Ramones by Nicholas Rombes (Continuum Books 2005)

The quality that insured the Ramones' first album would become one of the most important records in modern rock was the same quality that guaranteed they would never have the mainstream success in their time: a unified vision, the force of a single idea. There is a purity to Ramones that is almost overwhelming and frightening. Basically, the Ramones are the only punk group from the 1970s to have maintained their vision for so long, without compromise -  a vision fully and completely expressed on their very first album. In America, there is a skepticism and wariness about any artistic or cultural form that doesn't evolve, that doesn't grow. There is no more damning critique than the charge of repeating yourself. And yet punk was precisely about repetition; its art lay in the rejection of elaboration. And nowhere is this more evident than on the Ramones' first album, whose unforgiving and fearful  symmetry announced the arrival of a sound so pure it did not require change.

Big Girls Don't Cry by Fay Weldon (Atlantic Monthly Press 1997)

Slap, slap, slurp: a hollow, juicy sound. Stephanie's pasting up posters on the dark green wall of a Victorian urinal. The year's 1971. This urinal still stands there at the bottom of Carnaby Street, alongside Liberty's of London. See it now, as then. Stephanie is clearly not an expert at what's called posting bills. Paste dribbles down all over the place: they go up crooked, they overlap. But up they go. The legend Bill Posters Will Be Prosecuted gets obscured, as another poster slips and slides.

'Poor Bill Posters,' says Layla.

Stephanie doesn't get the joke. This is her life problem. Her life asset is her beauty. In 1971, she is twenty-five; she has perfect features, a lanky body, abundant blonde straight hair, and rather large hands and feet. Layla is twenty-six, shorter, plumper, funnier: she has curly dark hair. One side of Layla's face does not line up with the other, so she is called sexy and attractive, but seldom beautiful. Layla does not regard this as a life problem. She has too much to think about.

The posters declare over and over, A Woman Needs a Man like a Fish Needs a Bicycle. People stare a moment and pass on. The message makes no sense. Obviously women need men. Everyone needs men. Masculinity is all. Armies need men, and government and business and technology and high finance. And teaching and medicine and adventuring and fashion. And all the serious arts. Offices, except for the typing pool, which is female, need men. It's homes which need women, except for the lawn which is male. Women are for sex, motherhood and domesticity. Men are for status and action. Outside the home is high status, inside the home is low status. In popular myth men make decisions, women try on hats. The world is all id and precious little anima. Layla and Stephie, friends, mean to change all this. A Woman Needs a Man like a Fish Needs a Bicycle. Ho, ho, ho. Everyone knows women compete for male attention; isn't this how the problem of female bitchery arises? Catty? Felines are nothing compared with women. Perhaps this puzzle poster is advertising something?

The Notorious Byrd Brothers by Ric Menck (Continuum Books 2007)

I'm not sure of the exact reason Gary Usher chose "Artificial Energy" as the first track on The Notorious Byrd Brothers, but it sure sounds like that's exactly where it belongs. A few swift cracks of the snare drum and the arrangement instantly springs to life. It feels as if the band are so charged up they can hardly wait to count the song off and go. The instrumental approach is hard and aggressive, and stylistically it relates to the recently released "Lady Friend" in that a horn section is featured. But while "Lady Friend" comes off sounding all strident and regal, "Artificial Energy" has a darker edge. This is mostly due to the song's lyrical imagery, which deals with the horrors of amphetamine use. Strangely, whereas their 1966 single "Eight Miles High" was banned because it supposedly contained overt drug references, no one batted an eyelash when the Byrds actually did write an honest-to-God drug song.

In "Artificial Energy" the song's protagonist takes his "ticket to ride" (okay, there's a drug reference and a Beatles reference all rolled into one), and sits alone waiting for it to take effect. Slowly he feels an "artificial energy" welling up inside, but as the drug takes hold something horrible happens. Instead of achieving some kind of enlightenment, our hero ends up losing control and, in the song's stark final imagery, kills a homosexual and winds up being thrown in jail.

The Wheel Spins by Ethel Lina White (Rosetta Books 1936)

To his surprise Iris changed the subject.
"What sort of brain have you?" she asked.
"Fair to middling, when it's lubricated. It works best on beer."
Could you write a detective thriller?"
"No. Can't spell."
"But could you solve one?"
"Every time."
"Then suppose you give me a demonstration. You've been very clever in proving Miss Froy could not exist. But - if she did - could you find out what might have happened to her? Or is it too difficult?"
Hare burst out laughing.
"I used to think," he said, "that if ever I liked a girl, I'd be cut out by some beautiful band conductor with waved hair. I'm hanged if I thought I'd have to play second fiddle to an ancient governess. Time's revenge, I suppose. Long ago, I bit one. And she was a good governess . . . . Well, here goes."