‘Like the Beat writers of the 1950s and 1960s, such as Jack Kerouac and Allen Ginsberg, Viola delves into themes of social critique and existential exploration…’
Red Honey by Saira Viola is a collection that brings to the fore a unique blend of narrative styles and cultural critique. Viola’s work, known for its innovative mix of noir, satire, and social commentary, can be intriguingly compared to the styles of Gonzo journalism and the Beat Generation. These comparisons help to highlight Viola’s distinctive voice while situating her within a broader literary context.
Viola’s writing is characterised by its immersive and vivid prose. This style is reminiscent of Gonzo journalism, a genre pioneered by Hunter S. Thompson. Gonzo journalism breaks away from traditional objective reporting, incorporating the writer’s personal experiences and emotions into the narrative. In Fear and Loathing in Las Vegas, Thompson states, “The line between fiction and nonfiction is blurred and often arbitrary” (Thompson, 1971). Viola’s work similarly blurs these lines, creating a “wide-screen, surround-sound experience” that engages readers on multiple levels. Her narratives are rich with linguistic flair and musical prose, often infusing a punkish energy that challenges conventional storytelling.
In her Artellus interview, Under The Influence Viola acknowledges the influence of Marvin Gaye’s soulful and politically charged music on her writing, stating that she aims to “capture the soul of the streets and the rhythm of the city” much like Gaye did with his music. This influence is evident in the lyrical quality of her prose and the emotional depth of her characters.
Like the Beat writers of the 1950s and 1960s, such as Jack Kerouac and Allen Ginsberg, Viola delves into themes of social critique and existential exploration. The Beats were known for their rebellious spirit and their exploration of the human condition against the backdrop of post-war America. Kerouac’s On the Road is filled with a quest for freedom and authenticity, as he writes, “The only people for me are the mad ones…mad to live, mad to talk, mad to be saved” (Kerouac, 1957). Similarly, Red Honey delves into the underbelly of modern life, highlighting issues such as celebrity obsession, social inequalities, and the quest for identity in a fragmented world. Viola’s work captures the chaotic yet poignant essence of contemporary existence, much like the Beats captured the zeitgeist of their time.
Additionally, Viola draws inspiration from William Burroughs’ surreal and often dystopian vision of society. Burroughs, a central figure of the Beat Generation, was known for his exploration of societal decay and the human psyche. Viola’s stories often reflect a similar darkness, infused with a sense of absurdity and sharp wit. In her interview, she mentions, “Burroughs taught me that writing can be an act of rebellion, a way to confront and dissect the absurdities of society.”
Viola also references the influence of Chester Himes in her interview with Vautrin magazine regarding her book Smoke Show. Himes, known for his gritty depictions of urban life and racial tensions, impacts Viola’s portrayal of social dynamics and the raw, unfiltered depiction of her characters. She states, “Himes’ unapologetic examination of race and class struggles resonates with my own attempts to highlight the complexities of contemporary life.” Viola’s work incorporates a sense of lyricism that Himes also employed, blending stark realism with poetic undertones to create a vivid and impactful narrative experience.
One of the standout stories in Red Honey is The Future’s A Fraud, which exemplifies many of Viola’s thematic concerns and stylistic choices. The narrative follows the relationship between an idealistic artist, Syd Du Frais, and a greedy self-serving all-consuming art dealer, Amy Tang. This story can be seen as a modern-day echo of the Beat Generation’s disdain for materialism and the commodification of art and culture.
Syd’s struggle to maintain his artistic integrity in the face of Amy’s commercial exploitation mirrors the existential angst of the Beats. His paintings, rich with meaning and emotion, reflect his internal battles and his vision of a fractured society. Ginsberg’s poem Howl similarly portrays the struggle for authenticity amidst societal pressures, stating, “I saw the best minds of my generation destroyed by madness, starving hysterical naked” (Ginsberg, 1956). This internal conflict is a central theme in Beat literature, where characters often grapple with societal pressures and the search for authenticity.
Viola’s narrative also echoes the social critique found in the works of Charles Dickens. In the Artellus interview, she notes Dickens’ influence on her portrayal of societal issues, stating, “Dickens’ ability to blend social critique with compelling storytelling has always inspired me. He showed that literature could be both entertaining and a force for social change.”
Viola’s writing has been celebrated for its originality and depth. Benjamin Zephaniah (RIP) praises her for showing “a completely different approach to the ancient art of the scribe,” emphasising the necessity of her voice in modern literature. This recognition places Viola in a lineage of writers who have pushed the boundaries of literary form and content, much like the Gonzo and Beat writers did in their respective eras.
The Future’s A Fraud offers a critique of the art world that is both poignant and timely. Through the characters of Syd and Amy, Viola exposes the often cynical and exploitative nature of the art market. This mirrors the Gonzo approach of revealing uncomfortable truths through a blend of personal narrative and broader social commentary. Thompson’s assertion in The Great Shark Hunt that “objective journalism is a pompous contradiction in terms” (Thompson, 1979) aligns with Viola’s method of embedding critique within a compelling narrative. The story resonates with readers, offering a reflection on the tension between creative passion and commercial pressure, a theme also explored by the Beats in their rejection of mainstream societal values.
Viola’s work can be seen as a modern synthesis of Gonzo and Beat influences. Her dynamic narrative style, compared to a blend of Guy Ritchie and Martin Amis, or Studio 54 meets Dickens highlights her ability to merge gritty realism with sophisticated literary techniques. Like the Beats, her stories are populated with larger-than-life characters and infused with a satirical edge that both entertains and challenges readers.
In The Future’s A Fraud, this duality is evident. The story is both a gripping narrative and a biting satire. Viola’s portrayal of Syd Du Frais is sympathetic yet critical, allowing readers to empathise with his plight while also questioning the societal values that led to his exploitation. The story’s sharp dialogue and vivid descriptions further enhance its impact, making it a memorable piece in the collection.
Viola’s prose also often exhibits a poetic quality, seamlessly integrating her background in poetry into her storytelling. This aligns with the Beat poets’ tradition, where Ginsberg’s rhythmic and free-form verse in Howl exemplifies how poetry can merge with narrative to create profound social commentary.
Red Honey by Saira Viola is a testament to her unique voice and her ability to transform the short story genre. Her work is a vivid exploration of contemporary life, filled with sharp social commentary and innovative stylistic elements. The Futures’s A Fraud serves as a prime example of the self labeled sonic scatterscript method offering a nuanced critique of the art world and its discontents.
By drawing comparisons to Gonzo journalism and Beat literature, Viola’s work can be appreciated not only for its individual brilliance but also for its place within a larger literary tradition. Her stories challenge readers to reflect on the world around them, making Red Honey a must-read for those seeking a blend of dark humour, social critique, and linguistic innovation..
Fahrenheit Press. (n.d.). Red Honey by Saira Viola. Retrieved from Fahrenheit Press.
Ginsberg, A. (1956). Howl. City Lights Books.
Kerouac, J. (1957). On the Road. Viking Press.
Thompson, H. S. (1971). Fear and Loathing in Las Vegas. Random House.
Thompson, H. S. (1979). The Great Shark Hunt. Summit Books.
Artellus. (n.d.). Interview with Saira Viola. Retrieved from Artellus.
Vautrin Magazine. (n.d.). Interview with Saira Viola.