By Michael Moorcock
A therapy for melanoma is a unique by way of British fable and technology fiction author Michael Moorcock. it really is a part of his long-running Jerry Cornelius sequence. This moment novel of the series is largely a university of absurdist vignettes, a lot of which first seemed in an eclectic variety of British and American magazines.
The lurid blurb of the unique version units the scene in photo phrases: "Up from the sea depths comes the jet-black caucasian transvestite champion. Resplendent in warpaint, wampum beads and silk go well with through Cardin, armed in simple terms with a tomahawk and vibragun, he returns to the napalmed ruins of London to resurrect his sister and wrest from the disgusting Bishop Beesley and his ambitious henchwomen the black field which has diffracted the cosmos and set the realm spinning at super-speed in the direction of its personal ultimate resolution. Lock up your daughters, conceal your stash, maintain to the shadows."
Jerry inhabits an international at conflict with itself and, armed merely with an occasional "vibragun" looks to struggle "against history" for the liberty of "randomness" opposed to the straitlaced conventions exemplified via his brother Frank. in spite of everything Jerry's quest, indirect because it is, might be extra creative than political.
"Jerry didn't brain the bombs up to the rock scene. He wouldn't care what they despatched as long as it wasn't Simon and Garfunkel."
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Extra resources for A Cure for Cancer
Halfway between the two river valleys, they raised the first timber of a monument that would gradually grow in importance and complexity as a territorial marker and ritual focus, develop over a period of five thousand years and become, nine thousand years on, the most celebrated ancient monument in the world. LONG BARROWS AND RITUAL FEASTING After the totem poles were raised, nothing else in the way of monumentbuilding happened for three thousand years. Whatever the mesolithic people were doing in the area during that time has left no detectable archaeological trace, apart from a very thin scatter of tiny stone tools, the microliths they 35 THE MAKING OF STONEHENGE bound into wooden hafts to make saws and knives.
It is not intended to be complete or comprehensive, but rather to illustrate how each age reinterprets Stonehenge in a way that suits itself. Every age develops a view of Stonehenge that matches its own preoccupations in the present and its own conception of the past. It is vital, if we are to understand what really lay in the minds of its makers, that we are aware of this tendency, and that we guard against rebuilding Stonehenge, either in reality or in imagination, in a way that is alien to the actuality of the past.
Km surrounding Stonehenge were inscribed with more and more of these monumental landmarks: henges, circles of earth, stone and wood, offering pits, long barrows, avenues; they became stations in people’s movement through the landscape, constraining, defining, 34 THE FIRST STONEHENGE Figure 12 North-west Europe in 7000 BC. 20 But before that happened the mesolithic forest was a natural, untouched, unaltered landscape alive with birds, deer, red squirrels, bears and wild oxen. —to make a forest shrine.
A Cure for Cancer by Michael Moorcock