I started writing The Trashman more than ten years ago. But the world and other work kept getting in the way, and so the novel waited.
The world didn’t wait with it. When I began, The Trashman’s world—its stars, its performatively cruel politics, its weaponised beauty and image, its reality as curated content—felt on the edge of satire.
It sure doesn’t feel like satire anymore.
The Trashman follows Zoe, a fashion designer at the centre of something she can’t quite name. A success built on influencing others. A spirituality that looks more like consumer heaven. There’s Jez, a reality-celebrity-podcaster chasing his viral moment, turning lives into content. The Trashman, in person, curating victims like a fashion collection, each one higher-profile than the last.
Then there’s the law’s investigators ,on two continents: the LASD in LA, Europol in The Hague, trying to understand what kind of world produces these kinds of crimes, and suspecting that the world’s leaders don’t give a damn about justuce.
Did all of that seem, when I conceived it, like an extended metaphor? Today, it reads more like a diagnosis.
Whatever else, its a thriller. It’s a “luxury noir” love story, set among the stars and icons.
And somewhere underneath both, there’s a question:
In a throwaway world, how disposable are you?
Published by Mad Bear Books. Available here now.






























































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hall of lost footsteps
lost in your head














































































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