‘I like eating cold, clammy wraps from big pharmacies that are open late and sell just a few foods like protein bars and powders.’ Flower is a book of realistic admissions, likes, dislikes, memories and no-brainer observations, treating personal truth as unavailable – something that must be made up and convincing. Taking cues from confessional literature, his daughter’s improvised games, poor internet writing and shitty AI, Ed Atkins, in his first work of non-fiction, equivocates between inanity and divinity, ease and pain, sentimentality and sterility. An anti-memoir, a list, a listless blur – Flower is a highly original, moving and absurd book by one of the most influential artists of his generation, formally inventive and disturbingly of our time.
Flower
French paperback with flaps, 96 pages
Published 10 April 2025
Flower
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I like eating cold, clammy wraps from big pharmacies that are open late and sell just a few foods like protein bars and powders. I like wraps near the skin creams, neoprenes and scrunchies. I also like the wraps they sell in cheap supermarkets and franchise corner shops and mid-tier garages. The cheap supermarket near me sells just a few lunch things they don’t have an obvious lunch bit. The few wraps they do sell are really close to the tills, seemingly on the wrong side of the tills you have to know they’re there otherwise when you do see them it’s probably on the way out, too late to think to buy one. I like wraps fabricated on industrial estates a long way from here that come in nondescript cardboard and plastic sleeves. I won’t register what’s inside the wraps I like it doesn’t matter at all. The best wraps all taste the same: sweet creamed hospice. The wraps I like are best and look like these spent prophylactic alien larvae props. I push them through my mouth. The best wraps are always presented in half with the two halves side-by-side in the sleeve. The cut ends of it are cut on the bias and are on prominent display behind the plastic window at the top of the package. The visible cross-section is not at all instructive. The damp folded ends are hidden in the cardboard bottom like its genitals. This differs from the wraps I tend not to like which are detailed. They have purples and dark greens in. They are performatively healthy and aspirational. These wraps tend to be presented halved with the halves end-to-end rather than side-by-side in the packaging and their ingredients are conspicuously discrete. The cut ends of the wrap are straight and are hidden behind a cardboard centre bit where the label is. Instead, I like the pharmacy ones where it’s satisfying and you can see the striation. There’s usually a bit of wet stuff on the inside of the see-through plastic where the wrap’s touched the plastic in transit. I think buying a wrap in a pharmacy is incredible. I once bought a huge wrap in a Walgreens in Manhattan. It came with a sachet of extra mayonnaise tucked into the packaging even though it was already heavy with mayonnaise. I bought it and a thin can of Coke Zero and ate and drank while walking, like an actor. It’s usually a kind of chicken prep inside the wraps I like but it’s so unrecognizable to the mouth and the eye as to be moot, the name, the food question, and likewise the preparation who knows. A wrap is chopped foods folded up in a bib of par-cooked very flatbread. Once folded up it looks like a handmade food tube with hospital corners at the ends to stop the food tumbling out when it’s lifted vertical to eat. I eat it, or someone else eats it, and thinks of drastic things coolly. The best wraps are cavefish and peter forever outside time. That goes for a lot of what’s happening when I’m inside of a big pharmacy. I feel outside of time and outside of my life. I go in to a big pharmacy when it’s dark outside. I buy a wrap and a fizzy drink with my earbuds in listening to my music. My music lends the whole thing a cinematic thing. I’m the crushed protagonist buying a corpse-like wrap and a thin can of Coke Zero on another planet the same as this one. I’ll take my earbuds out to pay unless there’s a self-checkout. A self-checkout’s good for buying food at the pharmacy. The fantasy ennobles whatever and lifts what from the outside looks miserable but is not. When I have food in that’s bad for me I’ll bolt some of it then bin the rest and pour bleach over it in the bin so I can’t fish it out later and eat it, then. I’ll smoke the first cigarette from a new pack then go to the sink and hold the rest of the pack under the cold tap on full or I’ll have a first few pulls on a cigarette and pluck it from my mouth and flick it some irretrievable place. The expression on my face won’t change; when there’s no one around I needn’t be convincing. This is very realistic; my feelings happen internally. I’ll have half a glass from a bottle of wine then upend the rest of the bottle into the sink. I like making whatever bad thing irredeemable because I don’t trust future me to be consistent with current me. I know I’m inconsistent and this can be frightening. Self-love is an unobservable phenomenon that cavils forever. I should be punished but not killed outright. I bought a big bag of Doritos in Blackheath in the morning and started eating them in rough stacks outside the shop. I then sharpish turned and emptied the rest into a bin there and used the empty Dorito bag as a shiny mitt to force the Doritos deep into the bin, then. Everything else in the bin groaned and shifted downward. When I’m alone I’ll buy processed foods and unrefrigerated pre-mixed alcoholic drinks. Once, my mouth was full of Dorito pulp and room-temperature vodka maracujá drink outside a späti in Berlin in the summer, great. Cool Original Doritos have a remarkable savoury flavour I can’t place. The bag has a lot of blue and black on it, as well as dramatic photos of the Doritos. Blue and black are inedible executive colours. They mark the contents as exclusive and ambitious. I think it’s Cool Ranch flavour in the US, a thick dressing. I like processing Doritos with my mouth. Saliva piddles moisten while molars pound to a paste. I compress the paste between my tongue and the roof of my mouth to make now Dorito-flavoured and coloured spit leach from it and get into me via ducts. The paste remainder forms a curved cast and this is a remarkable temporary food object. I cut the soft cast object into neat nothings with my teeth then and swallow it easily. I’m just getting rid of shapes down a chute. The thing we all go to Doritos for is the intense flavour and astonishing colour. Dorito flavour is staggering.
(…)
‘Finally someone is writing about all the food in drugstores. A paean of appreciation to these freakish purveyors of junk is how Atkins launches his amorous, granular unspooling of outrageous drives and appetites. Flower is the kind of book many people dream of writing: kudos to Atkins for getting it on the page.’
— Moyra Davey, author of Index Cards
‘Flower is propulsive and it doesn’t let up. It’s about vulnerability, sort of, and invincibility: it swings between these poles. It’s about mortality, too, and in that sense humanity. To speak the book back at itself, I confess it did get to me.’
— Isabel Waidner, author of Corey Fah Does Social Mobility
‘I feel like a permanent conduit has been built between my brain and this book. Atkins is relentless, beautiful, hideously and angelically honest. Sometimes it brought me to tears and I’m not even sure why. It’s the stuff most of us leave out, or wouldn’t even know how to articulate. By which I mean this book has made so much other writing feel like propaganda. It’s heroic. I’m not sure I’ll ever recover from it.’
— Luke Kennard, author of Notes on the Sonnets
‘Ed Atkins is a radical humanist who rediscovers the human in the most inhuman of states, when the usual supports – ego, language, people, technology, media, food – all fail. In Flower Atkins turns that abjection towards us, in a spleeny anti-autofiction that is his own version of Les Fleurs du Mal.’
— Hal Foster, author of What Comes After Farce?
Praise for Old Food
‘Violent, emetic, immoderate, improper, impure – that’s to say it’s the real thing. Atkins’ prose, which may not be prose, adheres to Aragon’s maxim “Don’t think – write.”’
— Jonathan Meades
‘Ed Atkins is the artist of ugly feelings – gruesome and smeared and depleted. But everything he does in his videos or paintings, I’ve always thought, he really does as a writer. He uses language as a system where everything gets reprocessed and misshapen – a unique and constant mislaying of tone that’s as dizzying as it’s exhilarating.’
— Adam Thirlwell, author of The Future Future
‘Atkins’ writing spores from the body, scraping through life matter’s nervous stuff, leaving us agitated and eager. What’s appealed to us is an odd mix of mimetic futures. Cancer exists, tattoos, squids, and kissing exist – all felt in the mouth as pulsing questions.’
— Holly Pester, author of The Lodgers
‘Atkins, reflecting on the absence of humans in the exhibition, here favours the visceral impact of associated images and words, pumping the poetry-prose with lines that speak of our primeval instincts, needs and desires, in order to “seek empathic commons.”’
— ArtReview
‘Old Food will eat you up. Ed the head plays a vampire chorus singing of rotten old England, a magic wasteland which comes stuffed with a Supermarket Sweep of sinister flesh, goo, and other putrid treats. What’s that growing in the kitchen sink? Stick the kettle on, love, and feel the sickness descend.’
— Charlie Fox, author of This Young Monster
‘The universe is a rabble of contagion and miasma. The universe is a rabble of spheres, moved by mystical forces. Ed Atkins pokes this condition. He strokes and bursts it. He is the barber who doubles as doctor and dentist, quick with his knife and flushes of blood. No page of Old Food is dry, it seeps with life, it breathes, bleeds, engorges, sticks you together with spit. Like bacterial cells on an errant loaf, Old Food is language in growth.’
— Helen Marten, 2016 Turner Prize winner
‘Whether Old Food is poetry, dystopian fiction, script for an exhibition, metabolic literature or all and other, is up for discussion. What is not is the artist-writer’s limpid poetics, carnal and hungry as the wolf. Atkins’ writing is real and a relief. And if grammar is politics by other means, per Haraway, then so is food – as trope, as lack, as romp, as sustenance.’
— Quinn Latimer, author of Like a Woman
‘T.S. Eliot’s definition of English culture ran right down to ‘boiled cabbage cut into sections’. Ed Atkins scrapes in Cathedral City, battered calamari, excess margarine, peach cobbler, robin heart, Wotsits, mum, dad – and puts it all on a rotary spit of enjambing sentences. His turns of phrase are exceedingly toothsome: ‘buttered, asteroidal crumpets’, ‘the lush, truffled / belch of Superunleaded’, ‘a crush of / neighbours jostling for gratis / crackling’. A post-apocalypse filmed on location in the colon of this country, every moreish page of Old Food is disgusting as a gastropub, the mince of a language going richly off.’
— Jeremy Noel-Tod, editor of The Penguin Book of the Prose Poem
‘A poetic bleak comedy, in which all flesh is carrion and dinner is served, and I can’t help but admire it for its sheer insanity.’
— The London Magazine