Kim Gordon's statement that "people pay to see others believe in themselves", or Edmund Wilson's "to discover for what drama one's setting is the setting") and repeats it again and again in different contexts, thus making a connection. Marcus employs an impressionistic, self-centered writing style, splicing together bits of fact, reportage, opinion, and personal history. The book is quite long and there is much repetition. Marcus, in his wistful fascination with such anarchistic fervor, seems to be pursuing the ghost of his own youth as much as anything else. In general, while being attracted to the creative and destructive fun these people were having, I couldn't help but become aware of the dangerous vacuity of their ideas, their foolhardy opposition to any and all order. I must say that I learned a lot about some groups and ideas which I was only barely familiar with before, and I was better able to clarify my own ideas in contrast with the ones presented here. Marcus recounts events and spends a lot of time (too much time, actually) describing his own reactions to and impressions of certain works, in particular his own visceral reaction to the Sex Pistols. Special attention is payed to the Dadaists, the Lettrists, and the Situationists. The main idea of this interesting book is to trace the connections (usually unintentional) between punk rock and various other anarchistic movements, most of them in the twentieth century.
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