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Passive erasure of a people in captivity. An Englishman becomes entangled in a petty art theft in Paris. A wealth-connected virus. Overdose and coma. A population wakes up in a biosphere, is fed regularly, develops its own laws and stimulants, and is divided between law-enforcing cannibals and dreamers. A madman hears the voice of God and prophesies the downfall of his city; his madness, injurious to himself, is sustained by disappointment that his people were not destroyed. Characters often expose or oppose stronger, ‘higher’ criminal, social or scientific powers This is the stuff of my novels so far (1997-2015). While language is my primary concern, if these plot-stickers make up a 'thematic' I would see it as essentially a Nova Zelandian one, allowing for concurrence among peoples dealing with similar ecological, cultural and political issues.

After an intensive and fruitful period of travel, collaboration and performance experiences, I am not currently touring or playing music. VIdeo of the month, Production of Artaud's Les Cenci, according to Artaud's own precepts [our title: Bride of the Wheel).

The new issue of Percutio (2015) is in bookshops the length of New Zealand and is available through colleagues in France. Donate to Percutio magazine.
Vaughan Rapatahana's Percutio/JAAM Commentary at Jacket2.

The Ballad of Rue Belliard (novel, 2012) is set on the periphery of Paris. brief #48.

Wormwood (novel, 1997) -- “Entropy and death read as metaphors for the implosion of post-war Europe and the failure of capitalism.”[Virginia Were, NZ Listener, 23 June 1997]

Song of the Brakeman (novel, 2006) --“a vividly conceived world here, manifesting slowly and brilliantly through its accumulating signs”.[Jen Crawford, Landfall 214, November 2007]

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