Dosshouse Blues


Book Description

A mixed bag of lyrical poems, rhymed poetry, free verse, prose poems, and aphoristic lines which were amongst the first things John O'Loughlin ever wrote, back in the early '70s, this volume of poetry seems to intimate of both his fictional and, more interestingly, philosophical destiny to come, while still remaining refreshingly poetic, if with a jaded sense of humour. We especially recommend the title piece as an example of what is meant!




Music and Protest in 1968


Book Description

In fifteen case studies from around the world, contributors explore the relationship between music and socio-political protest in 1968.




In Disguise


Book Description

If John O'Loughlin is 'In Disguise' here it's because, these days, he does not see himself primarily as a poet but, rather, as a philosopher, if a self-taught one, who once wrote poems, many of which were of a philosophical order and thus an alternative or formative approach to his philosophy-proper. The 180 or so poems collected together here are all readerly, or capable of being read, as opposed, like the bulk of Mr O'Loughlin's abstract poetry, to being contemplated (because non-readerly), and have accordingly been described as verse (whether 'rhymed' or 'free') to distinguish them from anything abstract, or non-readerly. 'Lyric' might suffice as a more conventional description, but, frankly, that would hardly apply to the majority of the poems in this collection which, as stated, are distinctly philosophical and the product, in consequence, of a disguised philosopher, a philosopher in disguise.




Annals of a Doss House


Book Description

Short stories about characters living in a boarding house. One with an Australian setting.




Hmmmmm . . .


Book Description

Hmmmmm . . . is a creative work of fiction, accentuated by Gods Holy Spirit. There are true-to-life experiences about human frailties, sexuality, natural and spiritual interactions, as well as great personalities and disgusting characters. This is not going to be one of those religious novels where the author will tell how people received Salvation through Jesus Christ and everything fell right into place. Forget it! God knows exactly what He has created. God is good, and He loves you. Our utmost fear is (and it is fear), we are afraid to know Him in a personal relationship. Human reasoning believes its impossible to know God intimately. Gods son, Jesus, died for pedophiles, heterosexuals, adulterers, gays/lesbians, sexual deviants, serial killers, murderers, terrorists, gangbangers, school teachers, porn stars, presidents, kings, queens, soldiers, childrenwhomever! He made you. He made all of us. He is Alpha and Omega, the Beginning and the End of a thing. For the wisdom of this world is foolishness with God. For it is written, He catches the wise in their own craftiness. And again, The Lord knows the thoughts of the wise, that they are futile (1 Cor. 3:1920).




Stressing the Essential


Book Description

Mr O'Loughlin's second collection of poetry, written nearly ten years after 'Dosshouse Blues', is less formal overall, and more orientated towards free verse whilst being more consistently transcendentalist in relation to his by-then-fledgling theories of the post-human. For all their stylistic similarity, however, these poems still vary enormously in length and subject-matter, the longest and arguably best, viz. 'Dispelling a Futuristic Myth', being left till last.




Evolution


Book Description

Mr O'Loughlin's only volume of prose poems, 'Evolution', carries on, in slightly more expansive vein, the social transcendentalist theories first introduced into his poetry with 'Spiritual Intimations' and attempts to bring an almost philosophic degree of metaphysics, including subatomic theories, to bear on what is essentially the brainchild of poetic inspiration. In that respect, the author has achieved a workable marriage between poetry and philosophy that smacks of progressive rock and/or what could be called regressive electronica, depending on the degree of poetry to philosophy or vice versa.




Palace Pier Blues


Book Description




STATIONS OF THE SUPERCROSS


Book Description

Those familiar with John O'Loughlin's work, particularly with his writings of the past few years, will know that he likes to combine philosophy, or a logically structured way of writing derived from years of abstract thought, with other approaches to text, including autobiographical, psychological, poetical (to a degree), historical, political, religious, and analytical, so that the results, sometimes confusing, are rarely predictable, but can take you by surprise, as when you pass from an autobiographical sketch or a political observation straight into an intensely analytical or philosophical section, though usually not without some forewarning or a lacuna of some sort in the layout of the text. So it is here, in this remarkable collection of structured aphorisms and maxims and what might appear to be essays but are, in fact, aphorisms of a more discursive nature within a title-shunning format that eschews paragraphs in keeping with its aphoristic bias – rather Nietzschean in a way – that he long ago identified with the concept of 'supernotes', or notes that have been copied from a notebook and reworked and refined and expanded upon until they resemble short essays, without, however, conceding much else to essayistic tradition. In such a mainly metaphysical fashion John O'Loughlin has consistently advanced the theoretical breadth and depth of his work, derived, naturally, from habitual thought processes, and the results should speak confidently and credibly enough for themselves without our having to say very much about them, other, of course, than that they continue in the vein to which we have become accustomed the struggle for truth, or philosophical credibility and metaphysical insight, and have continued the process to a new and hopefully final level or stage of completion which it would be difficult if not impossible for him or, for that matter, anyone else to reasonably surpass, bearing in mind the complexities that so exactingly comprehensive an approach to logic as he has fathered both here and in the past inevitably entail. So maybe the job, or task, which this author humbly and somewhat naively set himself over four decades ago, is now completed, and with such a degree of structural credibility that he has even been able to bend the rules and invent one or two new words and new ways of thinking about old words or subjects or categories that, frankly, should stand up to scrutiny and any amount of analytical attention. But, of course, a book of his is an adventure, never quite knowing where it is going or where, eventually, it will get to, and this one is no exception, since the sheer eclecticism of John O'Loughlin's writings makes it difficult to nail it down to a specific title, even if the subtitle he has chosen, viz. 'Attraction and Reaction in Gender Perspective', is certainly quite well-represented in the text, albeit by degrees and not at all at the beginning. Evidently a number of other specific titles came to mind, but none of them would have adequately represented anything but a fraction of the overall text, and so, in the end, he wisely and, we think, correctly opted for a title that would be both sufficiently abstract and sufficiently ambiguous (for it actually is, if you ponder it for a moment) as to do general justice to a style of writing that refuses to follow the usual linear patterns of composition of the 'straight press', including essayists, but gives you so many strands of thought to follow or think about that no single strand, be it philosophical or autobiographical or anything else, could possibly do justice to the entirety of the text, which, as intimated above, is of an intensely eclectic character. That is how he writes, how he prefers to write, and we make no apologies. You can take it or leave it. But those who persevere with his work – and not only here but in previous books – will, if they are sufficiently intelligent and of the right turn-of-mind, be rewarded to a degree that few other books, we venture to assert, would reward them, since few other authors could possibly claim to have achieved as much or to have brought their philosophy to such a conclusively logical pass, and you would have to be a fool or scoundrel not to see that or profit from it!




Blue Shoe


Book Description

The New York Times Bestseller from the beloved author of Bird by Bird, Hallelujah Anyway, and Almost Everything Mattie Ryder is marvelously neurotic, well-intentioned, funny, religious, sarcastic, tender, angry, and broke. Her life at the moment is a wreck: her marriage has failed, her mother is failing, her house is rotting, her waist is expanding, her children are misbehaving, and she has a crush on a married man. Then she finds a small rubber blue shoe—nothing more than a gumball trinket—left behind by her father. For Mattie, it becomes a talisman—a chance to recognize the past for what it was, to see the future as she always hoped it could be, and to finally understand her family, herself, and the ever-unfolding mystery of her sweet, sad, and sometimes surprising life.