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Triptych: Three Studies of Manic Street Preachers' The Holy Bible [16pt Large Print Edition]

by Rhian Jones Daniel Lukes and Wodtke

Three critical perspectives on a landmark 1994 album

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Paperback New English

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AlbakiReads Editorial

Three critical perspectives on a landmark 1994 album

Structured as three intersecting studies, this volume examines Manic Street Preachers’ The Holy Bible through political history, artistic reference, and theories of memory. Rhian E. Jones places the album in the de-industrialised Wales of the 1990s, while Daniel Lukes traces its literary and artistic sources. Larissa Wodtke considers how the record engages philosophical ideas around memory and the archive. Together, the essays frame the album as a cultural work shaped by place, historical context, and a wide field of intellectual influences. This large-print edition presents an extended critical companion to the record rather than a songbook or band biography.

Good fit for readers who enjoy

  • Listeners interested in Manic Street Preachers and The Holy Bible
  • Readers of music criticism grounded in political and cultural history
  • Those exploring links between popular music, literature, art, and philosophy

Themes

Manic Street PreachersWelsh deindustrialisationPolitical contextLiterary and artistic influencesMemory and the archive

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Book overview

Manic Street Preachers were and remain one of the most interesting, significant, and best-loved bands of the past thirty years. Their third album The Holy Bible (1994) is generally acknowledged to be their most enduring and fascinating work, and one of the most compelling and challenging records of the nineties. Triptych reconsiders The Holy Bible from three separate, intersecting angles, combining the personal with the political, history with memory, and popular accessibility with intellectual attention to the album's depth and complexity. Rhian E. Jones considers The Holy Bible in terms of its political context, setting it within the de-industrialised Welsh landscape of the 1990s; Daniel Lukes looks at the album's literary and artistic sources; and Larissa Wodtke analyses the way the album's links with philosophical ideas of memory and the archive.
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