There’s no doubt some of the popular culture in Britain during the 1970s and 1980s was, well, different; in fact, it was often dark and unnerving, with scary television programmes, frightening films and books, and frankly terrifying Public Information Films (I had few more unnerving viewing experiences in childhood than having to watch Apaches at Primary School)—it is this creepy, unsettling sense that it is captured and discussed perfectly by Volumes One and Two of Scarred for Life.

Volume One covers a wide range of subjects: scary television, films, books, the paranormal, games and much, much more. A flavour of what’s discussed includes Doctor Who, Children of the Stones, Folk Horror, Watership Down, 2000AD and the Pan Books of Horror Stories. I could go into far more detail but it’s better to leave it to you to explore as a reader and discover the book’s treasures for yourself.

Volume Two is focused on the darker side of 1980s television, and there’s plenty of ground to cover! A couple of personal favourites covered in detail include two excellent BBC adaptations of SF books: the bold (though sadly unfinished) adaptation of John Christopher’s The Tripods and the chilling version of John Wyndham’s The Day of the Triffids (the opening credits alone frightened me as a child!). Volume Two digs deep into topics such as children’s television (how did I not see Knights of God at the time? Sounds exactly like the sort of programme I would have loved then and now!), surreal drama, the impact of Channel 4 and yes, more terrifying Public Information films! As Volume One does with the 1970s, I found that Volume Two, as well as being a fantastic exploration of 1980s popular culture, also gives a vivid sense of what life in Britain was like then, both the good and the bad.

Each volume of Scarred for Life goes deep into detail on the many subjects, but don’t think for a minute these are dry reads—the writing throughout is energetic, honest and often funny.
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Both books are mighty tomes, and as well as being great reads, the suggested viewing section that accompanies many of the chapters sent me off to YouTube to watch various clips and programmes.

That writing these books was a labour of love by the authors and other contributors shines through on every page. For me, the first two volumes of Scarred for Life represent independent publishing at its very best; bold, informed and passionate. I can’t recommend both volumes of Scarred for Life enough, and look forward to the publication of volume three. If you want to get hold of Scarred for Life volumes one and two (and if possible, you certainly should), they are available from the links below:

Scarred for Life – Volume one

Scarred for Life – Volume two

It is also worth following the Scarred for Life account on twitter, both for some great content and for regular discount offers on both books.

​Happy reading and happy nightmares...

“On my naming day when I come 12 I gone front spear and kilt a wyld board he parbly ben the las wyld pig on the Bundel Downs any how there hadnt ben none for a long time befor him nor I aint looking to see none agen.”

Just from this quote – the opening words of the novel – you will see Riddley Walker is a book unlike any other.
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The novel is set hundreds of years in the future, long after a nuclear holocaust, with England reduced to effectively an Iron Age level of existence. When his father dies in an accident, young Riddley Walker inherits a shamanistic role among his people, and when he uncovers an attempt to recreate the weapons that once devastated civilization, he is forced to go on the run. Twelve years’ old, though perceptive beyond his tender years, Walker narrates his adventure in the fragmented, fractured Riddleyspeak, a language as broken as the society portrayed in the story.

I found Riddleyspeak a challenge, especially in the early pages, but in time (and with the help of a glossary at the end of the book), I began to adapt to the rhythm and structure. You are forced to slow your reading, and if anything, I think the book would benefit from being read aloud.

The language reinforces the sense we are seeing Riddley’s post-apocalyptic world through his eyes, adding to the force and energy of his descriptions. Hoban’s invented language fizzes with clever word-play, and through this we see echoes of the past, and adds to the sense shared by Riddley and other characters in the story of the heights civilization once reached, and the bitterness and sense of shame that all was lost through human aggression and greedy misuse of their technological wonders. The language can, in places, be very funny, for example in the twisted Kent placenames (Do-it-over = Dover, Horny Boy = Herne Bay) and the scene where Goodparley and Riddley attempt to interpret The Legend of Saint Eustace (written as it is in modern English).

Riddley’s adventurous journey allows Hoban to build a grim portrayal of this ruined England, from the mysterious Eusa folk, the ruined cathedral in Cambry (Canterbury), the wandering packs of wild dogs and the Eusa Show, performed by the ‘Pry Mincer’ and the ‘Wes Mincer’, who on their travelling puppet shows perform allegorical propaganda stories to the , communities. It is an uncompromising vision, and as bleak and well-conceived a dystopia as I have ever encountered.
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Infused with mythological, folkloric and religious symbolism, Riddley Walker is rich for endless interpretation; it is not an easy read, but it is worth the effort – Trubba not.

​I would also add the edition of Riddley Walker I read had an entertaining introduction by novelist Will Self, which provided some valuable insights and context.