Breakfast at Midnight

Recently published by Equus Press in the UK (and by Argo in Prague), BREAKFAST AT MIDNIGHT

A perfect modern noir, presenting Kafka’s Prague as a bleak, monochrome singularity of darkness, despair and edgy, dry existentialist hardboil.” (Richard Marshall, 3:AM)

Armand has done to Prague what Genet achieves in Our Lady of the Flowers. Breakfast at Midnight is the most savage book I’ve read in years. (Jim Ruland, San Diego City Beat)

A debauched, hallucinogenic noir… If Georges Simenon had smoked angel dust he might have come up with a style like this.” (Prague Post)

Armand has achieved a dazzling level of literary expression.” (Ladislav Nagy, Hospodářské noviny)

Mickey Spillane meets Georges Bataille on speed.” (Goodreads)

The sort of thing Iain Sinclair might write if he’d morphed with Chris Petit…” (Stewart Home, author of Red London)

Pitch-perfect.” (Robert Kiely, London Student)

A strange mixture of realism and almost schizophrenic fantasy, reloaded into a late 20th century context of border town bordellos, dysfunctional families, psychotic reactions and perverse sexuality.” (Phil Shoenfelt, author of Junkie Love)

Kafkaville. Blake is a pornographer who photographs corpses. Ten years ago, a young man becomes a fugitive when a redhead disappears on a bridge in the rain. Now, at the turn of the millennium, another redhead has turned up in the morgue, and the fugitive can’t get the dead girl’s image out of his head. For Blake, it’s all a game – a funhouse where denial is the currency, deceit is the grand prize, and all doors lead to one destination: murder. In the psychological noir-scape of Kafkaville, the rain never stops, and redemption is just another betrayal away… (publisher’s blurb).



by Louis Armand & John Kinsella
with an introduction by Pierre Joris
ISBN 978-80-7308-410-3 (paperback). March 2012. Prague: Litteraria Pragensia.

“Who but John Kinsella and Louis Armand could have invented and laid out the 21st Century protocols that govern the intriguing collaborative poems in Synopticon? Encyclopedic, witty, packed with knowledge about arcane subjects, this is a book to sample and reread with ever-increasing knowledge, pleasure, and admiration.” –Marjorie Perloff, author of Radical Artifice: Writing Poetry in the Age of Media and Differentials: Poetry, Poetics, Pedagogy.

Synopticon was composed during the course of an extended email exchange between 1997 and 2011. Part poetics of collaboration, part cultural archaeology, part textual collage, Synopticon records an investigation into memory, authorship and authenticity in the construction of social texts and cultural artefacts…

Pierre Joris — editor with Jerome Rothemberg of the Poems for the Millennium series — writes in his Introduction: “The authors are not trying to pull some theoretical punches behind the scenes, out of sight of the reader. What I’ve called elsewhere ‘process-showing,’ i.e. the propositions inside the text that speak of & to the text, giving the reader a handle on the text’s formal moves & methods of composition, these are a user’s manual that is not added to the package as some external supplement, but incorporated into, part of the text itself… imagining the poet as ‘the last scientist of the whole’ (Robert Kelly), i.e. as a last generalist (we shall go in fear of specialists) for whom all knowledge whatsoever is of use; a definition that also proposes an ambitious dimension for the work: how to bring the vast range of contemporary knowledges — be they facts, perceptions, realizations, readings, dreams, speculations, criticisms, variations, whatever — into an open field that is not pre-striated (in Deleuze/Guattari’s sense of overdetermined).”