The Lost Notes reveal more than you think.

Some of The Lost Notes

When the new book by Diz was conceived it was after the discovery of many pieces of writing had been found in a box at the back of a cupboard. Writing that had been written a long time ago. Some of it was even over twenty years old! Half written projects, ideas that had been quickly noted down – but were not fully formed. None of it was a cohesive narrative. Taking the concept of William Burroughs cut ups – it was decided to take these many separate themes and ideas and create something new. Creating a character that linked the different mediums together, and with that character being a jazz musician – so the concept of composing came to mind. Like any piece of Jazz there are those moments that hook you in, and take you on a journey – and then the tune can take you off on different tangents with improvised moments before returning to its main theme. This is exactly what The Lost Notes hopes to achieve, and so far the initial feedback from those who have been fortunate to read pre release copies the concept has indeed created something that is both different and entertaining.

Gary Malby from Gama Clothing had the pleasure of reading The Lost Notes, and his reaction was everything Diz hoped. Gary is a clued up guy with a broad knowledge of music, style and culture. His site sells a range of t shirts, accessories and books to people who have interests in British subcultures, music and modernist ideals based around living a full life. He stated it is

‘Like a Blue Note Revisited album, the sights and sounds are familiar and classic, but with a brand new twist baby! A great tonic for the instant throwaway culture and a great read’

Gary Malby @gamaclothing

Another recipient of a pre release copy was Jason Brummell. Jason is an author in his own right, and has been called the leader in modernist fiction thanks to two seminal books and a raft of articles. His books All About My Girl and All or Nothing being cited as two of the best tales depicting the modernist experience in 60s Britain. In fact his work has spurred other people to take up the challenge of creating fiction and his encouragement of other writers is to be highly commended. His reaction to the pre release copy was also glowing.

“A highly entertaining lysergic flight of fantasy across the astral planes. An energetic rollercoaster of voodoo, jazz, Jim Morrison and the power of spirituality. As inventive and as original as a solo by the master himself, Dizzy Gillespie.”

Jason Brummell, Author.

Jason’s reaction sum up the book succinctly. For all the elements he mentions are indeed in the tale. It mixes creativity with a fantasy that evolves, and as it does it enters other realms of existence and deals with spirituality, death and magic. Its a potent mix that conjures up an original tale that is as the author hopes – refreshingly different.

Another, and the final endorsement for this forthcoming Beatnpress publication is from Detail Magazine’s Claire Mahoney. As an editor and writer herself – her reaction to the book was one that ‘Diz’ hoped would be positive and insightful. Diz needn’t have worried. She stated:

“If Jack Kerouac and Carlos Castaneda went on a road trip together, you would probably wind up with something not dissimilar to The Lost Notes. A beguiling transatlantic tale of jazz, spiritualism and Jim Morrison ” Claire Mahoney, Detail magazine

Claire Mahoney, Detail magazine

In all this experimental novella that mixes poetry, prose, screen writing, music and images together achieves what it set out to do. It is a book that is not only entertaining, but explores composition, structure and a mixed media approach to provide something that is just different enough that the experience itself is original and new. It’s a true trip with a jazz element. If it was a piece of music it could be termed Acid Jazz, but as it is a form of literature it’s a modernist beat book for the soul.

The Lost Notes by Diz will be available to pre- order from http://www.beatnpress.co.uk on the 24th of October for £10.99

The Old Tin Sandwich

I have been so busy of late, working on several projects at once. You see with the Covid era we have been through, and the hours of not working at the “day job” because of furlough – it was necessary to keep active. To be creative, and occupied. So, as a writer and poet, it was a time of productivity. From writing articles for zines, to self publishing another book of poetry, to collaborating with other writers, and even recording a track for a spoken word album. On top of that I am working on a third novel, editing two books of my own, and helping a mate out with publishing a memoir written by his late wife for charity.

So, you can see. I haven’t been lazy, just watching Netflix and Amazon Prime the whole time.

The track for the spoken word album is called

A Dance With The Devil Called Chance, which appears on the new Croydon Tourist Office compilation Friends Of Croydon Tourist Office

Friends Of Croydon Tourist Office

This track is a whopping eight minutes and eight seconds long, and is an extract from another forthcoming book titled The Forgotten Whisper On The Wind, my third collection of Pulp Fiction Poetry. But, anyway I digress. With my latest collection of poetry Pop Versus Subterranean having recently been published, I realised that under my own imprint I had published ten books since 2016.

I had had the idea of my own small publishing press since the mid 90s, when I had embarked on trying to be a writer.

As those of you who have read my blog over the last few years, you will have seen that I am inspired by the Beat Generation, and being brought up in the 70s , I had developed that Punk attitude of doing it for yourself.

From my conscious decision came the idea of Beatnpress. So, naturally when I began to self publish I developed my “brand”. I had aspirations to not only write, but to help other writers. However, I had lacked the confidence to really go for it. That is, until now. When life was paused, it made me evaluate. I considered what I wanted to do. I saw what I had managed in recent years, but didn’t want to go backwards. I was more determined than ever to try and make things work. Opportunities come your way, and sometimes you need something to kick your behind – so that you can really make those dreams and aspirations come true.

By creating http://www.beatnpress.co.uk I have provided myself, not only a platform for myself, but hopefully in the future, a platform for others.

Something that, at the moment gives me a sense of pride.

Anyway. I am sure readers, you are wondering what all this has to do with an old “Tin Sandwich”? Well. Nothing really – apart from recently I wrote a poem that I thought I would share at the end of this post. 😊

The Old Tin Sandwich
Clamped between the lips
The tongue bending as the note is found.
The vibration waves through the
Comb
Then the Blues wails
With its responsive sound.
A rhythmic backbeat
Is found by stomping feet, claps or drums.

Yes the harmonica hums.
The he haw
See saw
And a bit of wah wah
Hollow cheeks filled and then empty
Giving the sound plenty-
Streaming across the teeth
Cupped hands
Wave
Fanning the passion
And
The emotion
As nearby
A Guitar simply weeps.
The hum is electric
As a crowd watches on.
The eyes are closed
Where did that note come from?
Is it a spiritual
A sound from the past?
Is it an echo of anguish
Or a triumphant sound?
Is it from down low
From beneath the ground?
Is it from the core.
Hunched over in midnight blue
A musician puts a spell on you.
The knee jerk of the call and response.
The onlooker may give a whoop of appreciation
Or just a silent nod
But either is alright
When it’s music that can be loved,
And the rhythms wash over you.
The Old Tin sandwich
Is never stale
When you learn to breathe life into the Cosmos.
©Jason Disley (April 2021)

The Old Tin Sandwich

Writing 20th Century Pulp Fiction in the 21st Century

I have come to realise that as a writer, there is a style I gravitate towards. I don’t pretend to be highbrow or sophisticated like somebody who went to a particular university, or had a privileged education. I do not have airs and graces. I write about what I find interesting, and entertaining. I weave tales that are not over complicated, but have enough spice (I hope) to turn a page. So, what is it that drives my interests? What is it that makes me return to a genre that is full of those things that so called “polite” society call taboo?

It’s that boyish sense of adventure. I am quite clearly a little immature. I want to be titilated, and experience danger, lust and crime. I want to be the sheriff or the man in the black hat as you would see in a classic Western. I want to be a Gangster, or a super sleuth. I want to sleep with the Femme Fatale, although it could be the death of me – and so it goes on.

Pulp Fiction, is where its at. You escape into the underbelly of life and experience a grittiness that is equally alluring as it is distasteful. The tales can appeal to our most basic instincts. But they also serve as a quick escape from the real world. Where the mundane existence of life seems to crowd in. I think that a great pulp tale from the 20th century provides a portal to life that has a glamour that isn’t as obvious in life today. Interaction between characters is vital, and at a time when distancing yourself from others can be seen as important, so these interactions jump off a page.

So, for me writing within this genre seems a natural fit. I don’t just stick to the formula though. I experiment and provide stories that have enough familiarity that you want to read, but are also different in structure. My Pulp Fiction Poetry for example has a lyricism that helps convey mood, rhythm and a musicality.

Whereas my prose embraces many different genres so as to try and create something original. That is the crux though. How do you provide something that hasn’t been done before? Well you don’t. You go with your instincts. You write about things you are interested in, and hope others are as well. You pick the elements you like, you absorb ideas from around you – on the Internet, in books, on film or even on the radio. Then you regurgitate it in a new way. Taking things forward in the manner that storytellers do.

It’s hard work being a 20th century Pulp Fiction writer in the 21st century. But it continues as an accessible entertainment, and tradition that is there to be enjoyed.

I have written two novels and two Pulp Fiction Poetry collections. This year I hope to complete a third novel and a third Pulp Fiction Poetry collection. I am pretty sure these won’t be my last. It seems I am on a road of my own choosing, where story telling is my thing. So if you want to dig my work check it out at the various online platforms it is available from:

Amazon,

Apple.

Barnes & Noble

Kobo

and

Lulu.com

Watch this space for my forthcoming projects – including news about my first non fiction book.

Kindest regards readers. Stay safe

Jason Disley.

A Pint Of Bitter, and Pulp Fictions

It’s been a week, since I last posted anything. Last Monday I mentioned various book releases I have made available as ebooks. Such as my novella Seven Day Fool, which is now available via iBooks

https://books.apple.com/us/book/seven-day-fool/id1505606104

and my first Pulp Fiction Poetry collection – Beat To A Pulp which is also now available via iBooks

Beat To A Pulp by Jason Disley

https://books.apple.com/us/book/beat-to-a-pulp/id1505713274

As well as releasing these books, in the last week I have written an article for Zani, which is an online magazine with articles covering a wide range of topics. The article I wrote was titled A Pint Of Bitter, Bound To Be A Good Thing… And was About British Jazz icon Tubby Hayes, and a new limited edition book that has been published by Mono Media Books. In the article I interview the main man behind the project-Mark Baxter, who is an author and film producer, amongst other things.

Tubby Hayes

You can read that article here, and if you are interested in this book about the British Jazz legend. You can follow the link for more information at the end of the article.

https://www.zani.co.uk/zani-music/item/3068-tubby-hayes-a-pint-of-bitter-bound-to-be-a-good-thing

So, as you can see – I have been fairly busy. However, the main thing I wish to bring to your attention is my new paperback that has been released – it is titled – Angel In Alabaster,

Angel In Alabaster the new book by Jason Disley is out now.

and is the sequel to Beat To A Pulp. It is a book I am very pleased with and continues with the theme of writing a prose tale in verse form. My interest in Pulp Fiction and Film Noir is very apparent in this book, and it contains moments that feel familiar, and comfortable within the environment of the tale. In fact. An up and coming writer – who is very hip to the world’s I allude to in the book has written a foreword to the book, which I feel gives the reader an insight into what Pulp Fiction Poetry, Or Film Noir Verse is. Here is that foreword:

FOREWORD

It’s a pulp world. A space where people make shapes, alloyed by desire. It’s where Exterior means: “I need to get from Point A to B, with a direct response,” as Interior leaves us groping for dark epithets with one hand, while knocking back a boiler maker with the other.
Jason Disley knows this world like the back of his hand. Read The Angel in Alabaster and you’ll be on several fifth drinking terms with it. It’s a warm enough room; a bourbon haze, a nascent lounge lizard on the Wurlitzer and a Turkish delight scarlet hue in the furnishing. Pick through the Fry’s, expect to stumble upon some ebon promise.
Loretta, Johnny, The Artisan: all creations unique to Jason’s palette – the wasp’s sting here is in their familiarity. The initial impact of The Angel in Alabaster comes from this sense of ironic comfort. For a long time fan of the novels of Raymond Chandler, the songs of Johnny Mercer and the silhouette of Gene Tierney, reading words that invoke 1940s LA hums the same heat as Vernon Duke’s mellow Manhattan Fall: “Glittering crowds (…) In canyons of steel / They’re making me feel I’m home.” But, as a later poet of sky rises observed, It’s also where the hatred is.
The Angel in Alabaster has a raison d’etre supplanted from a previous work, Beat to a Pulp: a juxtaposition of the argot of gumshoes and cheese cakes with the ennui of the verse styling found in T. S. Eliot’s 1920s modernism. In laymen’s terms, this is a way of depicting a story filled with the pulse of hard boiled sensuality, through a poetic metre impressing ‘hip’ speech rhythms, for those of a Spillane bent, at the same time as employing strong rhymes to locate a subtle sense of the universality of Noir in these Google fried times. “The stuff that dreams are made of” now so manifest that “doing a number” is as much part of the current bloodstream as a commonplace app; on its 20th Luckie for the day of course.
And this is where Jason mounts his own unique killer-diller.
Jason’s poetry in The Angel in Alabaster delves into Noir as an intrinsic part of so many of today’s cultural default mode. Sin City – look at the implied neons and Edward Hopper pallor. Peaky Blinders – the hissy darkness and ‘hat as icon’ imagery. Boardwalk Empire – well, It’s like a resort for…. Gangsters. However, Mr. Disley is anything but the lid on a semiotic dust bin. E. M. Forster told us to “only connect;” he could be describing the best way to tuck into The Angel in Alabaster’s rhyme of the non’lent gumshoe jazz riff. Dig the influences, connect the dots. How modernist.
Dot connection is indeed the thing wherein we catch the shtick of the Dis. Slang is normally habitual; It’s great paradox residing in it being always there, despite fashion making it permanently transient. Within the bounds of The Angel in Alabaster, it functions as a refining signifier, beckoning towards a signified inscribed with ‘pleasure.’ Jason’s utilisation of Eliot’s bleak poetics illustrates this best of all. Cf, The Waste Land:
She smooths her hair with automatic hand,
And puts a record on the gramophone.
‘This music crept by me upon the waters’ (…)
O City City (….)
Now ‘Angel’:
Johnny needed to shake the lead out of his shorts (….)
He would find the gator with a gat
Or the cat with a shiv
Who had decided the Lady in The Jade Dress must crowd (….)
He needed Seven to become Eleven in this crap shoot.

In The Waste Land, speech rhythm connotes towards ennui – a boredom that beckons towards an out of reach memory from a Tempest. In ‘Alabaster’, the metre is also of speech, but this time the modernist urge to make it new comes not as a lofty literary, but in a bouquet of side mouth rye. The fragments that Jason stores against The Artisan’s ruins read more like William Gottlieb’s photograph of 52nd Street: from swing to bop is the measure of Seven becoming Eleven. The Angel of Alabaster may allude to Eliot’s “a handful of dust,” in form; when read and digested, the grab is still there but definitely in a lamp gaze view – from the lipstick cap to Lana Turner’s eyes, plus John Garfield’s peak in between.
Whether you dream of Rita Hayworth or crack like Jimmy Cagney, rein in your 38. for Jason Disley’s latest invitation to the pulps. *

Nathan James Le-bas

*: All quotes from The Waste Land, The Complete Poems & Plays of T. S. Eliot (London, 1969).

Angel In Alabaster has a wonderful bookcover designed by Mark Head Aka Mr. H. Mark, designed the cover for Beat To A Pulp, and it seemed natural to ask him to design the cover for this collection.

The book is available now from

Support independent publishing: Buy this book on Lulu.

And soon it will be available from other online retailers such as Amazon.

Going forward, I am working on a third Film Noir Verse book, and the sequel to Seven Day Fool, titled Take It Or Leave It, this book will initially be made available as an ebook. I hope that when the time is right it will be published in paperback.

Lastly I wish to share a video of a poem I have written, that is a message for all of us at this time. As we all make our way through this Pandemic – follow the rules and keep safe. I will no doubt be sharing something else with you next Monday. JD.

Keep Your Distance