Who walks alone in the streets at night? The sad, the mad, the bad. The lost, the lonely. The hypomanic, the catatonic. The sleepless, the homeless. All the city's internal exiles.
“Cities, like cats, will reveal themselves at night,” wrote the poet Rupert Brooke. If nightwalking is a matter of “going astray” in the streets of the metropolis after dark, then nightwalkers represent some of the most suggestive and revealing guides to the neglected and forgotten aspects of the city.
Out this month by Matthew Beaumont, Nightwalking - a nocturnal history of walking in London - shines a light on the shadowy perambulations of poets, novelists and thinkers: Chaucer and Shakespeare; William Blake, the supreme nightwalker Charles Dickens; and many more. Walking in the city is revealed as a place divided between work and pleasure, the affluent and the indigent, where the entitled and the desperate jostle in the streets.
Now out in paperback is one of our bestsellers - A Philosophy of Walking by Frédéric Gros. In this book he charts the many different ways we get from A to B — the pilgrimage, the promenade, the protest march, the nature ramble — and reveals what they say about us.
Also out in paperback this month is The Beach Beneath the Street: The Everyday Life and Glorious Times of the Situationist International by McKenzie Wark. “If I read a more entertaining and thought-provoking work on cultural phenomena this year, I will be, frankly, astonished” said Nick Lezard in his Guardian review of the book. We agree. Re-reading the group’s history in the light of our contemporary experience of communications, architecture, and everyday life, shaping situationist psychology among urban explorers for the eventuality of the situationist city.
Inspired by these brilliant, newly published books, we present Verso's updated guide to political walking - all 50% off until Friday May 1st! After all, there's no such thing as a good walk unless your nose is firmly stuck in a book.
Twenty years ago, on 30 November 1994, Guy Debord put his affairs in order and shot himself through the heart, ending one of the most brilliant and original careers in modern European history. In his sixty-three years he had co-founded the Situationist International, the last of the historic avant-gardes. He had written some enduring revolutionary texts, including his best known, The Society of the Spectacle. And he had made several remarkable avant-garde films. For someone who managed to live up to his early slogan “Never Work!” he was remarkably busy.
He is now something of a canonical figure in literature, cinema and the art world. It has become commonplace to refer to the media sphere as a spectacle, and the cut and mix practices of today’s aesthetics appeals to the apparently similar Situationist practice of détournement for legitimation. He has been, as he might say, recuperated back in to spectacular commodity production. Such is the fate of all avant-gardes.