This landmark publication collects three decades of writing from one of the most original, provocative and consistently entertaining voices of our time. Anyone who cares about language and culture should have this book in their life.
Thirty years ago, Jonathan Meades published a volume of reportorial journalism, essays, criticism, squibs and fictions called Peter Knows What Dick Likes. The critic James Wood was moved to write: ‘When journalism is like this, journalism and literature become one.’
Pedro and Ricky Come Again is every bit as rich and catholic as its predecessor. It is bigger, darker, funnier, and just as impervious to taste and manners. It bristles with wit and pin-sharp eloquence, whether Meades is contemplating northernness in a German forest or hymning the virtues of slang.
From the indefensibility of nationalism and the ubiquitous abuse of the word ‘iconic’, to John Lennon’s shopping lists and the wine they call Black Tower, the work assembled here demonstrates Meades’s unparalleled range and erudition, with pieces on cities, artists, sex, England, concrete, politics and much, much more.
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Jonathan Meades is a writer, journalist, essayist and film-maker. His books include three works of fiction – Filthy English, Pompey and The Fowler Family Business – and several collections including Museum Without Walls, which received thirteen nominations as a book of the year in 2012. An Encyclopaedia of Myself was shortlisted for the 2014 PEN Ackerley Prize and longlisted for the Samuel Johnson Prize in 2015. His first and only cookbook, The Plagiarist in the Kitchen, was published in 2017.
Meades has written and performed in more than sixty highly acclaimed television films on predominantly topographical subjects such as shacks, garden cities, megastructures, buildings associated with vertigo, beer, pigs, and the architecture of Hitler, Stalin, Mussolini and Franco. He also creates artknacks and treyfs. Treyf means impure, not kosher: it sums up his approach to all writing, film and art.
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