Plot
Set against a soundtrack of Clash, Sex Pistols, X-Ray Spex, Ruts and Ramones records, sixteen-year-old Joe sets about enjoying his new-found freedom, which in the summer of ’77 means hard-drinking pubs and working-men’s clubs, local Teds, soulboys. disco girls and a job picking cherries with the gypsies. A joyride to Camden Town in North London takes him to see his first band, but it is a late-night incident back on the streets of Slough that changes his life forever.
The second part of the book takes place in 1988 and finds Joe in China, receiving bad news in a letter from home. He buys a black-market ticket and takes the Trans-Siberian Express back to England. During this journey he reflects on the events that have filled the intervening years, eventually returning to that night in 1977. Siberia passes in a series of recollections and romance with a Russian woman, Joe arriving in Moscow during the days of Mikhail Gorbachev, continuing to Berlin where he crosses the Wall in the early hours. More trains take him on to Slough.
The third section of Human Punk captures the main characters as they reach middle-age. They are older, but little wiser. Slough has changed, but not too much, the spirit that drove Joe and his friends as boys stronger than ever. He makes his living in a range of ways, one of which involves the buying and selling of secondhand records. His punk beliefs remain solid. Life bounces along until a face from the past emerges from the haze of a misty morning and forces him to stop and confront his memories once more.
Read more about this topic: Human Punk
Famous quotes containing the word plot:
“Ends in themselves, my letters plot no change;
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Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)
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And providently Pimps for ill desires:
The Good Old Cause, reviv’d, a Plot requires,
Plots, true or false, are necessary things,
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—John Dryden (1631–1700)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)