His beautiful young wife Barbara is busy carving out her own career in the music industry. Leading separate yet intertwining lives Ian becomes disillusioned with the ethics of his world and gravitates to the less ridged lifestyle enjoyed by Barbara. This eventually gives him a different perspective on his role in world politics. Ian considers himself a small cog in the company that employes him. A company that uses wealth, and corruption to manipulate world politics in its pursuit of power. Determined to instill change he move upwards in the company ranks; striving for a position high enough to dictate policy. Only when close to the seat of power does he realize how imposable this tack hes set himself will be. In the darkness of his perceived failure hes enlisted by a powerful organization allied to his goals. His faith restored, and re-invigorated he move forward to win a major battle in this ongoing war, although his victory is paid for with the ultimate sacrifice, but his legacy lives on.
