Verse Chorus Press

A murderer is identified by a team of oxen. A dead man rises from a watery grave to indict his killer. A phantom hearse gliding through Melbourne’s slums foretells violent death. A seamstress turns ­detective to avenge her friend’s homicide. A locked-tent mystery.

Such are the themes of Mary Fortune’s ingenious and dramatic crime stories. Between 1865 and 1910 she wrote over 500 of them; they comprise the first ever detective fiction series written by a woman. Set in the outback, on the goldfields, and in the burgeoning metropolis of Melbourne, they offer a vivid account of life and death in colonial-era Australia. Fortune tackled subjects such as murder, armed robbery, bootlegging, and sexual violence with a frankness unprecedented for a woman in the 19th century, in styles ranging from melodrama and Gothic horror to social realism and what is now called noir. This book brings together 17 of her finest stories, edited and introduced by literary historians Lucy Sussex and Megan Brown.

Born in Ireland in 1832, Fortune arrived in Australia during the gold-rush, which she observed firsthand and depicted in many of her stories. A brief, bigamous marriage to a policeman gave her inside knowledge to write about crime, and over the next 40 years her prolific output was serialized under the title The Detective’s Album in the mass-circulation Australian Journal. She often lived precariously—struggling with alcohol, unable to prevent her son drifting into a life of crime—and preserved her privacy by publishing under pseudonyms. Her anonymity meant that when she died in 1911 she was almost lost to literary history. Only recently have Mary Fortune’s true identity and her extraordinary life story emerged.

This collection, together with a simultaneously published biography, will confirm Mary Fortune’s status as a trailblazing crime writer.

“The themes of marriage, murder, and gendered violence resonate with contemporary concerns. The writing is beautiful, complex, and thrilling . . . From the small towns of the goldfields to the arid yet lush landscape of the outback, and back to society living in Melbourne, these stories will enthral you.”—Candice Fox

A murderer is identified by a team of oxen. A dead man rises from a watery grave to indict his killer. A phantom hearse gliding through Melbourne’s slums foretells violent death. A seamstress turns ­detective to avenge her friend’s homicide. A locked-tent mystery.

Such are the themes of Mary Fortune’s ingenious and dramatic crime stories. Between 1865 and 1910 she wrote over 500 of them; they comprise the first ever detective fiction series written by a woman. Set in the outback, on the goldfields, and in the burgeoning metropolis of Melbourne, they offer a vivid account of life and death in colonial-era Australia. Fortune tackled subjects such as murder, armed robbery, bootlegging, and sexual violence with a frankness unprecedented for a woman in the 19th century, in styles ranging from melodrama and Gothic horror to social realism and what is now called noir. This book brings together 17 of her finest stories, edited and introduced by literary historians Lucy Sussex and Megan Brown.

Born in Ireland in 1832, Fortune arrived in Australia during the gold-rush, which she observed firsthand and depicted in many of her stories. A brief, bigamous marriage to a policeman gave her inside knowledge to write about crime, and over the next 40 years her prolific output was serialized under the title The Detective’s Album in the mass-circulation Australian Journal. She often lived precariously—struggling with alcohol, unable to prevent her son drifting into a life of crime—and preserved her privacy by publishing under pseudonyms. Her anonymity meant that when she died in 1911 she was almost lost to literary history. Only recently have Mary Fortune’s true identity and her extraordinary life story emerged.

This collection, together with a simultaneously published biography, will confirm Mary Fortune’s status as a trailblazing crime writer.

“The themes of marriage, murder, and gendered violence resonate with contemporary concerns. The writing is beautiful, complex, and thrilling . . . From the small towns of the goldfields to the arid yet lush landscape of the outback, and back to society living in Melbourne, these stories will enthral you.”—Candice Fox

The first full-length history of the Shangri-Las, one of the most significant—and most misunderstood—pop groups of the 1960s.

Sisters Mary and Betty Weiss, together with twins Mary Ann and Marguerite Ganser, were schoolgirls when they formed the Shangri-Las in 1963, and had a meteoric rise to fame with songs like “Leader of the Pack” and “Remember (Walking in the Sand).” Their career was cut short for reasons largely beyond their control, derailed by the machinations of Mafia-linked record executives, and heartbreak and tragedy followed. Historian Lisa MacKinney marshals an impressive array of new evidence to tell the Shangri-Las’ story, dispelling many myths and long-standing mysteries along the way.

Equally importantly, Dressed in Black radically rewrites the accepted narrative of the Shangri-Las’ place in rock history. As young women, they were permitted little agency within a male-dominated industry that viewed teenagers as fodder to be manipulated and exploited by producers, songwriters, and label owners. For decades, this has served as an excuse for critics to deny the musical input of the group members, to trivialize the Shangri-Las as a "girl group," and to assign their work a lesser rank in the canon of "authentic" rock and roll. MacKinney’s great achievement here is to foreground the Shangri-Las’ considerable abilities and musicality, and establish the centrality of their performance of their songs to the group’s underappreciated artistic achievement.

This is not to deny the critical role in the group’s success of professional songwriters (including Ellie Greenwich and Jeff Barry) and writer/producer George ‘Shadow’ Morton, a pioneering and eccentric figure whose self-mythologizing has generated a level of obfuscation that rivals that of the Shangri-Las themselves. MacKinney’s clear-sighted account reveals Morton in a completely new light—and as part of a complex ecosystem of musical relationships. Morton wrote and produced highly emotional material specifically for the Shangri-Las because he knew they had the skills to make his mini-operas not only believable, but enthralling. The group members, particularly Mary Weiss, channeled personal anguish into their extraordinary performances, which are central to the songs’ impact—no less so than for such classic singers as Ella Fitzgerald and Elvis Presley, who also relied on producers and songwriters for their body of work. The Shangri-Las’ impassioned delivery elicited a massive response from their audience of fellow teenagers at the time and has continued to connect profoundly with audiences ever since. MacKinney backs up these arguments with in-depth analysis of key Shangri-Las’ recordings, and makes a powerful case that their achievements warrant a far more prominent place for the Shangri-Las in the history of popular music.

The first full-length history of the Shangri-Las, one of the most significant—and most misunderstood—pop groups of the 1960s.

Sisters Mary and Betty Weiss, together with twins Mary Ann and Marguerite Ganser, were schoolgirls when they formed the Shangri-Las in 1963, and had a meteoric rise to fame with songs like “Leader of the Pack” and “Remember (Walking in the Sand).” Their career was cut short for reasons largely beyond their control, derailed by the machinations of Mafia-linked record executives, and heartbreak and tragedy followed. Historian Lisa MacKinney marshals an impressive array of new evidence to tell the Shangri-Las’ story, dispelling many myths and long-standing mysteries along the way.  

Equally importantly, Dressed in Black radically rewrites the accepted narrative of the Shangri-Las’ place in rock history. As young women, they were permitted little agency within a male-dominated industry that viewed teenagers as fodder to be manipulat-ed and exploited by producers, songwriters, and label owners. For decades, this has served as an excuse for critics to deny the musical input of the group members, to trivialize the Shangri-Las as a "girl group," and to assign their work a lesser rank in the canon of "authentic" rock and roll. MacKinney’s great achievement here is to foreground the Shangri-Las’ considerable abilities and musicality, and establish the centrality of their performance of their songs to the group’s underappreciated artistic achievement.

This is not to deny the critical role in the group’s success of professional songwriters (including Ellie Greenwich and Jeff Barry) and writer/producer George ‘Shadow’ Morton, a pioneering and eccentric figure whose self-mythologizing has generated a level of obfuscation that rivals that of the Shangri-Las themselves. MacKinney’s clear-sighted account reveals Morton in a completely new light—and as part of a complex ecosystem of musical relationships. Morton wrote and produced highly emotional material specifically for the Shangri-Las because he knew they had the skills to make his mini-operas not only believable, but enthralling. The group members, particularly Mary Weiss, channeled personal anguish into their extraordinary performances, which are central to the songs’ impact—no less so than for such classic singers as Ella Fitzgerald and Elvis Presley, who also relied on producers and songwriters for their body of work. The Shangri-Las’ impassioned delivery elicited a massive response from their audience of fellow teenagers at the time and has continued to connect profoundly with audiences ever since. MacKinney backs up these arguments with in-depth analysis of key Shangri-Las’ recordings, and makes a powerful case that their achievements warrant a far more prominent place for the Shangri-Las in the history of popular music.

In his second collection (after Kill All Your Darlings, 2007), Luc Sante pays homage to Patti Smith, Rene Ricard, and Georges Simenon; traces the history of tabloids; surveys the landscape that gave birth to the Beastie Boys; explores the back alleys of vernacular photography; sounds a threnody for the forgotten dead of New York City.

The glue holding the collection together is autobiography. Every item carries deep personal significance, and most are rooted in lived experience, in particular Sante's youth on the Lower East Side of New York in the fertile 1970s and '80s. He traces his deep engagement with music, his experience of the city, his progression as an artist and observer, his love life and ambitions. Maybe the People Would Be the Times is organized as a series of sequences, in which one piece leads into the next. Memoir flows into essay, fiction into critical writing, humor into poetry, the pieces answering and echoing one another, examining subjects from multiple vantages. The collection shows Sante at his most lyrical, impassioned, and imaginative, a writer for whom every assignment brings the challenge of inventing a new form.

In his second collection (after Kill All Your Darlings, 2007), Luc Sante pays homage to Patti Smith, Rene Ricard, and Georges Simenon; traces the history of tabloids; surveys the landscape that gave birth to the Beastie Boys; explores the back alleys of vernacular photography; sounds a threnody for the forgotten dead of New York City.

The glue holding the collection together is autobiography. Every item carries deep personal significance, and most are rooted in lived experience, in particular Sante's youth on the Lower East Side of New York in the fertile 1970s and '80s. He traces his deep engagement with music, his experience of the city, his progression as an artist and observer, his love life and ambitions. Maybe the People Would Be the Times is organized as a series of sequences, in which one piece leads into the next. Memoir flows into essay, fiction into critical writing, humor into poetry, the pieces answering and echoing one another, examining subjects from multiple vantages. The collection shows Sante at his most lyrical, impassioned, and imaginative, a writer for whom every assignment brings the challenge of inventing a new form.

Now Is the Time to Invent offers a definitive portrait of the vibrant indie-rock scene that flourished in the mid-1980s and reached its creative peak in the 1990s. More than 60 profiles and interviews, taken from the pages of the acclaimed independent music magazine Puncture and illustrated with many rare photographs, cover all the major contributors to a lastingly influential musical movement.

It’s impossible to determine a single starting point for indie rock, but here it is found in the scintillating psychodramas Kristin Hersch conjured up for Throwing Muses and the deadpan, genre-busting, proto-slacker anthems of Camper Van Beethoven, and followed through to the critical triumphs of Sleater-Kinney and Neutral Milk Hotel more than a decade later. Along the way, it takes in such pioneering artists as P.J. Harvey, Sonic Youth, the Pixies, Bikini Kill, Nick Cave, Beck, Cat Power, Fugazi, Mekons, Pavement, Belle & Sebastian, Meat Puppets, My Bloody Valentine, Sebadoh, the Breeders, Jeff Buckley, Guided by Voices, Will Oldham, Hole, Flaming Lips, the Magnetic Fields, and many more.

Now Is the Time to Invent offers a definitive portrait of the vibrant indie-rock scene that flourished in the mid-1980s and reached its creative peak in the 1990s. More than 60 profiles and interviews, taken from the pages of the acclaimed independent music magazine Puncture and illustrated with many rare photographs, cover all the major contributors to a lastingly influential musical movement.

It’s impossible to determine a single starting point for indie rock, but here it is found in the scintillating psychodramas Kristin Hersch conjured up for Throwing Muses and the deadpan, genre-busting, proto-slacker anthems of Camper Van Beethoven, and followed through to the critical triumphs of Sleater-Kinney and Neutral Milk Hotel more than a decade later. Along the way, it takes in such pioneering artists as P.J. Harvey, Sonic Youth, the Pixies, Bikini Kill, Nick Cave, Beck, Cat Power, Fugazi, Mekons, Pavement, Belle & Sebastian, Meat Puppets, My Bloody Valentine, Sebadoh, the Breeders, Jeff Buckley, Guided by Voices, Will Oldham, Hole, Flaming Lips, the Magnetic Fields, and many more.

“A helter-skelter rush of delights . . . a slapstick horror-fantasy romp that sometimes achieves real depth and poignancy”—ALAN MOORE

William S. Burroughs is dead and buried, but he can find no rest. His ghost is roaming the backstreets of Tangier in search of a missing manuscript. During his chaotic years there in the 1950s Burroughs not only wrote Naked Lunch, he also spewed out a mass of much darker material he then lost — hundreds of pages in which he wrestled with his demons. He fears his longtime nemesis, the Ugly Spirit, has been lurking in those pages ever since — and is now emerging from its slumber.

To help him find and destroy the infected manuscript before the Ugly Spirit can spread its evil in the world, Burroughs enlists fellow ghosts and old Tangier pros Paul Bowles and Brion Gysin, Joseph Dean and Brian Jones, as well as an inept witch, an elderly sorcerer, and a gang of macaque monkeys. Their adventures — often comic, sometimes ghastly — involve vanishing corpses, a magic carpet, giant black centipedes—and a word virus about to go pandemic.

“A helter-skelter rush of delights . . . a slapstick horror-fantasy romp that sometimes achieves real depth and poignancy”—ALAN MOORE

William S. Burroughs is dead and buried, but he can find no rest. His ghost is roaming the backstreets of Tangier in search of a missing manuscript. During his chaotic years there in the 1950s Burroughs not only wrote Naked Lunch, he also spewed out a mass of much darker material he then lost — hundreds of pages in which he wrestled with his demons. He fears his longtime nemesis, the Ugly Spirit, has been lurking in those pages ever since — and is now emerging from its slumber.

To help him find and destroy the infected manuscript before the Ugly Spirit can spread its evil in the world, Burroughs enlists fellow ghosts and old Tangier pros Paul Bowles and Brion Gysin, Joseph Dean and Brian Jones, as well as an inept witch, an elderly sorcerer, and a gang of macaque monkeys. Their adventures — often comic, sometimes ghastly — involve vanishing corpses, a magic carpet, giant black centipedes—and a word virus about to go pandemic.

From Pulitzer Prize finalist Lucy Sante (I Heard Her Call My Name), a new collection of essays and reflections, mixing memoir with incisive writing about photography, music, literature, and film.

Here she learns to dance by watching Soul Train, dissects the image of the cowboy, reads the telephone book, visits famous writers, tours dead factories, wonders whatever happened to the revolution, plunges into the vast sea of discarded snapshots, asks whether “surrealist photography” might be a redundancy, imagines Andy Warhol’s unmade movie, traces how Bob Dylan wrote his songs, observes the transience of all things with the Kinks.

Many of the pieces here were written on commission for magazines, publishers, and art catalogs, yet Sante’s writing always coheres around an enduring set of concerns: cities, social progress, photography, the semi-popular arts, and the detritus of daily life. Beginning with poems and concluding with fiction and memoir, the collection is divided into segments based on affinity. The first stretches back to the night of a century and a half ago; the second traces the long fall of utopian hopes over the last fifty years; the third observes great narrative travelers on their roads; the fourth is all image and flash; the fifth has a rhythm track running under it. There are hit singles here, as well as album cuts, non-LP B-sides, import-only EPs, and at least one bootleg.

From Pulitzer Prize finalist Lucy Sante (I Heard Her Call My Name), a new collection of essays and reflections, mixing memoir with incisive writing about photography, music, literature, and film.

Here she learns to dance by watching Soul Train, dissects the image of the cowboy, reads the telephone book, visits famous writers, tours dead factories, wonders whatever happened to the revolution, plunges into the vast sea of discarded snapshots, asks whether “surrealist photography” might be a redundancy, imagines Andy Warhol’s unmade movie, traces how Bob Dylan wrote his songs, observes the transience of all things with the Kinks.

Many of the pieces here were written on commission for magazines, publishers, and art catalogs, yet Sante’s writing always coheres around an enduring set of concerns: cities, social progress, photography, the semi-popular arts, and the detritus of daily life. Beginning with poems and concluding with fiction and memoir, the collection is divided into segments based on affinity. The first stretches back to the night of a century and a half ago; the second traces the long fall of utopian hopes over the last fifty years; the third observes great narrative travelers on their roads; the fourth is all image and flash; the fifth has a rhythm track running under it. There are hit singles here, as well as album cuts, non-LP B-sides, import-only EPs, and at least one bootleg.