The Disciples edition by Gopal Mukerjee Literature Fiction eBooks
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“There was a time when horror fiction seemed polite compared to film, but Gopal Mukerjee’s THE DISCIPLES, about four frenzied psychopaths on a one-night rampage that ends in necrophilia, torture and ritualised slaughter, raises the bar. Members of the zombie cult will enjoys its excess and exuberance.” – Danielle Goldstein, TIME OUT London.
" ... a pumping adrenaline rush of a novel ... an unsettling but undeniably thrilling ride." - Doug Johnstone, The Big Issue
Set in a fractured and nightmarish cityscape, a quartet of demented and cultish psychopaths embark on a nocturnal ‘Bull Run’, an increasingly savage and surreal road trip undertaken at the behest of a mysterious figure known as ‘the Meister’, also called the ‘Lord Baron of Pain’. As the subtitle suggests, The Disciples is a ‘novel for the apocalypse’, a narrative that mingles humor and violence in a prolonged, delirious danse macabre.
The Disciples edition by Gopal Mukerjee Literature Fiction eBooks
This is a challenging book. The flow of words is daunting, relentless. The wild, chaotic events, the taboos of rhetoric and action are non-stop. Still this is a work of art that is worth the effort of concentration and emotion. Step into the dark side...Product details
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The Disciples edition by Gopal Mukerjee Literature Fiction eBooks Reviews
Starkly unique, endlessly inventive, disturbingly satisfying, The Disciples by Gopal Mukerjee is an astonishing achievement. It is a tongue-twisting novel, wrapped in a post-apocalyptic riddle, inside a dark fiction enigma. A true genre-re-defining work; a high-watermark in horror. It is chaos theory made story, a true rollercoaster ride through the bubbling underbelly of a near future Shameless society, a frantic, at times laugh-out-loud funny journey into destruction.
The Disciples is the story of four boys abandoned on the bleeding edge of society. They are Barrie-style Lost Boys, written with the potty mouths of Irvine Welsh anti-heroes and the vocabulary of Will Self. They are drug-store droogs, dressed to the nines in Burgess-esque garb. They are Scally Savants, Churchtown Calibans, creative Chavs, bread-line bards. They are "four rapscallions, scallywags, spalpeens. Cold dawgs in from the courtyard..." Mukerjee follows their helter-skelter spiral into a night of creative destruction, maniacal ministrations; the narrative giving voice to the voiceless.
And what a voice it is. This is akin to offering a mic to a machine-gun mouthed maniac, radio air-time to a raving, spit-rapping lunatic. It's providing a Warholian platform to boys who barely speak a recognisable form of English.
"The ritual demand silence, but we don't comply. John with lips pursed, whistling for demons. Monk humming a harmonic convergence rainbow mantra. Wald farting in short staccato bursts. Myself emitting Tourette yelps and Xhosa tongue clicks. But the noise don't matter, long as we move in sync, which we do."
At times reading Mukerjee's fiction inspires a feeling of punch-drunkenness. We are bruised, brained, numbed by the sheer "word-deluge." The style obviously recalls Burgess's A Clockwork Orange but also William Burroughs, who is quoted at the start of the book. There is also more than a passing resemblance to Ulysses, with its Joycean Stream of consciousness narration. Throw in a little destruction-as-creation a la Graham Greene's short story `The Destructors', and what we have is a pungent, inventive mix which at once recalls other outsider fictions, but also a wholly new, unique voice representing a new and unique post-apocalyptic world.
The protagonist and narrator, JB, lives in a "dunghole"; "inventory blotched walls, rancid curtains, stained couch, SAT-tube hunched dead in the corner. Threadbare carpet strewn with crusts, rinds, bashed swill cans, ****mags, dry douche bags, rubbers limp from solitary use..." He's been abandoned like the malls, "bulked desolate". He speaks in an odd mixture of Shakespeare, slang, "kill-strut jive", and patois laced with Tourette's syndrome-style tics. He is responsible for some astonishing word-play.
He's brimming with energy and ideas, but without a reasonable outlet, often talking himself into knots. His language is fractured, reflecting the world in which he lives. Often, the only way he can express his rage is through industrial-grade cursing "A pox on prizes. The ******* bubonic plague on prizes..." This passage reflects the frustrations of Caliban in The Tempest "You taught me language, and my profit on't Is I know how to curse. The red plague rid you For learning me your language!" Sometimes, the horror of their world defies description, defies language "...John's voice now risen to a keen, limned faces turning aghast, a bright sliver of silence, then an eruption carhonk, tire-squeal, steel-thud, headlights flared for a blinding instant and through, John with a long wolf-howl slicing free into the night."
There's a famous experiment in which it was proved that by swearing, by giving in to our baser instincts and cursing with abandon, we can actually stand more pain for longer. The way the experiment worked was thus A guy placed his hand in a tank full of icy water. Tried to hold it in as long as possible. Lasted about a minute, tops. And then the same guy was given another try, only this time he could let loose with the most creatively four-lettered language he could think of whilst still holding his hand under the water. Tests showed that when the guy swore, he could stand the cold for more than twice as long. Goes right back to our fight or flight instinct.
There is a qualifier to that however. If the subject of the experiment swore a lot in normal life, swearing whilst holding their hand in the icy water was found to have only a negligible effect. In basic terms, the power of swearing was inherently diluted by swearing all the time. Thus when JB is confronted by the most traumatic of incidents, the cop-related necrophilia for example, his coping mechanism is instantly surprising, but when we consider the language with which he usually frames his world, it is totally understandable. "He's doing it," I whisper in a language I don't understand, "he's actually, truly, doing it..."
This is a haunting novel. Terrifying, angry and raw. But it is also very, very clever. It's an up-the-ante novel. It's a novel which slams its boot into the ground, draws a line-in-the-sand and then long-jumps over that line. It's a novel which doesn't look back, but forward, into the darkness. It's journey is Conradian, Shakespearean, and street cornerian. And whilst it's certainly not suitable for the weak of stomach or the easily offended, there is spirit and quality here, and language which can be enjoyed for all its richness, diversity and uniqueness. Very, very good.
This is a challenging book. The flow of words is daunting, relentless. The wild, chaotic events, the taboos of rhetoric and action are non-stop. Still this is a work of art that is worth the effort of concentration and emotion. Step into the dark side...
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