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David Britton (18 February 1945 – 29 December 2020)[1] was a British author, artist, and publisher. In the 1970s he founded Weird Fantasy and Crucified Toad, a series of small press magazines of the speculative fiction and horror genres. In 1976, Britton and Michael Butterworth co-founded the publishing house Savoy Books.[2]

Key Information

Biography

[edit]

Britton was a student at St John's College, Durham, graduating in 1969 with a degree in Education.[3] In 1976, Britton founded the publisher and distributor Savoy Books with Michael Butterworth, who he had met in the early seventies. At the time, Britton was running the bookshop The House on the Borderland in Manchester.[4]

In 1989, Britton wrote Lord Horror published by Savoy Books, a dystopian horror with a central character based on Nazi collaborator William Joyce, also known as Lord Haw-Haw. This became the last publication to be banned under the United Kingdom's Obscene Publications Act in 1992, with Britton serving a jail term at HM Prison Manchester. The ruling was later overturned on appeal after a defence led by human rights barrister Geoffrey Robertson.[5][6] Copies of the book which had been seized were not returned. A graphic novel adaptation of the book also remained banned.[7]

Work

[edit]

Britton was the creator and scriptwriter of the Lord Horror and Meng and Ecker comics published by Savoy. These characters also appear in a trio of novels written by Britton: Lord Horror, Motherfuckers: The Auschwitz of Oz, and Baptised in the Blood of Millions.

"Lord Horror," Britton said, "was so unique and radical, I expected to go to prison for it. I always thought that if you wrote a truly dangerous book -- something dangerous would happen to you. Which is one reason there are so few really dangerous books around. Publishers play at promoting dangerous books, whether they're Serpent's Tail or Penguin. All you get is a book vetted by committee, never anything radically imaginative or offensive that will take your fucking head off. Ironically, I think it would do other authors a power of good if they had to account for their books by going to prison -- there are far too many bad books being published!"[8][better source needed]

According to Michael Moorcock, Lord Horror series is the only "alternate history" to confront "Nazism with appropriate originality and passion."[9]

Influence

[edit]

Keith Seward has produced a book looking at the Lord Horror stories called Horror Panegyric which features excerpts as well as a prologue examining the tales.[10]

Publications

[edit]
  • Lord Horror (1989, Savoy Books) - Butterworth edited and provided text[11]
  • Lord Horror: Reverbstorm No.12 (1996, Savoy Books) ISBN 9780861300969
  • Motherfuckers: The Auschwitz of Oz (1996)
  • Baptised in the Blood of Millions (2001)

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

David Britton

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David Britton (1945–2020) was a British author, artist, and publisher who co-founded the independent Savoy Books in in 1976 alongside Michael Butterworth, focusing on , , and boundary-pushing literature. Best known for his Lord Horror series, Britton created a hallucinatory, picaresque narrative centered on a fictionalized —known as —blending Burroughsian cut-up techniques with Swiftian to critique 20th-century ideologies, including , , and cultural decay. Prior to Savoy, Britton edited underground magazines such as Weird Fantasy, Bognor Regis, and Crucified Toad from 1969 to 1975, fostering experimental works in horror and fantasy that influenced his later output. The 1989 publication of Lord Horror by provoked legal scrutiny; in 1992, a court convicted Britton of under the Obscene Publications Act—the last such ruling against a in Britain—citing depictions of and anti-Semitic imagery, resulting in a four-month sentence and the destruction of seized copies. Britton and defended the work as artistic provocation rather than endorsement, challenging norms amid accusations of glorifying extremism, though subsequent volumes like Baptised in the Blood of Millions (1990) and collaborations with illustrator John Coulthart expanded the series into and multimedia. Britton's oeuvre, including later entries like La Squab: The Black Rose of Auschwitz (1993), persisted in defying mainstream sensibilities, prioritizing raw causal examinations of historical horrors over sanitized narratives, while endured financial and legal battles to sustain its niche output until Britton's death on 29 2020. His legacy underscores tensions between free expression and institutional boundaries in British .

Early Life and Background

Childhood and Influences

David Britton was born on 18 February 1945 in , , to working-class parents amid the post-war austerity of . His mother, Lena (née Whittle), was an Irish Catholic whose possible Jewish ancestry Britton believed in, though the evidence for this was disputed; his father, George, a Great War , died when Britton was four, leaving the family in financial hardship that deepened his early loathing of authority figures and institutions. He grew up in north Manchester's back-to-back housing and squalid ginnels, environments he later described as a "nondescript mess" and a "landscape of quiet desperation," where prospects were confined to mill or factory work and education was rudimentary. At Catholic , Britton served as an boy but excelled primarily in , producing works like a violent depiction of the Titanic sinking that unsettled his teachers; a tuberculosis diagnosis further isolated him, requiring a year in a . These formative experiences fueled an escape into reading and 's undercurrents of disaffected characters and black humour, while rock'n'roll provided a visceral rebellion against his surroundings—influenced by performers such as and during his teenage years. Early encounters with fantasy illustrations, notably those of James Cawthorn amid his rock'n'roll phase, sparked interests in sword-and-sorcery and outsider aesthetics, laying groundwork for an worldview shaped by the era's working-class constraints and local cultural ferment in 1960s-1970s .

Entry into Publishing

In the late 1960s, David Britton began his publishing activities through amateur fanzines amid the burgeoning movement. He co-edited the first issue of Weird Fantasy in 1969 with , producing two issues that emphasized , horror, and psychedelic elements inspired by pulp traditions. This title later evolved into Bognor Regis for one issue before Britton adopted and continued the Crucified Toad series, originally started by Muir in 1970; Britton published issue 4 in 1974 as editor and publisher, featuring black-and-white illustrations, non-fiction, and works by contributors such as Michael Moorcock's Elric stories and . Facing rejection from mainstream outlets for fringe content, Britton acquired self-taught expertise in offset lithographic printing and distribution techniques, leveraging advancements in affordable technology to achieve professional-grade output without institutional support. He applied these skills to additional titles, including five issues of Corridor (later retitled Wordworks), resulting in 14 offset litho publications between 1968 and 1977 that prioritized eclectic, boundary-pushing material over commercial viability. Britton's motivations stemmed from dissatisfaction with the constraints of established publishing, including censorship of unconventional themes and limited access to resources for experimental work. Drawing from the 1960s underground scene and influences like Michael Moorcock's New Worlds and the horror-focused Weird Tales, he shifted from fan-oriented efforts to independent production, viewing small press as a means to bypass gatekeepers and foster uncompromised expression in psychedelic and horror genres. This phase marked his progression from fandom to entrepreneurial ambitions, honing practical capabilities essential for future ventures.

Publishing and Editorial Career

Founding and Operations of Savoy Books

Savoy Books was co-founded in 1976 by David Britton and Michael Butterworth in , , as an independent small-press operation dedicated to publishing works outside mainstream commercial constraints. The venture emphasized autonomy from corporate publishing norms, drawing on Britton and Butterworth's prior experience with fanzines and underground magazines to produce limited-run editions of speculative and transgressive literature. Initial output included eclectic titles in fantasy, horror, and countercultural genres, such as anthologies edited by the founders, alongside early contributions from Britton himself. Day-to-day operations centered on low-volume production from makeshift facilities, including a basement workspace cluttered with printing materials and unsold stock, reflecting the hands-on, ethos of the enterprise. The press supplemented income through side ventures like bootleg records and adult materials, though these repeatedly attracted interventions, disrupting workflow and inventory. Publications maintained a focus on experimental and boundary-pushing content, prioritizing artistic integrity over broad market appeal, which fostered a niche but devoted readership amid limited distribution channels. Financial viability proved precarious, culminating in in 1981 after publishing efforts faltered due to external distributor issues and intensified raids that seized materials and halted sales. Thereafter, Savoy persisted into the 1980s through 2010s via self-financed reprints, direct mail-order sales, and support from a drawn to its reputation for unyielding provocation, enabling sporadic releases without reliance on institutional backing. This model underscored the press's operational resilience against both economic pressures and official scrutiny, sustaining its role as a marginal yet influential outlet for nonconformist voices.

Collaborations and Broader Contributions

David Britton co-founded Savoy Books with Michael Butterworth in 1976, establishing a partnership that shaped the publisher's editorial direction and output over decades. Together, they co-edited anthologies such as The Savoy Book in 1978, which featured contributions from authors including , , and , and Savoy Dreams in 1984, compiling eclectic works to highlight alternative literary voices. This collaborative editing fostered emerging and fringe talents within the small-press ecosystem, drawing from the legacy of New Wave science fiction influences like Michael Moorcock's New Worlds. Britton extended his partnerships to visual artists, notably collaborating with John Coulthart on design and illustrative projects that integrated graphic elements into Savoy's publications starting in the 1980s. These efforts involved house illustrators like Kris Guidio, enabling a multimedia approach that blended text and imagery to support experimental content. Through Savoy, Britton promoted works by authors such as William S. Burroughs, Angela Carter, Henry Treece, Charles Platt, and Colin Wilson, prioritizing unconventional narratives over mainstream appeal. In the small-press scene, Britton's editorial role emphasized nurturing overlooked writers, as became a key independent outlet for Moorcock's titles and other boundary-pushing material. He advocated DIY by operating bookshops in the that stocked pulp, literary, and fringe titles, creating direct distribution channels bypassing traditional gatekeepers like large distributors. This model sustained 's operations, allowing self-financed releases and community-driven sales networks amid limited institutional support for alternative presses.

Major Works

The Lord Horror Series

The Lord Horror series, initiated by David Britton through Savoy Books, comprises a sequence of novels featuring a surreal centered on the Lord Horror, a fictionalized incarnation inspired by the British fascist propagandist (). The debut novel, Lord Horror (1989), depicts the psychopathic title character navigating a nightmarish landscape in pursuit of , portrayed amid metamorphic grotesqueries and World War II-era backdrops escalated into fantastical violence, such as encounters with steam-powered airships and bizarre entities including "nigger androids." Its narrative structure eschews linearity for a dense, vignette-based progression blending rapid-fire monologues on art and philosophy with scatological satire, grounding motifs of complicity and prejudice—, , and homophobia—in empirical Nazi atrocities while amplifying them through Daliesque akin to ' cut-up techniques. The series escalates its thematic fusion of horror, historical revisionism, and provocation in sequels that extend the protagonist's orbit. Motherfuckers: The Manchester Nirvana (also titled The Auschwitz of Oz; 1996) shifts focus to mutant twins Meng and Ecker, products of Josef Mengele's experiments, who traverse fractured space-time linking concentration camps to tawdry locales like a hybridized Belsen-Bergen and Blackpool's Golden Mile, incorporating allusions and 1950s rock'n'roll for a Rabelaisian dissection of fascism's cultural persistence and genocide's commodification. This installment maintains non-linear , evolving series characters through physicality—Meng as a silicone-enhanced , Ecker as a contemplative foil—to satirize intertwined with motifs. Baptised in the Blood of Millions (2001), framed as an "autobiographical" extension, reimagines pre- and post- England under , with Lord Horror engaging historical personages like , , and amid arcane dialogues, wartime slang, and absurd escalations such as chocolate-coated human missiles. Employing a Symbolist, disjointed structure, it probes Nazi psychology and anti-Semitism against backdrops of modernist literature and rock'n'roll, empirically anchored in events like Mosley's movement and but distorted into fantastical indictments of ideological . Across the core novels, Britton deliberately interweaves verifiable causalities—Nazi extermination policies, fascist aspirations—with hyperbolic revisionism to forge a engine of horror and , eschewing conventional morality for visceral causal exploration of prejudice's mechanics.

Other Novels and Projects

La Squab: The Black Rose of Auschwitz (2012) marked one of Britton's ventures beyond the central Lord Horror narrative, presenting a hallucinatory exploration of Auschwitz through the figure of a "Rose of Auschwitz," blending with historical provocation in a manner that echoed yet diverged from his earlier banned works. Published by Savoy Books, the employed Britton's signature experimental to challenge conventional , prioritizing visceral over linear plot. Subsequent publications included Razor King (2017), which extended Britton's boundary-testing style into further unconventional territory, though details on its specific content remain tied to Savoy's limited print runs. His final novel, Old Death (2022), completed months before his death, refined this approach into a more polished hallucinatory , described as lyrical yet brutal, marking thirty-two years of evolution from his debut's raw contentiousness. These works maintained thematic consistencies with occult-infused and decayed urban or historical milieus, often rooted in Manchester's gritty undercurrents, while advancing from pulp-inspired brevity to expansive, prose-driven ambition. Beyond standalone novels, Britton contributed to 's anthology efforts, co-editing The Savoy Book (1978) with Michael Butterworth, which compiled speculative and reflecting his early influences in weird fantasy and new wave. Similarly, Savoy Dreams: The Secret Life of Savoy Books (1984), another collaborative , documented the publisher's operations and included Britton's input on its eclectic selections, underscoring his role in curating amid anti-authoritarian undertones. These projects highlighted a progression from origins to curated volumes that tested literary norms through diverse voices and motifs of societal critique.

Artistic and Multimedia Output

Comics and Visual Art

David Britton co-created the Reverbstorm comic series with artist John Coulthart, extending the surreal and provocative themes of his Lord Horror novels into graphic form through eight issues published between 1994 and 2000 by Savoy Books, with a collected edition released in 2013. In this collaboration, Britton provided the scripts, while Coulthart handled the primary illustrations, blending streamlined influences with hallucinatory depictions of Nazi iconography, death camps, and to visualize Lord Horror's dystopian psyche as a "death-camp playground." Britton's visual contributions to Books included designing covers and interiors in tandem with Coulthart, incorporating collage elements and motifs that echoed pulp and fascist-era , such as stylized uniforms and biomechanical distortions. For chapbooks and early publications like The Book, he produced original illustrations featuring eroticized violence and "fascist-glamour" figures, often employing for texture and layered collages to evoke decayed opulence amid horror. These works prioritized raw, unfiltered imagery over conventional narrative clarity, aligning with Britton's broader rejection of sanitized representation in favor of visceral confrontation.

Audio Recordings and Adaptations

Britton extended the Lord Horror narrative into audio formats through collaborations with Savoy Records, producing spoken-word recordings that preserved elements of the banned novel amid legal restrictions on print editions. In the early , he partnered with singer to record excerpts, marking an initial foray into sound media that incorporated Proby's distinctive vocal delivery alongside atmospheric enhancements. A key output was the 1999 Lord Horror CD (Savoy Talking Book SA 3 CD), narrated by Proby, featuring three tracks drawn directly from Britton's suppressed text: "On the Isle of Lord Horror" (16:30), "Lord Horror: Jewkiller" (12:03), and "(Lord) Horror on the " (42:35), totaling 71:10 minutes. These selections included satirical passages parodying and depicting Lord Horror's encounters, such as the "Frogmen" episode, rendered in a broadcast-style tone with ad-libbed elements by Proby. Production involved recordings at The Cutting Rooms in , string arrangements by Boyce-Buckley performed by the Orchestra, mutated sound effects, and drum breaks, creating an experimental sonic layer that complemented the spoken narrative. Similarly, the talking book, also featuring Proby, captured sessions in January 1994 with scenes of violence in and New York, augmented by samples and effects for a 70-minute runtime planned for June 1999 release. These audio works served as circumventions to bans, offering the only accessible English-language versions of prohibited content while experimenting with immersion. Proby's Texan-inflected readings and improvisations added a performative edge, tying into 's broader spoken-word experiments, including compilations like Savoy Wars that integrated Lord Horror segments with musical tracks. Such efforts reflected Britton's ambition for total artistic control across media, extending beyond static text to dynamic soundscapes. Adaptation ambitions reached toward , though unrealized. In 2010, director Gareth Jackson planned Lord Horror: The Dark & Silver Age as a full-length surrealist feature drawing from the series' dreamlike elements, but the project did not materialize, underscoring challenges in translating the provocative material to visual media. This pursuit aligned with Savoy's vision, which explicitly envisioned expansions for Lord Horror to achieve immersive totality.

Obscenity Trials and Bans

In May 1989, raided Savoy Books and seized 350 copies of David Britton's novel Lord Horror under Section 3 of the , initiating forfeiture proceedings on grounds of . In August 1991, magistrate Derrick Fairclough ruled Lord Horror , ordering the destruction of seized copies. The decision cited the novel's graphic and detailed depictions of violence against , explicit anti-Semitic rhetoric, and stylized references to —such as gas chambers portrayed in a manner devoid of contextual —as tending to deprave and corrupt readers without any redeeming artistic, literary, or social value sufficient to invoke the public good defense under Section 4 of the Act. Savoy Books appealed the ruling to Manchester Crown Court, where QC represented them, arguing the work's philosophical complexity and satirical intent mitigated risks of promoting harm. On 30 July 1992, the court overturned the destruction order for Lord Horror, effectively lifting the ban by determining it did not meet the threshold after considering evidence of potential merit. However, the court upheld findings and bans on associated like Meng & Ecker No. 1, citing their more direct glorification of and without comparable defense. Amid ongoing raids connected to the Lord Horror case, Britton was prosecuted in 1993 for selling non-Savoy obscene materials uncovered during the 1991 seizure. In April 1993, he received a four-month prison sentence, served in part, stemming from these charges under the Act.

Implications for Free Speech

The obscenity prosecutions against Lord Horror highlighted tensions between artistic intent and state intervention under the UK's , with defenders maintaining that the novel's satirical portrayal of served as a of rather than an endorsement of its ideologies. Britton and Books contended that the work employed grotesque exaggeration to expose the underlying mechanics of authoritarian glamour and prejudice, drawing on historical figures like to dissect rather than glorify extremist thought. This defense, articulated in appeals overseen by figures such as QC, emphasized the novel's literary merit in challenging readers' assumptions about power and hatred, arguing that suppressing such material equated to censoring uncomfortable truths about human susceptibility to ideology. Prosecutors countered that the book's vivid depictions of and risked normalizing by depraving or corrupting readers, potentially inciting public harm through desensitization to anti-Semitic or fascist tropes. This perspective invoked the Act's test of likely corruption among significant reader subsets, positing that the absence of explicit moral condemnation amplified dangers in an era of rising cultural sensitivities post-World War II. However, of direct causation remains scant, with no documented instances of copycat or widespread ideological emulation attributable to Lord Horror or similar fringe publications, underscoring a causal gap between textual provocation and real-world outcomes. The cases established a that, while ultimately favoring in 1992 and marking Lord Horror as the last novel banned under the Act, instilled a on independent publishers by demonstrating the financial and legal perils of boundary-pushing content. Smaller presses, lacking resources for protracted defenses, increasingly self-censored controversial or to evade seizure risks, thereby contracting the space for critical of state or societal orthodoxies. Britton's persistence positioned Savoy as a emblematic bulwark against moralistic overreach, influencing subsequent debates on whether laws inadvertently prioritize subjective offense over evidentiary harm in regulating expression.

Reception and Controversies

Critical Assessments

Critics have lauded Britton's in the Lord Horror series for its experimental fusion of modernist fragmentation and pulp sensationalism, evoking the hallucinatory intensity of William S. Burroughs's cut-up techniques and J.G. Ballard's psychogeographic dystopias. This stylistic innovation is credited with creating a visceral, dreamlike that prioritizes raw textual immediacy over conventional plot coherence, positioning Britton as a radical voice in fringe . Such assessments emphasize empirical close readings of the works' linguistic distortions and intertextual allusions, rather than inferred , to argue for their value as provocative artifacts of extremity. Conversely, detractors, often from academic and literary establishments exhibiting systemic ideological biases toward anti-fascist , have condemned the series for an apparent absence of satirical detachment, interpreting depictions of fascist aesthetics and violence as implicit endorsements rather than critiques. These readings frame the protagonist's embrace of Nazi glamour and prejudices as a "fascinating " that risks aestheticizing without sufficient , potentially appealing to sympathetic readers through unmediated spectacle. Scholarly analyses, such as those exploring its recovery of repressed British interwar , acknowledge the texts' deliberate provocation but question whether their ambiguities—rooted in New Wave influences like Michael Moorcock's anti-heroes—resolve into condemnation or ambiguity that textual evidence alone struggles to clarify. Empirically, Britton's output has garnered limited mainstream sales and distribution, constrained by niche publishing through Savoy Books, yet cultivated a dedicated among connoisseurs of for its unflinching confrontation with subject matter. Reviews in outlets like highlight its nightmarish fusion of historical horror and fantasy as intellectually demanding, rewarding sustained engagement with its formal audacities over surface repulsion. This polarized reception underscores a divide where accolades focus on stylistic rupture and substance on ideological peril, with textual primacy in evaluations revealing the works' resistance to reductive moral binaries.

Public and Ideological Debates

Britton's Lord Horror series elicited sharp ideological divisions, with critics accusing the works of anti-Semitism due to graphic depictions of Jewish victims and sympathetic portrayals of fascist figures like a surrealized (). In court proceedings and media coverage, the narrative's violence against characters was cited as employing anti-Semitic tropes, substituting for other marginalized groups in derogatory idioms. These charges framed the books as potentially depraving readers by normalizing hatred, aligning with broader concerns over literature that humanizes historical villains. Defenders, including Britton and Savoy Books, countered that the series employed Swiftian satire to dissect the atavistic allure of power and fascism's sado-masochistic psychology, rather than endorsing it, by exaggerating horrors to expose their underlying mechanics. Figures like argued the texts confronted societal hypocrisies, racism, and the enduring psychic residue of atrocities, using metamorphic absurdity to critique sanitized historical narratives that obscure fascism's appeal to primal impulses. This perspective positioned the works as philosophical inquiries into human depravity's causal roots, challenging orthodox anti-fascist interpretations by depicting power's seductive, non-ideological draw without moral equivocation. Free-speech advocates highlighted the 1992 obscenity conviction—Britain's last under the Obscene Publications Act—as evidence of censorship's counterproductive effects, noting how seizures amplified the material's notoriety rather than erasing it. auctioned copies for £220 in 1995, underscoring institutional recognition of the bans' chilling impact on artistic expression. Even partial supporters like acknowledged the intent to reveal anti-Semitic thought's essence, despite its extremity, arguing suppression fails empirically as provocative ideas persist and gain mythic status post-prohibition. Right-leaning commentators valued the unflinching portrayal of fascism's visceral attractions over decorous restraint, seeing it as a rare artistic commitment to realism about human darkness amid prevailing narratives prioritizing emotional comfort. This view emphasized the series' rejection of polite evasions in favor of causal depictions of authoritarian hierarchies and degradation, prioritizing empirical confrontation with history's unvarnished drivers over ideological sanitization.

Death and Legacy

Final Years and Passing

In his later years, David Britton maintained a low public profile following the trials of the , living reclusively in while overseeing Savoy Books' operations from the background. Despite the enduring legal and financial repercussions, Savoy persisted in publishing niche works into the 2010s, including Britton's collaborative comic series Lord Horror: Reverbstorm, which concluded its serialization and saw a collected edition released in 2012. Britton remained productive amid health challenges associated with aging, completing his eighth novel, Old Death, mere months before his passing; the work was posthumously published by in 2022. This final project extended themes from his earlier Lord Horror saga, blending and historical provocation in line with his established style. Britton died on 29 December 2020 in at the age of 75, with natural causes cited in announcements from and collaborators. His death marked the end of an era for , though the imprint continued under partners like Michael Butterworth.

Enduring Influence

Britton's Savoy Books imprint has modeled anti-corporate publishing for underground creators, prioritizing taboo-shattering fiction over market conformity and enduring through over 60 police raids that cemented its defiant legacy. This approach influenced early adopters like frontman , who engaged deeply with Savoy's materials during visits to its bookshop, and positioned the press as a forerunner to the genre, as affirmed by critics Jeff and . Successors in small-press circles have emulated Savoy's fusion of punk with literary experimentation, transmitting its ethos of uncompromised provocation against institutional norms. The Lord Horror series sustains debates on literary depictions of , , and historical figures like and , employing grotesque to interrogate orthodox narratives and the cultural prohibitions surrounding them. By deconstructing canonical influences from to alongside pulp excess, Britton's works highlight tensions between and enforced sensitivities, often amplified in critiques where his 1989 novel remains the last UK fiction banned for . Preservation efforts by ensure the corpus's availability through online archives and select reprints, such as the 2013 Reverbstorm compilation, while multimedia extensions—including comic adaptations, spoken-word recordings with , and rock covers like New Order's Blue Monday—lay groundwork for potential revivals in film and audio formats. Collaborators like John Coulthart credit Britton with catalyzing boundary expansions in visual narrative, forging symbiotic advancements that blend with lowbrow horror.

References

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