Harmony Korine Knihy

The visual memoir captures a spontaneous road trip taken by Harmony Korine, Juergen Teller, and William Eggleston, along with his son, from Memphis to Mississippi. Through a blend of candid portraits and evocative images of the American landscape, the book highlights their intimate connection and shared experiences. It features striking photographs of gas stations, abandoned towns, and everyday life, while also revisiting Eggleston's iconic motifs. Eggleston himself is prominently featured, showcasing his distinctive style and presence throughout the journey.

Harmony Korine, the acclaimed American filmmaker, presents his third feature film, Mister Lonely (2007), a decade after his celebrated works Gummo (1997) and Julien Donkey-Boy (1999). Premiering at the 2007 Cannes Film Festival and featured in the official selection at the 32nd Toronto International Film Festival, as well as the 2008 South by Southwest Film Conference and Festival, the film's original script is being released by Nieves, accompanied by 22 photographs by Rachel Korine and Brent Stewart, coinciding with its UK theatrical release. Reflecting on his creative process, Korine shares his struggles during a tumultuous period in his life, where he felt lost and disconnected. His dreams of pigs walking on walls and nuns dancing in the sky marked a turning point. After a bizarre incident involving his teeth, he realized it was time to reconnect with his artistic vision. With the help of his brother and a boxer skilled in medicine, he found the motivation to create again. Mister Lonely emerged from a place of despair, revealing that even a small amount of faith can lead to profound transformation. This work is the inaugural title in a new series of Nieves paperbacks.

This reprinting of Korine's first novel presents fragments of a portrait in multimedia: print, photographs, drawings, news clippings, handwriting, a poem, attempted diagrams, clip art; but mostly text, including hard-luck stories, off-and-on-colour jokes, script-scraps, found letters, free rhymes, drug flashbacks and other scenes, exploring the world of show-biz with feet set lightly in the black humours of the real ol' world. This excretion of the danglers of public life would make William Burroughs sigh and turn the page, at least.