Dave Wallis
Only Lovers Left Alive
London: Anthony Blond, 1964
Richmond, Va.: Valancourt, 2015
“In those days, before the death of the last square . . .”
At some point, I suppose with Anthony Burgess’ A Clockwork Orange,[1] the “youth in trouble” genre, already fairly exploitative beneath its standard moralistic framework,[2] mutated into a “cult of youth” format, (more…)