Laura Gonzalez


10 Aug 2014

Nineteen Seventy Seven (Red Riding, #2) by David Peace ****


Reading dates: 12 July – 03 August 2014

As unsettling as the first one in the quartet, Nineteen Seventy Seven is not for the faint hearted. The temporal setting, and the crime, is the Yorkshire Ripper murders. Blood, sex, pornography, grit, corruption, vice, deception and love drive the investigations of Bob Fraser—police officer— and Jack Whitehead—journalist—as their chapters rotate. Preceding all is a strange transcribed dialogue from a morning radio show of the time. The clues. The prose is wonderful, full of echoes and repetitions, insistent dreams in italics and energetic dialogue. Just when you think David Peace is going to shoot the genre to pieces, he doesn’t. Well, he does because he doesn’t . You just have to read it to find out what I mean and who the Ripper is.

Fundamental to the Red Riding is the place and the Leeds-Bradford-Wakefield triangle is mythical because it is too real. Hot then rainy, all too strange, a setting where real people live, even now, 37 years later. Yet, the place and the story are also distant in time and place. The reader is a character in the story and, like all of the characters, somewhat disengaged, not quite there, secretive.

Peace provides a curious reading experience, a disorienting but a compelling one. I always feel I need a break after reading one of his books and two hours later I contemplate starting Nineteen Eighty. Won’t be long, I think.

Posted in Blog, Book Reviews, Reading

One Response to “Nineteen Seventy Seven (Red Riding, #2) by David Peace ****”

  1. The Dead Hour by Denise Mina**** said:

    […] to because they were insightful, nicely put. This only happens to me with one other crime writer, David Peace. Him and Mina are proof that a more literary version of the usual trashy crime fiction is possible […]

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About Me

I am an artist and writer. My recent practice performance, film, dance, photography and text, and my work has been performed, exhibited and published in many venues in Europe and the US. I have spoken at numerous conferences and events, including the Museum for the Fashion Institute of Technology in New York, the Medical Museum in Copenhagen, College Arts Association and the Association for the Psychoanalysis of Culture and Society. When I am not following Freud, Lacan and Marx’s footsteps with my camera or creating performance works as part of my Athenaeum Research Fellowship at the Royal Conservatoire of Scotland, I teach postgraduate students at Transart Institute.

I am currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric. In 2013, together with Child and Adolescent Mental Health practitioner Frances Davies, I co-edited the book ‘Madness, Women and the Power of Art’, to which I contributed a work authored with Eleanor Bowen. My book ‘Make Me Yours: How Art Seduces’ was published by Cambridge Scholars in 2016. In this text, investigates psychoanalytic approaches to making and understanding objects of seduction, including an examination of parallels between artistic and analytic practices, a study of Manolo Blahnik’s shoes as objects of desire, a disturbing encounter with Marcel Duchamp’s last work, and the creation of a psychoanalytically inspired Discourse of the Artefact, a framework enabling the circulation of questions and answers through a relational approach to artworks.