Books by Richard Allen

Skinheads were dead, man. Phased out. Home had never appealed. All his life he had dreamed about a plush flat somewhere in the West End of London. So now he would make the leap from poverty street into the affluent society. In one gigantic jump. Fresh out of stir after kicking a police sergeant's head in, former skinhead Joe Hawkins is heading for the big time - a job in a firm of stockbrokers, a swanky flat and (hopefully) plenty of money. A whole new style is called for - so Joe becomes a Suedehead. The hair is a few millimetres longer, the uniform a velvet-collared crombie coat, bowler hat and neatly-furled umbrella - with razor sharp tip. For while Joe might be playing the establishment pet, he remains the unrepentently vicious, cunning hooligan from Skinhead, intent on pulling women, stealing and putting the boot in. It's not long before he finds some other Suedes willing to commit mayhem under cover of respectability... but can Joe and respectability ever really get along? Suedehead is the second of Richard Allen's era-defining cult novels featuring anti-hero Joe Hawkins. First published in 1971, this new edition features an introduction by Andrew Stevens. "e;I did happen to read the book when it came out and I was quite interested in the whole Richard Allen cult... suedeheads and skinheads and smoothies were very much part of daily life. There was a tremendous air of intensity... something interesting grabbed me about the whole thing."e; Morrissey "e;(Richard Allen's) work shouldn't require a theoretical summing up, once enough of those to whom it appeals understand its attraction we will have superceded this society."e; Stewart Home

Wonderful photographs documenting the local rail scene from the late 1980s to the early twenty-first century, featuring a range of trains and locomotives.

Sixteen-year-old Joe Hawkins is the anti-hero's anti-hero. His life is ruled by clothes, beer, football and above all violence - violence against hippies, authority, racial minorities and anyone else unfortunate enough to get in his way. Joe is a London skinhead - a member of a uniquely British subculture which arose rapidly in the late 1960's. While other skins were driven mainly by music, fashion and working-class pride, Joe and his mob use their formidable street style as a badge of aggressive rage, even while Joe dreams of making a better life for himself. Lacerating in its depiction of violence and sex, often shocking by today's standards, Skinhead is also a provocative cross-section of urban British society. It doesn't spare the hypocrisy, corruption or excessive permissiveness which, the author believed, allowed the extremist wing of skinhead culture to flourish. Skinhead, first published in 1970 and a huge cult bestseller, is now available for the first time in ebook form, with a new introduction by Andrew Stevens. Nearly fifty years on, it remains one of the most potent artefacts of British popular culture ever committed to print. "e;I did happen to read the book when it came out and I was quite interested in the whole Richard Allen cult... suedeheads and skinheads and smoothies were very much part of daily life. There was a tremendous air of intensity... something interesting grabbed me about the whole thing."e; Morrissey "e;(Richard Allen's) work shouldn't require a theoretical summing up, once enough of those to whom it appeals understand its attraction we will have superceded this society."e; Stewart Home

Is Hitchcock a superficial, though brilliant, entertainer or a moralist? Do his films celebrate the ideal of romantic love or subvert it? In a new interpretation of the director's work, Richard Allen argues that Hitchcock orchestrates the narrative and stylistic idioms of popular cinema to at once celebrate and subvert the ideal of romance and to forge a distinctive worldview-the amoral outlook of the romantic ironist or aesthete. He describes in detail how Hitchcock's characteristic tone is achieved through a titillating combination of suspense and black humor that subverts the moral framework of the romantic thriller, and a meticulous approach to visual style that articulates the lure of human perversity even as the ideal of romance is being deliriously affirmed. Discussing more than thirty films from the director's English and American periods, Allen explores the filmmaker's adoption of the idioms of late romanticism, his orchestration of narrative point of view and suspense, and his distinctive visual strategies of aestheticism and expressionism and surrealism.