An Intimate History of Furry Pals

Thank you, Cassie Thornton. My friend, a feral class comrade and ace artist, for creating the above, main image 🙂

While writing this, I’ve been staying in a hotel in Southend-On-Sea for a long weekend. I had a lovely time with my family. They proudly showed off their massive TV. It’s half the size of a small car. They certainly don’t need to go to the cinema anymore. I met Graham Burnett. He is a good friend. We discussed him giving an intro and Q&A at my Feral Class book launch at The Old Waterworks. Still working out the dates, probably in April 2026. I had a fruitful meeting with Ruth Jones, who coordinates The Old Waterworks. I admired their growing collection of books suggested by members. Their collection includes the Grrrl Zine Library. It consists of over 700 feminist and LGBTQIA+ specific zines. It also features contemporary art books. They have also published artists’ books and art journals. And also meeting great artist friends, Elsa James and Emma Edmondson, at The Old Waterworks.

On the way back, I felt jubilant. Meeting wonderful friends made me happy. I was also excited about my upcoming presentation of my book, Feral Class, in Southend. After all, the entire book is about my upbringing there. I returned to the hotel and opened the door. I was startled to find a panicked pigeon flapping its wings frantically around the room. I chose not to chase it out. Instead, I sat on the bed. I let the feathered visitor rest near the window. We both calmed down and shared the space in silence for about five minutes. In those seemingly intimate moments, I imagined we connected in some way. I don’t know, it just felt good. But soon, a mutual tension began to build between us. Our brief togetherness was coming to an end. I quietly said to the bird, “Go on, leave—there’s the window.” Instantly, it slipped out through the small gap. It exited the same way it had entered and flew away into the sky. The whole event felt oddly important. This feeling was amplified by the words I was about to write—words about Fizz, our recently deceased cat.

My plan was to sit down in the hotel room and write a farewell to Fizz, our beloved cat who left us two weeks ago. But I’ve come to realise that grief doesn’t follow a straight line. A friendly pigeon reminded me of Fizz. Then my thoughts wandered to all the other creatures who have graced—and occasionally disrupted Ruth’s life and mine. So this piece is for them and others who have lost furry pals. A collection of memories, all inspired by the loss of one very special cat friend.

So, here we go.

To understand the origin of the phrase ‘Furry Pals,’ you have to go back to 1996. That was the year Ruth and I were married at the Bow Arts Trust in East London. It was an art space we were co-running with Marcel Abetting at the time. We held the wedding party in the adjoining enclosed car park, which proved surprisingly spacious. During his speech, my best man, Steve Osborne, recalled a moment we were solving a newspaper crossword together. Steve has always possessed a wonderfully perceptive and joyful sense of humour. To show how my mind works peculiarly, he mentioned that I did not fill in the expected answer, ‘pussy cat.’ Instead, I chose the far more idiosyncratic, ‘furry pal.’

Later, during our time in London, the Furtherfield adventure began. Ruth and I lived in a large warehouse space in Haringey, which we divided into three areas. At the front was a sizable gallery. Behind that, there was a smaller one. At the very back was a sprawling office space. It was large enough to have an ad hoc kitchen. It was there that we, as a group, engaged in various activities. We fixed and pulled apart old computers. We converted them to Linux. We also built something new from the bits and pieces. It served as a daily office, and we held many meetings and side events in that back space. Above the kitchen was a mezzanine that served as our bedroom. Living in the same space where we worked was difficult. There was always so much going on among the public, artists, collaborators, and staff.

HTTP Gallery space run by Furtherfield. The back view, with the mezzanine and a door opening to the garden, 2002.

At the time, we had two black cats, Bella and Bobby. They were more than just pets. They were our furry confidants. They helped us navigate the chaos. They revelled in all the attention from visitors. If I had to sum up their personalities, Bobby resembled Wayne Rooney. He was stocky and scrappy. Bobby always found himself in the middle of some mischief. Bella, on the other hand, was our Gary Lineker, elegant, even-tempered, and somehow always above the fray. They were quite the pair.

Bobby is in front of my record collection in the warehouse. 2002.

Sadly, Bobby soon exhausted his nine lives. In a decision we’ll never understand, he ate some of the cement. We were using it to patch up holes in the gallery floor. This caused a rectal prolapse. We’ll never forget the sound he made. It was a long, high-pitched yowl of anguish. The cry was harrowing, making his suffering unmistakably clear.

The local vet on Green Lanes, in Haringey, was dreadful. She insisted we should give him a chance, which made us feel guilty. We had already made the difficult decision to have him put down. So we agreed to surgery, spending £1,000 we didn’t really have. But Bobby only got worse. It was an incredibly stressful time. We were running an art space that also served as our home. At the same time, we each held down two jobs each. We were also managing the Furtherfield community online. Additionally, we were running a gallery. All of this was paid for by our meagre wages. Watching him suffer, with no improvement, became unbearable. We eventually took him back to the vet and had him put to sleep.

Bobby is contemplating jumping onto a window seal that is blocked by a curtain. 2002.

The Fizz years

Moving back to more recent times: our black-and-white cat, Fizz, and her death. Things felt equally painful, but in different ways. My mum died in 2020, and she had two pets: Mia, a dog, and Fizz, a cat. It was during COVID. Only a small number of us were allowed at Mum’s funeral. This limitation added to the already sad occasion our family was experiencing. Zoe, one of my sisters, suggested they take Mia. They would give her a new home. We agreed to have Fizz. My memory of Fizz, whenever we were at my mum’s, was that she was grumpy all of the time. Fizz didn’t like being downstairs because Mia was always there. Yet, she had to go downstairs to visit the toilet, which was in the garden. You’d hear a thud on the ceiling. You’d hear the tapping of her feet as she descended the stairs. It sounded like a human walking heavily. Which was surprising because it wasn’t a large cat. Fizz’s main anger was towards Mia. She was frustrated because Mia always ate her food. Fizz wanted to save her meals for later.

When mum first met Mia.
Our council home in Newington Avenue, Southend-On-Sea. Photo taken by my younger twin sisters, Zoe and Samantha Garrett. 2020.
My mum’s front room. Photo taken by my younger twin sisters, Zoe and Samantha Garrett. 2020.

From the moment Fizz came to live with us, she settled in quickly and found her own rhythm. She was unfamiliar with cat flaps. When I installed one in the kitchen door, she refused to go near it. That meant one of us always had to let her out, constantly. It was trying at times. Still, over time, we all grew to love one another like a real family.

Ruth on the sofa with Fizz. Southend-On-Sea, Essex. December, 2020.

During the time I had cancer, I spent long hours sleeping. Through it all, Fizz would keep me company, a steady, purring presence by my side. This was when we moved from Southend to be around my mum. Once she was gone, we moved to Felixstowe, a period when Furtherfield was also making its move to the area. It has been four years since I was diagnosed with cancer, and I have one year left in remission. I still try to grab some sleep in the afternoons to regain energy. Fizz has been there with me during all this time, without fail.

Well, she was until about a month ago. Even though Fizz was nearly twenty, it seemed as if she’d outlive us both. She had this vitality about her which was infectious. I know it’s strange, but it felt like my mum was inside this furry pal, somehow. They had similar energies. For example, they were playful, stubborn, intimate, and emotionally intelligent, and possessed a witch-like darkness. Yet, just as it was time for my mum, it was now time for Fizz to leave this mortal coil. About a week before we took her to the vets, she was wheezing heavily and coughing.

The vet told us we had to choose. We can either let her go or take her home. She made it clear that if we brought her back, Fizz would only suffer. Ruth and I were completely unprepared. I don’t know why we hadn’t considered that Fizz was not coming home with us. That moment at the vet’s office was the last time we were with her. As the reality hit us both, we looked at each other, finally understanding that this was it.

Fizz on the bed with me at our home in Felixstowe. 2023.

There’s something about having an animal friend living with you. It connects you to another being that goes beyond just human concerns. Donna Haraway’s concept of companion species gives us an insightful perspective on human-animal relationships. It moves beyond viewing pets as mere property. It positions them as co-evolutionary partners. Haraway uses her Australian Shepherd, Cayenne, as a central example. She illustrates how dogs are not simply companions, but “significant others” who actively shape human lives and thoughts. This perspective directly challenges human exceptionalism and the traditional boundaries that separate humans from animals and nature from culture. Haraway argues that this relationship is not always harmonious. It involves “staying with the trouble.” This means navigating complex ethical obligations, power dynamics, and moments of miscommunication.

Haraway criticises the conventional narrative of domestication. She suggests it was not a one-sided act of human control. Instead, it was a mutual process of adaptation. Both species have domesticated each other through shared spaces and opportunistic behaviours, like scavenging together at garbage dumps. Lives intertwine in a way that exemplifies what Haraway terms “naturecultures.” This is the idea that the natural world and human culture are not separate spheres. Instead, they are deeply and inseparably entangled (Haraway 2003). And, I’d say this extends to other creature friends, rats, rabbits, pigeons, pigs, chickens, and more.

A few days after Fizz died, I started getting chest pains. It felt like someone was constantly poking and prodding at my heart. The pain became so intense. My doctors advised me to go to the hospital. They wanted to rule out a heart attack or stroke. After about four and a half hours of various tests, it was clear. There was nothing physically wrong with me. And yet, at home, the pains continued.

Then Ruth’s cousin Eileen offered a different perspective. She suggested that my chest pains might be connected to my grief—not just for Fizz, but for my mum too. Fizz was my last living link to her. When I was with Fizz, in some strange way, it felt like I was with my mum.

Was it really so strange? The moment she said it, it all made sense. It hit me like a bolt of lightning. Of course. An emotional and psychological diagnosis of what I was going through suddenly clicked into place. And just a few days later, the pains were gone.


References:

Haraway, Donna. The Companion Species Manifesto: Dogs, People, and Significant Otherness. Prickly Paradigm Press, 2003.

This post honours my beloved pets: Bella and Bobby, my two cats, one of whom tragically ate cement. And Fizz, my mother’s cat, who came to live with us after she passed in 2020. During my cancer treatment, Fizz became my devoted companion.

Valentine's Day. By Marc Garrett, from his book Feral class. 2025.

A Feral Class Valentine’s Day

It was Valentine’s Day, and I was about fifteen. I fancied Lucy North, who was the same age as me at school. We got along quite well and had meaningful conversations. I was getting an urge to be with someone who would appreciate me for who I was. Although, in retrospect, I wasn’t sure what that was. To assume she would know me was a deluded notion. We enjoyed each other’s company and shared a taste for non-commercial, punky, strange music. We especially liked Tubeway Army and Ultravox with John Foxx.

We also shared JG. Ballard books and other dystopian novels. Lucy lent me one book, Behold the Man, by British writer Michael Moorcock. It blew my mind. It’s an existential science fiction novel about a man who goes back in time and finds out that he’s Jesus and gets hung on the cross. Moorcock was the main writer who influenced many of Hawkwind’s songs. Personally, I found Hawkwind and Moorcock a bit too hippy. Yet Behold the Man was definitely a decent book and worth reading.

Because we were getting along well, making Lucy a Valentine’s card would be fun. Plus, we seemed close enough for me to make such a gesture. We were also into the fantasy of humans turning into half-robots and cyborgs. The night before Valentine’s Day, I put much of my artistic energy into creating a large card for her. It was drawn and painted with deep passion—perhaps too much. The image was a self-portrait of me as a robot (or android) pulling my heart out of my chest and offering the visceral, bloody and dripping object to her as a gift, a gesture of my love.

I looked around for her in school before the day’s lessons and found her in the hallway. I gave it to her, and she smiled and responded courteously. She pulled the homemade Valentine’s card from the envelope and looked at the image with some of her friends while I stood there. She went silent for a few seconds, and so did her friends. Then she said it was creepy, and I was sick in the head, so I threw it in the bin. After that day, Lucy never talked to me and ignored me. Perhaps she was right to do so. I wasn’t happy about it at the time.

Valentine’s Day is an extract from my book, Feral Class.
Published by Minor Compositions, 1 Jan. 2026.
https://www.minorcompositions.info/?p=1561

A free Valentine’s Day MP3 to accompany the text. Enjoy, it’s feral 🙂

It was Valentine’s Day, and I was about fifteen. I fancied Lucy North, who was the same age as me … More

A Reliant Robin Adventure to Cornwall

At about fourteen years old, I began hanging around with a school friend, Derek Shroud. He was an odd character, which is probably why I liked him. He was obsessed with silent horror films made before colour, refusing to watch contemporary movies as if they were a toxic threat to humanity’s soul. On Sunday afternoons, we’d spend hours in a darkened room watching old classics such as Dr Jekyll and Mr Hyde (1920), Frankenstein (1910), The Golem, How He Came into the World (1920), The Phantom of the Opera (1925), and Nosferatu (1922), and more. All brilliant to watch. However, before the movies were shown on his home projector, he would set up a ten-minute waiting time like in a cinema, playing The Bee Gees in the background, which I didn’t enjoy. And then, during the intermission before the next film, he’d play more Bee Gees, argh!

Whenever we sat down for dinner with his elderly parents, he was very controlling and would command them to eat slowly and chew about thirty times. He argued in a serious tone that it improved digestion, nutrient absorption, and gave the body a chance to process food. He was correct but rather annoying, and his parents nonchalantly chuckled at his suggestions, ignoring him. Derek would always act like he was the adult in the room, and everyone else was just playing at existing, so he was more serious and righteous. He ate slowly as everyone else finished their meals and left the table, proving his point. Derek didn’t have many friends, but he was happy being on his own and doing his thing.

When Derek invited me to Cornwall with him and his parents, I was surprised he’d asked. Also, I was hesitant. Being stuck in a car on a long journey in the middle of summer with three strangers was not an attractive prospect. However, I had never been to Cornwall, which would not cost much. I had saved enough to contribute to food and petrol, and his parents offered to pay for lodging. I was asked to be around their house at about five in the morning. It was close to our house, about four minutes away. I wasn’t expecting to travel such a long distance in a Robin-reliant. We set off at quarter past five. Derek’s parents were in the front, his dad driving, and he and I sat in the back seats. Because the vehicle was so small, we were immersed in bed covers and luggage that didn’t fit in the boot.

Our journey to Cornwall had just begun. When we had an unexpected encounter with a naked man running along the side of the motorway. There was no other traffic on the road, just this naturist jogger on our left side. For reasons we cannot explain, Derek’s dad slowed the car down to match his running speed, and then his parents conversed with him. He was a skinny man and about six feet tall. They were chatting cheerfully about what a nice day it was. Derek and I could not ignore the man’s hairy balls and impressively sized cock bouncing up and down at our eye level. That was the first time I had seen a man’s genitalia.

The stay in Cornwall was part of a larger complex at a Butlins holiday camp. That night, Derek was keen for us to go to a disco at the holiday camp. I wasn’t interested at all, but I went. However, the ritual of putting on the right clothes beforehand was an important part of it all. I hadn’t been informed that we were going to a disco, and I wasn’t told to bring any specific garments for dancing, so my dress was summer casual. To my surprise, Derek had already chosen an outfit he had brought for the event. It was a dark purple velvet suit. He was insistent, even though it was in the middle of summer, that he wouldn’t be too hot. His suit had massive flares, and I felt uncomfortable walking into the club with him. From an early age, my repulsion towards flares was strong. We stayed there for a while, drinking fizzy pop with ice and were the only young ones in the club. The mistake that Derek made was presuming there would be no adults getting in the way, but as soon as younger kids our age came, they stayed with their parents. Thankfully, the hunt for girls was soon over, and we returned to our shared room and played Scrabble.

A Reliant Robin Adventure. By Marc Garrett, from his book Feral Class. Published by Minor Compositions, 1 Jan. 2026. https://www.minorcompositions.info/?p=1561

At about fourteen years old, I began hanging around with a school friend, Derek Shroud. He was an odd character, … More

Two New Reviews of Feral Class.

The reception to my forthcoming book has been a profound source of hope. Despite the challenges of connecting in a world that often feels ghastly and controlled by monsters, the remarkable pre-sales success and two new early reviews confirm that people are genuinely interested. This enthusiasm is especially heartening, as the book is not officially released until January 2026.

Two reviews by Josephine Bosma and Simon Poulter.

Recommended reading for anyone interested in inclusive cultural politics in the West: Marc Garret’s personal story of growing up feral class, an even more challenging environment to escape from than the working class. Please read it and compare it to your own childhood memories.

This book moved me more than the highly praised novel I’m currently reading. Class is barely a serious issue in Dutch cultural contexts, but it should be. In my experience, most art institutions hire people from middle-class backgrounds or ‘higher’ backgrounds. People hire people they feel comfortable with, people who use language and gestures they recognise. These hide in often subtle differences, making for barely conscious decision-making. It is how institutions stay elitist rather than critical.

My two cents of institutional critique. 😉 We need more working and feral class people in influential positions. Garret’s book is not about asking for pity. It asks for respect.

Review by Josephine Bosma – https://www.josephinebosma.com/
,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.

I can highly recommend Marc Garrett’s @feralclass publication. The book charts Marc’s upbringing in a working-class family in Southend.

It is written in an intensely deadpan and aphoristic style, often leaving the reader with a sense of horror at what will happen next. It reminded me of one of my favourite books, ‘A Year From Monday’ by John Cage. The short chapters are anchored to Marc’s own artworks, which evoke the highly descriptive scenes that follow. Rather than binding everything together as a conventional autobiography, each annotated piece often ends abruptly; in essence, it builds a more accurate picture of what it is like to live in domestic chaos.

It is also a courageous piece of writing, unvarnished, honest, and reflective of a childhood and youth at the mercy of unfilial figures who come through the household.

The book is all the more remarkable, set against Marc’s own health issues, and the introductory chapter sets the tone by explaining the fight working-class people face when encountering the conceits of middle-class academia.

An excellent read and sharp observation, all in one.

Review by Simon Poulter – https://www.viral.info/

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Feral Class Available at Minor Compositions.
https://www.minorcompositions.info/

A review by Phil Smith. Mytho Massively Recommends Feral Class,
https://marcgarrett.org/2025/10/13/mytho-massively-recommends-feral-class/

Furtherfield Time Capsules and the Feral Class Book Launch.
https://marcgarrett.org/2025/11/27/furtherfield-time-capsules-and-the-feral-classs-book-launch/

A Story from the Feral Class.
https://marcgarrett.org/2025/08/04/feral-class-are-you-serious/

The reception to my forthcoming book has been a profound source of hope. Despite the challenges of connecting in a … More

Furtherfield Time Capsules and the Feral Class Book Launch

Woah! I’m still catching my breath after a whirlwind few days that felt like a physical and emotional marathon. It was years of profound closure and bright new beginnings, all packed into a handful of days. Involving clearing out the Furtherfield Gallery and the Commons, and the Feral Class Book launch at Housmans, London.

Clearing Out Furtherfield Gallery and the Commons

The process commenced on Tuesday, with Ruth and me, and Ale working alongside us as we undertook the substantial task of clearing the Furtherfield Gallery. It was not merely a matter of sorting through clutter, but an act of archaeological retrieval that reconnects us with our shared grassroots art practice and community roots, fostering a sense of belonging for the audience. The sheer volume of accumulated history was staggering.

Below is an image of Ale Scapin, who was Furtherfield’s art producer and project manager until about 5 years ago, and who has worked with us since we had a warehouse in Haringey. Recently, Ale has been helping us with admin and organisational matters. Thankfully, she came over briefly from Italy and helped us clear the two spaces. This image features one of many exhibitions that we have shown, exploring art, technology, social change and ecology. If you wish to see more images of past exhibitions, events and projects by Furtherfield, visit our Flickr page.

UKI – Viral Love by Shu Lea Cheang. Part of Shu Lea Cheang & Mark Amerika exhibition at Furtherfield Gallery. Photo by Pau Ros. August 31, 2013. [1]
Gummy-arm, experiments in domestic emotion, Steven Levon Ounanian. Performance shot for exhibition Playbour: Work, Pleasure, Survival. Furtherfield, Finsbury Park, 2018. Curated by Dani Admiss. 14 July – 19 Aug 2018. Photo by Pau Ros. [2]

We filled five carloads for disposal, yet the more meaningful task was finding new homes for the objects that still held purpose. A significant cache of viable materials, including drills, tools, and equipment, was allocated to the local park keepers. Alex, who now stewards the commons for community music alongside Rachel Jacobs and The Future Machine, collected screens and electronics, ensuring the creative spirit of the space will endure in new forms.

The above image is just a small example of the objects that needed to be extricated from the two spaces. This departure from our long-time art venue in London’s Finsbury Park marks a deeply felt conclusion to a significant chapter. It is impossible not to be moved by the memory of countless projects, exhibitions, and the vibrant community of friends and collaborators, mutually built. Yet this transition is balanced by Furtherfield’s new life in Suffolk. Here, we are already engaging with new artists and exploring fresh creative avenues.

I am also immersed in the work of archiving and authoring ‘30 Years of Furtherfield: Art, Technology and Eco-Social Change’, in collaboration with co-editors Regine DeBatty and Martin Zellinger (scheduled for Autumn 2026). Grounded in recently catalogued physical archives and recovered digital histories, this publication embodies a collective effort that invites respondents to co-create chapters, inspiring the audience to see their role in shaping social change through art and community engagement.

The physical labour at the spaces in Finsbury Park culminated in a fitting, albeit exhausting, contrast on Wednesday evening: the book launch for my new work, Feral Class, at Housmans Bookshop. After two gruelling days of packing away the past, standing to share words about the future marked a surreal and powerful transition. Beforehand, I urgently required a reset, finding a necessary hour of repose at my Manor House hotel to collect my thoughts before the event. 

The Book Launch

Marc Garrett and Cassie Thornton present at Housmans Bookshop. Nov 19, 2025.

The Feral Class Book Launch at Housmans Bookshop [3] on November 19th, 2025, was well-attended despite the inclement weather, and the audience comprised a compelling mix of familiar faces and new contacts. It was profoundly encouraging to witness a clear engagement with the themes of Feral Class, drawing connections to their own situations, ideas, and critical contexts. 

Cassie Thornton delivered excerpts from her foreword and discussed how, since 2011, she has staged “public breakdowns” by hiring actors to perform emotional outbursts in institutional settings. These interruptions aim to expose unspoken absurdities, such as the debt crisis in art education or problematic economic theories in business schools. By having performers cry or throw tantrums, the work creates a space for complicated feelings that are typically excluded from these environments. Thornton spoke about how her staged, public breakdowns were closely related to my own experience in the book. 

Marc Garrett and Cassie Thornton present at Housmans Bookshop. Nov 19, 2025.

“In more than one scenario, Marc got sick when witnessing unchecked class privilege as well as the absurdity of the art market. When he first went to NYC in 1991, a smug curator invited him to an auction at Christie’s or Sotheby’s (it doesn’t matter which; they are all the same in this context). Seeing his art heroes’ work was valued at thousands of pounds, he “turned green, ran out, and threw up on the steps outside the building, and couldn’t go back in.” He told me he felt too ill, ill in a way that continues to affect him when he witnesses the worst, most extractive and ironic parts of the way culture cuddles up to toxic industries through getting involved with stuff like crypto, AI and the elite art market.” [4] (Thornton, 2025)

A section of the front audience is sitting at the book launch of Feral Class. Housmans Bookshop. Nov 19, 2025.

Thornton also said that the feral class reveals that our bodies are intrinsically connected to a planet destroyed by careless, corporate, inhumane action. The constant feeling of nausea is a rational response to these circumstances, yet it is often suppressed. This disconnection from the body’s signals leads to further sickness. And, the book serves as a passport to embrace this feral class identity, empowering one to disrupt society’s most stagnant narratives. 

Marc Garrett and Cassie Thornton present at Housmans Bookshop. Nov 19, 2025.

For thirty-five minutes, I lost myself in the text, reading excerpts that charted my personal history. I found a natural rhythm, pacing myself not to rush, but to let the narrative unfold. The audience was thankfully intrigued and listened in silence, which felt amazing. As I read, I could see people’s expressions change as the book’s elements unfolded. At one point, as the chapter ‘Head Through the Window’ was read, different faces contorted, and some of the visitors’ eyes welled with tears. I could see that the content was causing distress, even though I was exhibiting a raw and personal vulnerability. I could also feel other people’s.

After my talk, it was Graham Burnett’s turn to come up and do a Q&A. He was perfect because he also lived in Southend-on-Sea and went to the same school as me, Cecil Jones High, and was a year above me. However, we didn’t become friends until we had both left school in the early 1980s. We were involved in local punk bands, clubs, punk zines, and activist events. We were both in many local bands, and the first one I saw him play live with was an anarcho-punk group called Autumn Poison (originally Enola Death). I remember seeing him and the core members, Sheena Fulton and Paul Brown, at Focus in 1980. Anarchist fanzines provided a direct outlet for local anarchists to support grassroots culture, offer discussion forums, and share news about ongoing events. I edited, illustrated, and published a few, but Graham was more prolific and also published booklets on anarchism, activism, and veganism. 

I have a strong memory of meeting Graham on the street near the Civic Centre, where he used to work as a council administrator, clutching carrier bags full of pamphlets, leaflets, and booklets. He regularly used the council’s photocopying machines, staples, and printers.

Graham Burnett is a key architect of social permaculture. Building on the work of Mollison and Holmgren, he shifted the focus from agricultural techniques to applying nature’s patterns to social structures, making permaculture relevant to modern urban and suburban life. Projects like The Hologram exemplify this approach, providing a grounded framework for collaborative community building.[5] 

Marc Garrett and Graham Burnett present at Housmans Bookshop. Nov 19, 2025.

My book represents a forty-year vision finally brought to life—a milestone that mirrors the three decades I’ve spent with Ruth Catlow building Furtherfield. We’ve forged a special place on the edges of different worlds, championing art, technology, and eco-social change. Our journey has been one of countless adventures, defined not only by navigating the struggle but by wholeheartedly embracing the dream of defining ourselves, on our own terms, outside the confines of the establishment.

Now, emerging from a period of cancer remission, I am channelling this convergence of experiences. My current work is a deliberate fusion: the raw inquiry of The Feral Class meets the critical and collaborative practice of Furtherfield. It’s going to be interesting next year. I will be visiting various venues to present the book, in towns and cities such as Brighton, Glasgow, Margate, Bristol, and others.

This is a chance to connect with people in my community, both those who have lived through similar struggles and those who respect my perspective as a cultural outsider. I won’t be arriving with answers, but with a desire to forge meaningful connections. It’s about finding a sense of solidarity with peers, whether they are engaged in art, activism, or simply navigating life.

References:

[1] UKI – Viral Love by Shu Lea Cheang. Part of Shu Lea Cheang & Mark Amerika exhibition at Furtherfield Gallery. August 31, 2013.
https://www.furtherfield.org/shu-lea-cheang-and-mark-amerika/

[2] Playbour: Work, Pleasure, Survival. Furtherfield, Finsbury Park, 2018. Curated by Dani Admiss. 14 July – 19 Aug 2018. Photo by Pau Ros. https://www.furtherfield.org/playbour-work-pleasure-survival/

[3] Housmans Bookshop. London. 5 Caledonian Rd, London N1 9DX. https://housmans.com/event/book-launch-feral-class-with-mark-garrett/

[4] I’m not a terrorist, I’m feral class: An invitation to some kind of collective unsafe space for the disobedient and unhappy: a foreword to a new book by Marc Garrett. https://feministecondept.substack.com/p/im-not-a-terrorist-im-feral-class

[4]Permaculture: Ethical Design for Living. Graham Burnett.
https://theanarchistlibrary.org/library/graham-burnett-permaculture-ethical-design-for-living

Order the Feral Class book here:
https://www.minorcompositions.info/?p=1561



Woah! I’m still catching my breath after a whirlwind few days that felt like a physical and emotional marathon. It … More

I’m not a terrorist, I’m feral class

An invitation to some kind of collective unsafe space for the disobedient and unhappy: a foreword to a new book by Marc Garrett.

People Inhabit Other People. From Marc Garrett’s Sketchbook, 1996.

By Cassie Thornton

Feral Class, the book, is available to order now. Find it here: https://www.minorcompositions.info/?p=1561

The book my foreword introduces is a kind of anarcho-spiritual guide for those of us who are bursting at the seams, stuck in a flat white reality that continues on as normal despite the extraordinary suffering of most beings on the planet. Feral Class (the spiritual guide) doesn’t include herbal remedies, consent protocols, or rituals in the forest. Instead, it models stories about a person (Marc Garrett) who does not have the so-called skills to remain calm and pleasant when social reality is, in fact, an unfair, unjust piece of shit. If an honest response to genocide, environmental collapse, racist capitalist ideologies, and far right extremism feels impossible, rude, but completely necessary, then the Feral Class (the book, the untraceable group of people who cannot pretend to be happy, and the idea) may be your social medicine.

Forward

Every day, people are brilliant, and I don’t need a PhD for that. The PhD was something I needed to prove to myself, and it contributed to me getting cancer; it was a passport to be feral in places that would normally not listen to you. On the phone with Marc on August 2, 2024.

Feral Class is written by and about a member of an unidentifiable group of people who are simply too upset to assimilate and smile while standing on a planet we’ve turned into a predatory war economy. The unruly combination of factors that allows you to hold this book today demonstrates the work of Marc and the feral class. To be specific, this book’s existence is a beautiful contradiction: an untamed, nonlinear, and emotional allegory of a person who took close notes on his own spiritual and embodied disobedience in the face of all forms of authority and privilege, especially concerning the violence of institutions, is published and distributed by a renowned academic press. It can appear as if the academy and its sister institutions, prisons and pensions, professionalise and discipline all that is untameable and wild. What if a disorganised class of people were here to ruin that story?

The Genie. Drawing by Marc Garrett on A4. 2024.

Marc is one of the first people I ever met who could use an invitation to an esteemed institution built on a legacy of wealth, power and exploitation to make a sincere offering that says and means, eat the rich, you cunts, very politely and with elegance. The feral class is an unsynchronised group of people who are not afraid to point out that the water is contaminated if it is obvious that someone has pissed in it. This unlinked network of dissidents cannot participate in a reality built on violent contradictions without pointing them out or disrupting them, though they (or, shall I say, we) are not necessarily strategic. In a way, to be strategic would be to play into the rules of the economy, rules that say everything has to be rational, and rationality has to do with a profitable bottom line, which makes no sense when we are on a burning planet. Being strategic might mean that we have a choice.

As Marc will explain, the feral class is not the working class, and membership in this class has nothing to do with one’s ability to work to make money or to make sense. As he describes, the feral class might capture the people dumped by the working class because we are too weird or disobedient. However, the feral class does do very important (unwaged) work– we use our emotional and bodily reactions to the discomfort of normativity to disturb, dismantle, or destroy structures that force us all to be workers (workers who smile through the pain we endure when we ignore the exploitation and colonial wars our capitalist lives are built on top of). Our work in the feral class is to make a mess that exposes our individual and collective discomfort, even if that makes us slightly unemployable. But our work is not something assigned to us that we can choose or quit.

As the world gets hotter and the air conditioning bill goes up, many people with managerial class salaries or investments keep drinking better coffee, doing more rigorous exercise and using faster computers. Meanwhile, those same people report anxiety, depression, and brain fog. Some of the benefits of the job are no longer satisfying. What if more and more of these contracted but never fully employed humans, often locked into academic jobs that afford these unsatisfying and incomplete distractions from global suffering, working for controlling but decently paying repressive institutions, may unconsciously desire an escape that they cannot imagine alone? What if the possibility of making a mess becomes more needed and valuable than ever? This is where people like me and Marc have and do come in– to moderate a panel, write an article, produce an exhibition or be an artist in residence. As uncategorisable people who can speak wisely without faith in the dying value system of the academic or other institution, we have both been professionally involved with exposing the contradictions that everyday people are contracted to work within and smile about. We do neither reform nor revolution; it is a kamikaze mission to break what needs breaking. This is how I pay rent.

While I think the feral class is hugely “smart,” I don’t think our prowess is primarily intellectual or rational. The messy breaking and breaking down, which I see as a primary part of the work of the feral class, is rooted in an unfiltered bodily response to pain produced by systems of oppression. This isn’t necessarily conscious. Animals may be seen as feral when they escape captivity. There isn’t a possibility of leaving captivity as a human in capitalism. Maybe that’s why feralness is presumed to be brutal, raw, unkind or unwanted when applied to humans living in capitalism– better to rule it out than to want what we can’t have (and something unmarketable, ew!)? Feralness is unstrategic in a world defined by economic survival. Economic survival mainly involves ignoring one’s body. For the feral class, maybe that doesn’t work. Does it work for anyone?

Cloud Coughing. Drawing in a Sketchbook. Page size A5. 1986. Marc Garrett.

When Marc was a young and upcoming artist, his body repeatedly gave him no choice but to be an anti-capitalist artist. In more than one scenario, Marc got sick when witnessing unchecked class privilege as well as the absurdity of the art market. When he first went to NYC in 1991, a smug curator invited him to an auction at Christie’s or Sotheby’s (it doesn’t matter which; they are all the same in this context). Seeing his art heroes’ work was valued at thousands of pounds, he “turned green, ran out, and threw up on the steps outside the building, and couldn’t go back in.” He told me he felt too ill, ill in a way that continues to affect him when he witnesses the worst, most extractive and ironic parts of the way culture cuddles up to toxic industries through getting involved with stuff like crypto, AI and the elite art market.

Marc shares many stories in this collection that involve him as a younger person struggling to contain his disgust for unfairness. These stories take on greater weight when we feel them within the context of Marc’s professional life, including decades of vital contributions to cutting-edge critical work in working-class art and culture. I know Marc as a prominent and successful artist, co-founder and organiser of Furtherfield Gallery in London, a curator, writer, editor, DJ, academic and public speaker. His work as a critical utopian examines technology, psychology, art, magic, film, pop culture, and class. This list of identities or interests does not do him justice, though. When Marc appears in institutionalised academic or art spaces, things change because, as in all of the stories told in this book, he doesn’t shut out his aversion to unfairness or his high expectations for what we can achieve if we work together. His presence is unprecedented within institutional spaces, including publishing; he performs an essential service by speaking up honestly against the tacit wishes of institutions. Marc’s difficult work to stay present in places that challenge him and that he challenges gives gravity to the vulnerable and outrageous stories he shares here. These stories of feralness and Marc’s disgust with normativity are the foundation of his professional life.

The first time I heard Marc mention Feral Class, I was sitting on the floor drinking builders’ tea at the coffee table inside his and Ruth’s new living room in Felixstowe. We were getting ready to watch music videos curated by Marc. I had just come to visit after finishing a new performance, during which I hired an actor/butoh performer to attend a conference on the future of critique after the Internet at one of Germany’s wealthiest cultural institutions. Furu, a Japanese man, attended one day of the conference on my behalf.

At every session of the conference, he could be found crying, violently and sincerely, about the absurdity and disappointment of the costly and useless conference populated chiefly by white CIS men that was held during what already felt like an environmental and social apocalypse.

The Very Last Conference, performed by Michiyasu Furutani

The curator of the conference and the Kunsthalle had commissioned me to make this performance called THE VERY LAST CONFERENCE, as if he was willing to help me destroy his work. Afterwards, the curator presented me with a news article from Die Zeit about the conference that described Furu’s performance as a request for more kindness in critique. When I asked the curator why he thought the well-known art journalist so fully misunderstood the project, I stopped hearing from him.

Fedora Archive, played by Lara Gold at OUR MFA show.

The completely out-of-touch description by the critic of Furu’s performance: Die amerikanische Künstlerin und Aktivistin Cassie Thornton hatte deshalb den japanischen Performancekünstler Michiyasu Furutani in die Bundeskunsthalle eingeladen, der im Saal zwischen dem Publikum sitzen und leise vor sich hin weinen sollte. Muss Kritik wehtun? Für Thornton ging es darum, den strengen Raum der Kritik für andere emotionale Seelenlagen zu sensibilisieren. Nicht das starke Subjekt, sondern das verletzliche Subjekt sollte dabei in den Vordergrund treten. Hört hin: So weich und hochempfindsam kann Kritik sein, wollte sie sagen. Wo aber bleibt nun die Kritik?, möchte man bei all der Kritik an der Figur des Kritikers fragen.

G-translate: The American artist and activist Cassie Thornton, therefore, invited the Japanese performance artist Michiyasu Furutani to the Bundeskunsthalle, where he was to sit among the audience and quietly weep. Does criticism have to hurt? For Thornton, it was about sensitising the strict space of criticism to other emotional states of mind. The focus should not be on the strong subject, but on the vulnerable subject. Listen: criticism can be so soft and highly sensitive, she wanted to say. But where does criticism now lie? Given all the criticism directed at the figure of the critic, one might ask.

This work followed a long series of work I have been doing since 2011, in a similar spirit to puking outside the art auction house, which I call public breakdowns. In this work, I hire actors to respond to something specific within an institution or event that seems customary because we are used to unseeing it, even when it is absurd or violent. The performers trained with me to throw tantrums or to cry, to make a space where time stopped, articulating a difficult feeling that would otherwise not be allowed into institutional space. This work began in 2011 when I hired an actor to play an art student for over a year at my costly private US art school, where she revealed the hysteria she felt about the hundreds of thousands of dollars of debt she was incurring for a future of work that promised nothing. I have trained young men in the Czech Republic to have breakdowns about their relationship to gender and ableism within banks, bookstores, and universities. I have produced moments in massive business school lecture halls at Ivy League Universities where actors playing students become unhinged as they question some of the basic assumptions of macroeconomics, including scarcity, competition, and the idea that we are economic men.

Here, I am a Working Class Security Guard visiting Mutek Festival from 2038, as part of my ongoing project, The Festival of Zero Compromise.

Most recently, I brought a feral class elderly person from the future to speak frankly at a tech conference, removing all the hype and sexiness from the space. Grandma couldn’t stand the contradiction of drinking coffee, worshipping expensive digital art and discussing how the world is burning. In every one of these cases, I was brought in by a curator or administrator who knew what I was doing. In most cases, they were disappointed as well. I made a mess, and it wasn’t pretty.

The Screamer, Marc Garrett, 2024.

After each of these projects, I usually have a (little) breakdown. It takes a lot out of me. It is difficult and tiring to enter the harshness of capitalist reality (or, here, the institution), be disappointed, unconsciously seek transformation, and not know how to do so. It doesn’t feel like a plan or a choice. It is a weird compulsion that can lead to many different behaviours. Maybe the weirdest one is to go closer into the spaces that make us feel so bad, the way I and Marc have. When speaking to Marc in the past months since his recovery from cancer, I see him entering institutional spaces less and less. I see him doing a lot of slow and gradual work to undo some of the habits that got him sick in the first case. He is making decisions about where to put his energy and when. I don’t think that was always true for him based on the opening quote, where Marc describes how his PhD was something he needed to prove to himself, and as a passport to go be feral where he wasn’t otherwise allowed and how the PhD contributed to his cancer.

Fading away: From Sketchbook. Drawn from Marc’s hospital bed during cancer. 2022.

What if the feral class shows us that our bodies are connected to a planet set ablaze by careless and violent human behaviour? Constantly feeling like puking is not abnormal, given the circumstances, but most of us have had to shut that out. But if we stop collaborating with the body’s signals and needs, we get ever sicker. I relate to this. I learned from writing this essay that we may all be feral class, but we may not know how to recognise it or be it. This book is a passport that doesn’t make you sick to be a member of an unrecognisable, disorganised class here to ruin some of our most boring stories.

Cassie Thornton, FERAL CLASS

Berlin, November 2024

About Cassie Thornton.

Cassie works in at least two ways to clean up some of the old colonial and capitalist garbage lying around our collective psychic architecture. First, using good-natured practices she has developed, including The Hologram, she helps groups and individuals build social infrastructure with trust, integrity and communication that will naturally evict hierarchies and toxic uses of power. This work includes workshops, consulting, and lectures about care, debt and crisis. This work can live independently or serve as the groundwork for the second type of work, which includes sharp, incisive political art about the absurdity of our most sacred social structures (power, privilege, financialization, and security) on a burning planet. This work has recently included writing extensively about The Flat White Dimension, attending a tech conference as a working-class elder from the future, or turning a Swiss Spa into a place that transforms privilege into something useful. Cassie wrote a popular book, The Hologram, published by Pluto Press, and helped launch an international social movement to ensure that all caregivers are cared for. She is also a steward at a bar that secretly serves as a social clinic in Berlin.

The above text is a slightly paraphrased bio about Cassie Thornton. https://schoolofcommons.org/community/profiles/cassie-thornton

Original foreword by Cassie Thornton on her Substack page.
https://feministecondept.substack.com/p/im-not-a-terrorist-im-feral-class


I am currently compiling a collection of critical responses to my book, Feral Class, including articles, reviews, and other commentary. This collection now includes a recent post by Cassie Thornton on her Substack, in which she reflects on writing the book’s foreword.

Mytho Massively Recommends Feral Class

Feral Class by Marc Garrett (Minor Compositions). 

This is a remarkable book; it not only recounts in sharp and daunting detail the author’s experiences in claustrophobic domestic circumstances growing up on a council estate in Southend-On-Sea in the 1970s and 80s, but it also retains a voice from that time that feels remarkably close to the moment of experience. At times, there is very little distance placed between a reader and the rawness. This can be dismaying, and if you do not want to read accounts of bullying, sexual violence, mental struggles or overbearing masculinity, then you may think twice before reading this book (and this review). Although that is far from all there is to ‘Feral Class’, and it is very definitely not what is most important about it.

For here there are the fine details of childhood discoveries and bewilderments, the warmth of friendship and the splintering of connections, the innovations of desperation (pretending failing eyesight, developing a limp) and living with the consequences of deception, the mind’s ingenious creations (“I noticed a thick, winding fog slowly slip in through the gap…. It floated over my dad…. The figure began to slap his face repeatedly”) and the ambits and devices for dodging the violence of fathers. Among these modes of escape is a developing voice —a self-articulation that sometimes breaks down, while at other times it creatively stutters as it shifts from doubts about conformity to out-of-control rebellion, speaking warmth and compassion to prejudice and division; unlearning and unpicking. More than once, this reassembling threatens to pull everything apart and bring Garrett down, but even the moments of almost self-obliteration are told in a calm, direct way that lets the reader in to the rebuilding. 

At times, the confidentiality is shocking; writing of his early sexual experiences, it is as if we are hearing the voice of a fourteen, fifteen, or sixteen-year-old in the writing. Many (probably most) writers would choose to recompose these experiences, applying a mature lens to smooth out the vulnerability and objectify the discomfort of inexperience. However, Marc Garrett writes from within the vulnerability, speaking outwards from the experience itself, rather than of lessons learned or observations generalised. This is compelling. 

I never slipped along the sentences in this book. I attended to every detail. For in them (aided by numerous private photos and Garrett’s artworks from the time) the book unpeels the contradictions of what composes a certain everyday life, bound up in circumstances; of his mum speeding over the wooden planks of the Wall of Death, a genius abusive father working either side of the fence (both drug dealer and police informer) while running a ‘black magic’ circle on the side, of the safe space created by a local vicar in which Marc finds a place to develop his art and which is burned down by his own brother, of the classroom where an art teacher tears up Marc’s work in front of the class (his mum comes into school next day and punches the teacher), of sudden interventions by authorities that lack explanation or care (social services removing Marc’s younger sister and he never sees her again; his grant being abruptly withdrawn two weeks into an Art degree).

As in all the great narratives, time here is not a given but a character. The temporal loopiness in ‘Feral Class’ means that while in one section an abusive father is sent to prison, in the next, set earlier, he is back; the reader is cleverly drawn into Marc’s feeling of being caged by circumstances, of living in a community conditioned to conflict and poverty like the psychic slaves of Squire Hendrick in ‘Children Of The Stones’. 

All the more precious, then, are those moments when Marc can prise the bars of the cage a little wider; hiding in his room to “make strange cut-up sounds with broken, second-hand tape recorders”, learning folk wisdom and tales from kind witchy Granny Barlow, valuing a conservative sensibility to keep from “pointless fatalism”, at a friend’s Bar Mitzvah eating strange foods and hearing from “those who had experienced fascism first hand”, his finding the alternative scenes in Southend with their fanzines and punk and tribal anarchist green movement; learning that “Society can hurt us if we do not challenge its powerful mistakes”. 

When Garrett does generalise, if briefly, it is to place himself and his family adjacent to working-class families, but in a ‘feral class’. Never put down for large workforces or public services, atomised, working low-paid, lonely jobs as cleaners or in ‘hospitality’, with the nagging threat of homelessness and sickness, or the option of sex work. The number of Marc’s Southend acquaintances who meet an early death is unnervingly high. 

Over everything hangs male violence, as the currency for getting on, getting by, around which women try to navigate; and all the time, the awareness that no one is prepared to share with the feral class the know-how for getting out. Marc’s escape route appears out of the blue – an unexpected act of kindness – and Marc finds a heaven that is “real” and “no longer captive to circumstance”. 

Buy the book here
https://www.minorcompositions.info/?p=1561
Review by Dr Phil Smith.
https://www.plymouth.ac.uk/staff/phil-smith

Main image: “Taking a break from going wild in the country by relaxing with a copy of Feral Class, the new book by Marc Garrett.” Stewart Home.

Buy his current, excellent book Fascist Yoga – https://www.plutobooks.com/product/fascist-yoga/

Feral Class by Marc Garrett (Minor Compositions).  This is a remarkable book; it not only recounts in sharp and daunting … More

Feral Class. Book out now!

Untamed, Unheard, Unstoppable… a moving memoir about being a working-class artist… Art on the Margins, Life Without Permission.

My book is out. Explore what it means to be Feral Class.

Feral Class is Marc Garrett’s deeply personal exploration of his early years. It is a thought-provoking chronicle of his journey as a working-class artist. He navigates a world that often rejects them. Garrett uses humorous, vivid storytelling and incisive critique. He explores how his upbringing shaped his identity. He forges a path that defies societal expectations. How can one survive as part of what Garrett describes as the feral class? This group of individuals, like him, exists outside traditional institutions. They thrive in the margins, using resourcefulness and rebellion to carve out their own artistic spaces?

Feral Class weaves together personal memories, political reflections, and the struggles of working-class artists. It challenges the elitism of the art world. It celebrates the radical potential of those who refuse to conform. Garrett’s narrative is both an intimate self-portrait and a rallying cry for artists who refuse to be tamed. This book is passionate and unfiltered. It is insightful. It is an essential read for anyone interested in the intersections of class, creativity, and resistance.

Foreword by Cassie Thornton.
https://www.minorcompositions.info/?p=1561

A big thanks to Alessandra Falbo for the MAIN IMAGE 🙂

Untamed, Unheard, Unstoppable… a moving memoir about being a working-class artist… Art on the Margins, Life Without Permission. My book … More

A Story from the Feral Class

This is the first of my personal notes on the book “Feral Class,” which I recently published with Minor Compositions. These posts will include reflections on comments by others about the book, as well as revisiting particular snippets and sections within it. It will also include insights into my current stance and issues related to class situations. It will also feature links to reviews.

My creative practice has always operated in two distinct modes. Publicly, I am recognised for my work in media art, digital culture, and activism—a body of work that has been widely examined in essays, books, and exhibitions. Privately, however, I have nurtured a separate, more visceral creative impulse: a raw and untamed output of stories, poems, and hidden memories. This deeply personal work has long remained in the margins, but it now insists on its rightful place in the world.

Feral Class is the first book to emerge from this private sphere, offering a direct look into my own life. For three decades, my public work has focused on hacking, art, and critical thinking, exploring the intersections of technology, society, and ecology. Throughout that time, I consciously constrained my creativity to projects that fit within a specific cultural framework, namely, the discourse of media art.

While the digital art landscape is vast and still largely uncharted, it has surged into the mainstream spotlight, primarily driven by recent movements built around NFTs, blockchain, cryptocurrency, and artificial intelligence. These technologies have created a powerful new framework, complete with its own culture, economics, and aesthetic conventions. For a time, this framework provided me with an exciting frontier for experimentation and community engagement. It still does. However, many of the people I’ve worked with over the years have sides to them that are not necessarily evident in their work, and that is what I mostly value about them: that side. The fragile, gritty and confused side.

I find it increasingly difficult to justify creating art that is deeply entwined with technology merely because it fits neatly within a recognised genre, or looks contemporary; this is not enough for me. To me, this act of conformity feels less like true experimentation and more like putting on a uniform. It is a way for a specific tribe to instantly recognise one of its own, using a shared language that, while potent, can also become a limiting box. What began as a radical space for expression risks developing its own orthodoxies and rules, becoming a new kind of institution that dictates style over substance, even when critical of the medium’s uses; it can end up being just another form of lip service, promoting the technology itself rather than the ideas or challenges it hopes to convey. 

This realisation has given rise to my rediscovery of my Feral Class spirit. This is not presented as a definitive answer, but rather as a more nuanced understanding of the interplay between knowing and unknowing, and an expression of one’s own connection to the complexities of life. Grounded in personal experience, its very existence places it automatically outside the institutional loop. The term signifies a conscious departure from established frameworks, an active decision to break free from their constraints. “Feral” denotes that which is wild, untamed, and undomesticated, operating beyond structured systems. This is not a rejection of technology per se, but a rejection of its co-option as a market-driven genre label, typically controlled by those who dismiss outsiders and the working class as mere economic and political capital. 

My colleagues who follow Marxist theory may not like my new perspective. This change is deeply personal; it’s not a political statement or an intellectual theory. It comes from recognising a part of life that exists beyond art and politics. Yet, ironically, my work still reflects the societal truths of my own class experience, as well as those of others who feel disenfranchised. At its heart, it is about being human. Which sounds simple, perhaps it is. Yet, I find it amazing how long it has taken me to reach this point of unearthing all the layered gunk that trying to survive has created. It’s like being buried for years underneath thick layers of armour and skin. Some of it is protective, but an awful lot of it is suffocating as it subdues one’s real selves. Like a mountain or a plant, which simply exists without needing a reason, feralness needs no justification.

The book is still in presale mode and will not be available in bookshops until January 2026, unless you purchase it directly from the Minor Compositions website. 

Feral Class is my love letter to every outsider, consisting of visceral stories and unflinching critique. I expose how class war plays out in galleries and grant panels, but this isn’t about victimhood. It’s a blueprint for making art that terrifies the establishment. This art uses resources they’ll never understand. These include grit, ingenuity, and a radical refusal to be ruled from the top down. My journey proves creativity doesn’t start in lecture halls; it resides in the dark corners they’ve tried to pave over. 

Get the book here – https://www.minorcompositions.info/?p=1561

The image shows my brother DJ’ing at Ruth’s & my wedding party in London. Photo by Samantha Garrett. 1996.

Every now and then, this is where I’ll explore what Feral Class means to me, as both a working-class identity and a shared experience. Most posts will weave together personal reflections and responses to questions about my work.

The Genie

One morning, I woke up after what I thought was a nightmare. In the nightmare, or what I later regarded as a real-time vision, I saw my mother and father asleep in their bed in the middle of the night. It was warm, and their window was open at the top, only by about four inches. Unexpectedly, I noticed a thick, winding fog slowly slip through the window’s gap. As it moved into the room, it hovered at the end of the bed. It was a shimmering shadow of a man’s body. It floated over to my dad, kneeling on his stomach. He woke up, saw the shady figure, and moaned loudly in fear. The figure began to slap his face repeatedly, which wouldn’t stop. My father then let out a massive scream, which I could hear from our bedroom while in my sleep.


On waking, I was surprised to see my mother sitting beside me at the edge of the bed, looking concerned. I was still shaking from the nightmare. My mother had her hand on my face to comfort me, and when she pulled it away, it left an imprint of fingermarks like dark red stains. It looked as if my face had been slapped very hard, but no, there was no pain. The pain I was feeling was my father’s in the memory of the nightmare as it came back to me. It all felt visceral. I could feel fright in my bones. It was an unnerving feeling remembering my dad’s face slapped by this entity. It was also unsettling to have felt the trauma he had gone through at the same time. I went to school that morning with a red hand mark on my face, and pupils asked if one of my parents had slapped me. Not this time, I said. Whenever we discussed the event afterwards, I would call the mysterious foggy shadow the Genie.

Extract from the chapter ‘My Dad, Me and the Genie’ in my forthcoming book, ‘Feral Class’. Image. The Genie. Drawing by Marc Garrett on A4. 2024.

Extract from the chapter ‘My Dad, Me and the Genie’ in my forthcoming book, ‘Feral Class’. Image. The Genie. Drawing by Marc Garrett on A4. 2024.