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John McCullough was born in Watford in 1978. His poetry has appeared in publications including Poetry London, The Rialto, The Guardian, Magma and London Magazine. He teaches literature and creative writing at the Open University and the University of Sussex and has a Ph.d from Sussex on rhetoric and friendship in English Renaissance writing. He lives in Brighton.
Reckless Paper Birds blends raw emotion, acute social observation and sharp wit to capture the gay male experience. The author of the critically acclaimed collections The Frost Fairs and Spacecraft, Brighton-based John McCullough pulls no punches in this latest - and his most powerful -collection. These are poems of skill, joy and quiet musicality that reflect the conflict and complexity of being.
The Frost Fairs is a compassionate book with a global and historical scope, tackling science and city life from a range of surreal yet poignant angles. It explores love in many forms, from modern transatlantic relationships to hidden gay and cross-gendered lives from the past. The pieces travel from ancient Alexandria to twenty-first century bars and council estates, behind everything the vastness of the sea and sky. The array of voices here is striking: taxi drivers report their most outlandish fares and hermaphrodite statues flirt with observers; abandoned lovers watch frost fairs melting on the Thames and drag queens revel in the freedoms afforded by the Blitz. Formally deft and carefully crafted, this diverse range of poems uses language that is always musical and alive. Surprise and the uncanny are cherished as ways of returning to us the strange leaps and enduring power of our deepest yearnings. In this collection, longing and losing condition all we see and hear, making the impossible suddenly plausible. Whether exploring Brighton seascapes or questions of empire, there is always in McCullough's writing an openness to seeing the world from an alternative point of view. At once bold and haunting, The Frost Fairs opens the door to a new country in the reader's imagination in its exploration of the possibilities of the human heart.
Spacecraft navigates the white space of the page and the distance between people. Margins, edges and coastlines abound in John McCullough's tender, humorous explorations of contemporary life and love. Encompassing everything from lichen to lava lamps, and from the etymology of words to Brighton's gay scene, Spacecraft is a humane and spellbinding collection from the winner of the 2012 Polari first Book Prize.
Are you lost and confused or seeking the purpose of life?Are you looking for cures of diseases or cancer?Do you have a problem with your weight?Or just seeking a spiritual peace?This book has the answers and the Truth will set you free.
For eight seasons between 2001 and 2010, Fox's 24 garnered critical accolades and became one of the most watched and discussed shows in primetime. In an innovative premise, the show's hour-long episodes were meant to represent a real-time hour of the story, so that each twenty-four-episode season depicts a single day in the life of its characters. Influential as a popular hit, 24 was also closely linked with the culture of fear that dominated the post-9/11 period. In this insightful study, author John McCullough demonstrates that the series was not only unique and trendsetting, but also a complex creative response to its historical context. In three chapters, McCullough looks at 24's form, style and overarching themes and meanings. He argues that although the series is driven by the political and cultural shifts brought on by the War on Terror, it is routinely out of step with real history. Using Linda Williams's distinction between the melodramatic mode and melodrama as a genre, McCullough explores 24's use of the action-adventure and spy thriller forms with particular attention paid to the series' hero, Jack Bauer, who is depicted as a tragic hero perpetually in search of a return to innocence. Ultimately, McCullough finds that the series' distinction lies less in its faithful re-creation of the history of the WOT than in its evocation of the sense of crises and paranoia that defined the period. McCullough also analyses 24 as a response to television culture in the post-network age, characterised by reality TV's populist appeal and visceral content, on the one hand, and sophisticated boutique cable programming ( quality TV ), on the other. McCullough demonstrates that 24 engaged not only with the most pressing issues of world history and the geopolitics of its time, including terrrorism, neoliberalism and the state of exception, but, on the strength of its form and style, also represents significant global trends in television culture. Fans of the show and media history scholars will appreciate this thorough study.