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Narcisa: Our Lady of Ashes, by Jonathan Shaw
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The first trade edition of the cult classic from the artist/author hailed by Iggy Pop as “the great nightmare anti-hero of the new age,” legendary tattoo artist Jonathan Shaw, that chronicles a scandalous, degenerative addiction between two people—a wild, brutal, passionate, and unstoppable ride into depravity and darkness through the back alleys of Rio De Janeiro and New York City.
A legendary tattoo master and notorious creator of trendsetting underground art, Jonathan Shaw has created a masterpiece with this powerful story that captures the destructive addiction of love, sex and drugs, embodied in two people whose irresistible passions threaten to destroy them.
In the wild backwaters of Rio de Janeiro and New York, motorcycle-riding, nomadic outlaw poet Ignacio Valencia Lobos—known as Cigano—attempts in vain to curb the unhinged habits of his lover Narcisa, a crack-smoking philosopher prostitute. Though he knows they will destroy each other, Narcisa is an exquisite poison he cannot resist. As they navigate the chaos of her downward spiral—dragged deeper by the gravity of drugs, burglaries and violence, Cigano recounts a love affair doomed by insanity, dysfunction, and vice.
A magnificent epic of literary genius, Narcisa belongs among the works of such greats as Charles Bukowski, Henry Miller, William S. Burroughs, Jack Kerouac, Irvine Welsh, and Hunter S. Thompson.
- Sales Rank: #614601 in Books
- Published on: 2015-03-24
- Released on: 2015-03-24
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.00" w x 6.00" l, .0 pounds
- Binding: Paperback
- 624 pages
Review
“The next Bukowski” (Rolling Stone)
“Fearless storytelling.” (Marilyn Manson)
“Jonathan Shaw is the great nightmare anti-hero of the new age.” (Iggy Pop)
“Shaw’s writing is one hell of a wild ride through the bizarre netherworld of his own damaged consciousness. His experiences are real and his language and insights kinetic and brutal... Shaw’s writing certifies him as a subversive and criminal inhabitant of the world of human expression.” (Jim Jarmusch)
“A darkly hilarious litany of doomed love, drug addiction, compulsive sex and mutual enslavement...” (Vice)
From the Back Cover
A legendary tattoo artist and notorious creator of trendsetting underground art, Jonathan Shaw captures the destructive addiction of love, sex, drugs, and demonic possession embodied in two people whose irresistible passions threaten to destroy them in this cult classic novel.
In the wild backwaters of Rio de Janeiro and New York, motorcycle-riding, nomadic outlaw poet Ignacio Valencia Lobos—known as Cigano—attempts in vain to curb the unhinged habits of his lover, Narcisa, a crack-smoking philosopher prostitute. Though he knows they will destroy each other, Narcisa is an exquisite poison he cannot resist. As they navigate the chaos of her downward spiral—dragged deeper by the gravity of drugs, burglaries, and violence, Cigano recounts a love affair doomed by insanity, dysfunction, and vice.
A genius epic of outlaw literature, Narcisa belongs among the works of such greats as Charles Bukowski, Henry Miller, William S. Burroughs, Jack Kerouac, Irvine Welsh, and Hunter S. Thompson.
About the Author
Jonathan Shaw, the son of jazz legend Artie Shaw and the glamorous Hollywood starlet Doris Dowling, is a world-traveling outlaw artist, gonzo journalist, novelist, blogger, spoken-word performer, witch doctor, anti–folk hero, and underground philosopher. He resides in Rio de Janeiro, with frequent visits to other home bases in New York City and Hollywood.
Most helpful customer reviews
19 of 22 people found the following review helpful.
Overlong and Under-Edited
By S.K.
In my opinion this book was overlong, under-edited, and monotonous. A lot of repetition and interchangeable scenes could have been cut out. There was no growth, no progression from either character despite the length of the book. The dialogue is the same, the scenes are the same, every time is one last time but ends up the same way -- I get this as an illustration of their relationship, but *every time* this happens doesn't need to be in the book because it winds up exhausting and tedious to read. There was a hint of some interesting drama with Doc, but that apparently didn't go anywhere and we were left with never-ending two-dimensional scenes of the same exact thing.
The writing felt un-polished and amateur. It was tiring to read in Ignacio's voice. I don't mind unlikable characters, but Ignacio delves neither into himself nor into Narcisa in any meaningful way, sticking with the addiction/female succubus cliche. There were pages of the same exact description of their life and Narcisa's personality that were unnecessary and all phrased in the same way.
I felt like there was potential in this story, because it definitely had the seed of something great in Narcisa's character and in the illustration of romantic addiction, but it didn't really deliver.
13 of 16 people found the following review helpful.
The Blood of Poets
By macocael
Red Smith really didn't say "Writing is easy. You just open a vein and bleed," but the line was so good that people have quoted his advice over and over and over again. If only they followed it! Today's market seems to be dominated by Creative Writing School graduates who consider a paper cut adequate bloodletting for their vocation. The result is arch prose and the glib ironies of living in a postmodern media cocoon. These folks wouldn't know a real conflict from a bad hair day, and the closest they will ever come to an Oedipal Karthasis is when they misplace their Armani eyeglasses and have to tear their eyes away from the tube in order to find them.
So thank god (or perhaps the devil) for a book like Narcisa, which plumbs the depths of a human sinkhole that makes contemporary tours of Hell look like a stroll through Beaver Cleaver's neighborhood. This book is not for those who faint at the sight of blood. This book has all the purgatorial torments of a Joe Coleman painting described in the acid-pitted prose of a Charles Bukowski. Narcisa not only hacks up the frozen seas within us, it serves up the crushed ice with a draught of absinthe and a hot shot for after, puts a gun to your head and says, "Drink." You won't be sorry you did, but you'll be wondering what hit you when you turn the final page and close the book, its surreal laughter echoing in your head. This is what real writing is all about. It's raw, it's rasping, it shaves away illusions like a potato grater on bared skin, but the bloodletting is purgative. What doesn't kill you makes you stronger - and funnier too.
It is high time that this book, which has become a collector's item, be reissued. Originally available in a small press run, Narcisa quickly joined the ranks of other subterranean classics such as those issued by City Lights, and thus it continues that vital tradition which brought us the Beats and their offbeat descendents. But Narcisa is also heir to some of the most central figures of American literature. Like Melville's Ishmael or Cormac McCarthy's "kid," its protagonist is a lone searcher wandering through an apocalyptic landscape at once deeply intimate and intriguingly alien, risking everything to steal some fire from the malevolent forces ranged against him. Transgressors pay dearly for the treasures they bring back to the tribe, and judging from the terrible beauty of this particular prize, the author certainly opened more than one vein. It's that good.
6 of 7 people found the following review helpful.
A New Classic Of Outlaw Literature
By Daniel vandenberg
“Between us, there always seemed to exist some deeper identification, born of a deep, unspoken bond; an underlying sense of kinship. It was as if loving Narcisa was like loving some wayward, feral strand of myself; a distorted funhouse mirror image of my own brutalised, mangled, forgotten inner child, restructured into rude juvenile delinquent female form, with a crooked, charismatic smile of mischief at the end of her fuzzy pink tongue.”
Jonathan Shaw’s Narcisa is a classic tale of addiction. Not of drug addiction, although there is plenty of that riddling its decrepit, cobble-stoned sub-tropical streets, but of the addiction of one person for another. What, in most other instances, would be called “love”, although you won’t find many referring to this book as a love story. That is, however, exactly what it is; as buried as it may be beneath a thousand grimy layers of depravity, dysfunction, violence and insanity, Narcisa is a far more realistic, accurate, and pure portrayal of love than whatever turgid s***Hollywood or Jodi Picoult is churning out these days. Shaw captures the side of love that sends Hollywood running for the hills, the tortuous, strung-out junkie experience of knowing that someone or something is pure poison and loving it, needing it anyway.
Ignacio Valencia Lobos, or Cigano, is a Yamaha-riding, Gypsy-wandering bandito poet who returns to the Brazil of his rampant youth and finds his heroin/e in the form of Narcisa, a schizophrenic crack-smoking esoteric-philosophising teenage prostitute, and down the cosmic rabbit hole he goes. Narcisa charts the endlessly circling existential hell Cigano finds himself in, fully aware of how bad Narcisa is for him and yet unable to let her go.
This novel reads like a long-lost literary classic, and references to the Internet and mobile phones feel almost idiosyncratic in a tale that would otherwise slide in easily beside older works by Kerouac, Burroughs, Miller, Fante and Bukowski. Narcisa, reads, in fact, a lot like Bukowski, in its world-weariness and hard-edged skid row charm, that is, if Bukowski had ever gotten out of LA or done anything besides drifting between bars, menial jobs and cold water apartments. Narcisa shares with Bukowski and the Beats the same deep-burning poetic flare and earnest obsession with the types of people and experiences that most of society shuns or turns a deliberately blind eye to, but it also has a deep-rooted connection with its geographic setting: the exotic, equal parts beautiful and dangerous muggy urban jungle of Rio De Janeiro, and a knowledge that can only come from personal experience.
Jonathan Shaw has had one hell of a life, and it fills this work of fiction like blood pumping through its veins. The son of legendary jazz musician Artie Shaw, Shaw spent his youth wandering the back roads and alleyways of South America much like the hero of his novel before making a name for himself in the US as one of the most revered tattoo artists of all time, counting notable figures such as Johnny Depp, Iggy Pop, Jim Jarmusch, Marilyn Manson and Kat Von D amongst his patrons and fans. Shaw eventually turned from skin to manuscript, and developed almost overnight cult status in the world of underground literature, with the first edition of Narcisa, released through musician and author Wes Eisold’s (American Nightmare, Cold Cave) indie publishing house Heartworm Press in 2007, selling out almost immediately, with out-of-print copies now going for as much as $300 a pop on Amazon and Ebay.
While Internet resellers continue to make a fortune off his work, Shaw, who doesn’t even own a copy of his own book, has returned to South America and the nomad lifestyle, going where the road and his Harley take him, all the while tinkering away at his next projects, Scab Vendor, a collection of autobiographical tales dealing with his early years and his time spent in the tattoo business, and a new, completely revised and rewritten version of Narcisa. Both are to be released in the near future on major publishers, hopefully so that the world at large, and those who don’t have the time or money to seek out his ultra-rare early releases, will finally be able to discover the destined-to-be classic works of this literary master and true iconoclast.
- Review taken from CVLT Nation
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