AutoFellatio: A Memoir

AutoFellatio's front cover

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James Maker's Autobiography.
He dedicates an entire chapter to meeting Morrissey and his relationship with him there after.

On first entering Morrissey's house, he observed:

"The young Morrissey garret was a microcosm of Pop symbolism. The walls were covered in large, framed photographs of the New York Dolls and James Dean along with a signed print of the British comedy actress Esma Cannon. A Remington typewriter was positioned under a window that looked out to a small and scarcely-used garden where the family cat, Tibby, was buried. Mournfully, not buried deep enough as Tibby had a propensity to resurface in heavy rainfall. There was a bookcase stuffed with classic English literature, modern American titles, film compendiums and feminist writing. All along the floor of one wall were stacked a raft of vinyl records in alphabetical order. It was an enclosed world, seemingly independent of its surroundings, which could have been either a sanctuary or a cell depending upon one’s taste in curtains. But, certainly, it was from within these four walls that were formulated many of the ideas and the themes one would later see in their various manifestations: words, sleeve design, videos. It was midnight. I expect that I had not eaten since before boarding the train in London earlier that morning. I asked him whether I could have some cheese before retiring to bed. ‘You should by rights be on a mortuary slab at this stage, and your primary concern is cheese?’ Thus began a friendship and a correspondence spanning more than three decades."

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