A Spaniard in the Works

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Turner 2005, p.123: establishment figures, surreal humour; Lewisohn 2013, p.59: admired, punning wordplay; Lennon 1973, p.8, quoted in Lewisohn 2013, p.59: "the only proof ..." Wenner, Jann (1971). Lennon Remembers: The Rolling Stone Interviews. San Francisco: Straight Arrow. ISBN 0-87932-009-5. Dry Sponge. To be seen suspended over and in contrast to the wet sponge in the water container below. Koko Kara Uchi Wa Chikai Desu. (Shikashi/Ga) Koko Kara Tsuki Wa Tōi Desu! [From here home is near, (but) from here the moon is far!], 1977 Illustration by John Lennon to accompany Yoko’s article, published on p41 of the New York Times, 23 February 1972 and in Sundance Magazine Vol.1 No.1, April-May 1972.

Scholl, Joachim (8 December 2010). "- "Das hat mich geflasht" ". Deutschlandfunk Kultur (in German). Archived from the original on 20 July 2021. Group Show: The 8th Annual Avant Garde Festival Of New York, 69th Regiment Armory, Lexington Ave at 25th St, NY (1971) We've been engaged for 43 years and he still smokes. I am an unmurdered mother of 19 years, am I pensionable? My dog bites me when I bite it."John Lennon & Yoko Ono – ‘An Evening with John & Yoko’, Institute of Contemporary Arts, London, UK (1969) In his 1983 book, Literary Lennon: A Comedy of Letters, writer James Sauceda provides a postmodern dissection of both In His Own Write and A Spaniard in the Works. [30] Everett describes the book as "a thorough but sometimes wrongheaded postmodern Finnegans Wake-inspired parsing". [31] Riley calls Sauceda's insights "keen", but suggests more can be understood by analyzing the works with reference to Lennon's biography. [32] For example, Riley suggests that Lennon wrote the poem "Our Dad" after two interactions with his father, Alfred Lennon, writing that both Alfred and the father character in the poem traveled often. The poem is mostly hostile in its tone before the final lines read: "But he'll remain in all ours hearts/—a buddy and a pal." [33] Riley suggests that the poem's "bitingly satiric reversal" serves to satirise the tendency of British odes to always move towards a happy ending. [34]

Goldman, Albert (1988). The Lives of John Lennon. New York: William Morrow and Company. ISBN 0-688-04721-1. A large white canvas circle (approx 10 ft diameter) with ‘you are here’ written in the centre in John’s handwriting. Miles, Barry (2007). The Beatles: A Diary – An Intimate Day by Day History. London: Omnibus. ISBN 978-1-84772-082-5.Goodden, Joe (2017). Riding So High: The Beatles and Drugs. London: Pepper & Pearl. ISBN 978-1-9998033-0-8.

Hertsgaard, Mark (1995). A Day in the Life: The Music and Artistry of the Beatles. New York: Delacorte Press. ISBN 0-385-31377-2. Doggett, Peter (2005). The Art and Music of John Lennon. London: Omnibus Press. ISBN 978-1-84449-954-0. Before he signed with Jonathan Cape, Lennon wrote prose and poetry to keep for himself and share with his friends, leaving his pieces filled with private meanings and in-jokes. [171] Quoted in a February 1964 piece in Mersey Beat, Harrison said with regard to the book that "[t]he 'with-it' people will get the gags and there are some great ones". [121] Lewisohn states that Lennon based the story "Henry and Harry" on an experience of Harrison, whose father gifted him electrician's tools for Christmas 1959, implying he expected his son to become an electrician despite Harrison's disagreement. [172] In the story, Lennon writes that such jobs were "brummer striving", explaining in a 1968 television interview that the term referred to "all those jobs that people have that they don't want. And there's probably about 90 percent brummer strivers watching in at the moment." [173] The 1962 story "Randolf's Party" was never discussed by Lennon, but Lewisohn suggests he most likely wrote it about former Beatles drummer Pete Best. Lewisohn mentions similarities between Best and the lead character, including an absent father figure and Best's first name being Randolf. [174] Best biographer Mallory Curley describes the lines "We never liked you all the years we've known you. You were never raelly [ sic] one of us you know, soft head" as, "the crux of Pete's Beatles career, in one paragraph." [175] Robertson, John (2004). "Help! The End of the Beginning". In Trynka, Paul (ed.). The Beatles: Ten Years that Shook the World. London: Dorling Kindersley. pp.160–167. ISBN 0-7566-0670-5.

Lennon, John; Kennedy, Adrienne; Spinetti, Victor (1968). The Lennon Play: In His Own Write. New York: Simon & Schuster. ISBN 0-671-20286-3. Norman, Philip (1981). Shout!: The True Story of the Beatles. London: Elm Tree. ISBN 0-241-10300-2. Ocr tesseract 5.0.0-1-g862e Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.9418 Ocr_module_version 0.0.15 Ocr_parameters -l eng Old_pallet IA-NS-1300351 Openlibrary_edition Starring John Lennon & Yoko Ono, Stevie Wonder, Bob Seger, Commander Cody, Ed Sanders, Bobby Seale, Teagarden & Vanwinkle, Allen Ginsberg, Phil Ochs, Archie Sheep & Rosewell Rudd with CJQ, Jerry Rubin, The Up, Rennie Davis, Dave Dellinger, David Peer, Fr. James Groppi, John Sinclair.

Hutton, Margaret-Anne (1998). Countering the Culture: The Novels of Christiane Rochefort. Exeter: University of Exeter Press. ISBN 0-85989-585-8.Everett, Walter (2001). The Beatles as Musicians: The Quarry Men through Rubber Soul. New York: Oxford University Press. ISBN 978-0-19-514105-4. Wood, Michael (2004). "John Lennon's schooldays". In Thomson, Elizabeth; Gutman, David (eds.). The Lennon Companion: Twenty-five Years of Comment (Updated and Expandeded.). Cambridge: Da Capo Press. pp.145–149. ISBN 0-585-49984-5.