This article develops my existing published work on The Fall, which seeks to examine the consequences of Mark E. Smith’s classed, educational and regional formation on the band’s aesthetics and politics. I think through these latter categories both as they unfolded during The Fall’s post-punk peak and as they signify in the present, bridging this gap through the elaboration of the concept of ‘the working class weird’. Over the past decade, the work of Mark Fisher has traced a fascinating, if speculative, formal and classed history to The Fall’s ‘pulp modernism’. Here, I respond to and build upon Fisher’s work by situating The Fall more concretely within a postwar British history of working class experiments with avant-garde cultural form. I locate the band’s output within the shifting class relations of the late 20th century and explore its conflicted ideological implications, arguing that although Smith and The Fall may appear to presage and articulate a particular variant of working class conservatism that has coalesced around Brexit, their work also retains elements of utopianism and intransigent oppositionality.

中文翻译：

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马克·E·史密斯（Mark E.Smith），英国退欧与工人阶级的美学和政治怪异

本文完善了我现有的关于“秋天”的著作，该著作旨在探讨马克·E·史密斯（Mark E. Smith）的分类，教育和区域形成对乐队美学和政治的影响。我认为，通过这两个类别，既可以在《秋季》后朋克高峰时期展现出来，也可以在当下体现出来，它们通过阐述“工人阶级怪异”的概念弥合了这种差距。在过去的十年中，马克·费舍尔（Mark Fisher）的作品追溯了一段引人入胜的，甚至是投机的，正式的和分类的历史，这些历史源于《秋天》的“纸浆现代主义”。在这里，我通过将费舍尔的作品更具体地定位在战后英国具有前卫文化形式的工人阶级实验历史中，来回应并建立在费舍尔的作品上。