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9 of 10 people found the following review helpful:
5.0 out of 5 stars
Timely stuff, 11 May 2002
By A Customer
Even The Final Programme, which isn't the best of these, still has a lot of relevance to modern times, but it's when you get into A CURE FOR CANCER that it feels chillingly timely. Moorcock has always had his hand on the pulse of the present and selects the issues which don't go away. Reading the stuff about the US 'peacekeepers' taking over England sounds like what's going on in Israel and Afghanistan now. But what people don't mention enough is how outright funny and ironic this is. What's more it gets deeper as you go and the final book [...] is genuinely moving. Moorcock can paint characters in a few words and deal with issues in a paragraph most of his contempories take whole books or series to deal with. He accepts modern life as it is and this puts him still in the forefront of writers still struggling with the changes of the 80s, 90s and beyond. It doesn't get any better, deeper or more hilarious than this. Beautiful.
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4 of 4 people found the following review helpful:
5.0 out of 5 stars
Still the best, 15 Jun 2001
By A Customer
These get better with age. Moorcock has a finely tuned sense of the social fault lines and his Notting Hill of the 60s and 70s was a microcosm of the world to come. Themes which seemed mad invention then, now seem almost as normal to us as they do to the unruffled Cornelius. Written with astonishing economy, given their themes, the books together are an enduring masterpiece. Moorcock had already slunk off by the time Martin Amis and the rest turned up. The frontier days were over and the shopkeepers were making the town respectable. Moorcock and Cornelius grew out of Ladbroke Grove and Portobello Road. The new arrivals avoided Jerry's 'haunts' and wrote about them from a bit of a distance. (See the Idler for Moorcock's account, good piece). Jerry Cornelius jumped in at the deep end and let the tide take him, sharks and all. This is the great, generous spirit of the times, the ghost of the Golden Age, with its wonderfully quadruple-twisted ending which echoes the themes of the whole quartet. Moorcock didn't write about rock stars -- he was a rock star (I saw him at the Oxford, Apollo, 1980!), with the platinum discs and performances to prove it. He wrote Sonic Attack, Needle Gun, Kings of Speed, Black Blade and Veteran of the Psychic Wars. Watching him perform Coded Languages, it was easy to see why he, Calvert and Hawkwind were the only old hippies the punks respected. He did the give-away novel of The Great Rock and Roll Swindle. He's put in real hours, taken real risks, and hasn't stopped yet. His comic range is extraordinary and he is as witheringly angry today as he was in the sixties. Read last year's King of the City and you see Jerry Cornelius tuned a little more to the City than the street, but the attitude remains the same -- sardonic, defiant, amused, contemptuous of material power, celebrating human dreams. Jerry Cornelius sprang full grown, tall and tasty, needle gun in hand, from the rebellious gutters and druggy basements of Notting Dale, 1965 and somehow he became a real person. The scenes of American occupation of Europe have a far closer feel to them now than when they were written in 1972 as has Jerry's laconic response. The resonances grow stronger. All our British nonsense is given a once-over, then we are thrown one of the happiest Dickensian endings you've ever experienced, even in Moorcock, with a heart-breaking death scene, a Christmas scene and the whole works, yet all with an edge of irony which neatly cuts the sentiment. If there's another writer with Moorcock's range and extraordinary social sensitivity, let me know!
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7 of 8 people found the following review helpful:
5.0 out of 5 stars
Multimedia Cornelius, 26 Jan 2002
You can now get the record THE NEW WORLDS FAIR, Deep Fix, buy the DVD or video, THE FINAL PROGRAMME with Jon Finch, and read the book, this one. Maybe a slightly patchy Cornelius experience, largely because the movie's all over the place, but not bad. Final Programme is unfortunately the weakest of the books, allegedly written in nine days. They get better as they go and the last one's a real stunner. This is still the coolest dude on the planet and all the dandy protagonists who have followed him just can't cut it. Yet the fantasy is always undercut by irony, until the final coming together of reality and illusion in the last scenes of The Condition of Muzak. Dodgem dude indeed. And the writing gets better and better as you go. The movie is certainly best enjoyed in unison with the rest. It also starts to pick up as you go, as if the actors suddenly realise they're in a comedy and not some sort of James Bond romp (but you can tell that this movie was thoroughly watched by the maker of Austin Powers). Make this weekend your Jerry Cornelius weekend. You'll need a neat suit and a small black dress.
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