David MoránSEGUIRBarcelona Updated: Save Send news by mail electrónicoTu name *

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Burns Brixton, bottles and rubble flying about the police (“we Kill the pigs! I kill the pigs!, shouted the troublemakers”), and not far from that wall in the David Bowie will eventually be canonized years later, the needle of a record player stumbles time and time again with the same phrase. “…Nothing to lose…”. Click. “…Nothing to lose…”. At his side, a corpse with the body twisted manner “terrifying” is lying on the bed. Cutting sawing in the neck, multiple injuries to the face, great collection of disks. Might sound like the creepy “you’re not alone” “Rock And Roll Suicide”, but what you hear is the fragment in a loop of an old success of Luke Bell, star glam of the seventies, the that the now deceased was delivered, never better said, in body and soul. “…Nothing to lose…”. Click. “…Nothing to lose…”.

Crime, blood and glitter in the London of the eighties and the drum roll to announce the first novel, Jeff Noon (Droylsden, 1957) translated into Spanish in almost two decades. Yes, Jeff Noon. The same as at the beginning of the nineties, it revolutionized science fiction with the eccentric and insane, “Vurt”, was about to become the Philip K. Dick of the Generation X and, seen and not-seen, vanish, at least for the readers here, after publishing “The needle in the groove”. “I took Me a while to try to make a hole in the script writing, something I now regret. But I went back to writing novels with great relief and a surge of energy,” explains now Noon, from somewhere in Brighton, a seaside town in which he resides and where he has given way to “The King Lost” (RBA) , twisted thriller in which the race riots of 1981, police corruption and the stardom of pop he is accompanied in his debut in the novel black. “I never give in with the science fiction, but it has been fun to write something different,” he says.

In the novel the inspector Hobbes try to solve the puzzle that connects to Luke Bell, with Brendan Clarke, the corpse of the first paragraph and a kind of impersonator of Bell that recreates on stage the great discovery of his hero: a sort of Ziggy Stardust masked man called The King Lost . “I like to think in that small space between the mask and the face: I can expand that space into a whole world,” he explains.

it Is precisely there, in that slit, where he was born on Town of Eden , paradise imaginary that marks a good part of the course of the novel. An invention which, however, has a very real basis: the imaginary city, called Lypton Village with that fantasized Bono, The Edge and company before becoming U2. “I was very attracted to the idea that famous musicians could have a beginning creative in imaginary worlds, so that I began to develop the novel thinking in terms of narrative criminal: a group of children invent a village imaginary;it affects their lives deeply; some of them go crazy for it; one is world-famous as a rock star; the other becomes a killer… And all for the same imaginary town,” he said.

The mask of the dreams”

In reality, Noon neither should be too difficult. It was enough for him to remember their adolescence and leave the office is to be in charge of the rest. “In many, many aspects, my life as a writer started when I was 13 or 14 years old. My building principal was a rock star called Jonathan Two . I was very inspired by Ziggy Stardust, with a little bit of the innocence naughty of Marc Bolan. I wrote songs with the name of Jonathan Two, I pulled out albums (just eight!), I drew the covers… All of this happened only in my imagination I was sitting on the bed and played rhythm and sang, or rather chanted, the songs of Jonathan Two,” he said.

With “The King Lost” and their shady goings-Noon also question what is going on “behind the mask of dreams,” and concludes that, at least in ensalmo pop is concerned, any time past was better. “The mystery is gone. Now we know too much about the stars , whether they be actors, singers or athletes. Their lives are lived online, not saved anything, while back then we barely knew anything about David Bowie. The feeling of wonder and perplexity was profound and grew freely in our heads. Collect up the last track that we could, from interviews and photographs, and the entretejimos in narratives as imaginary. It was very intense,” he said.

To that mystery grabs also Noon in order to defend the effect of science fiction and its capacity is not to explain the world, but remix it and deform it. “At times highly political, there is the danger of thinking that science fiction needs to reflect in some way the world. To me the thing that I like is to push people to imaginary worlds and then see how it affects your real life.” And for that, he adds, there is only one path, but infinite possibilities. “I like to think that there is a science fiction, but many. The gender object is a multidimensional strange, with many shapes and sides, corners and faces. And most of these ways yet to be discovered,” he concludes.