Interview by Arianna Motherfucker

Can you tell us something about the legal ongoings aiming at your early fanzine Pure?
Almost twenty years ago. It's beginning to sound a bit like Andrea Dworkin and her rape as a teen. It shows up in every fucking book I write. All these years later, I wouldn't've thought its impact would be that personally significant. I think it means more in how I perceive my interests, still, than how relatively tame the whole legal affair turned out.

When did you start writing? How did you discover this talent of yours?
Hardly talent. Writing was so much more demanding than any other art form. I feel like it's the only way to actively pursue the information I've been attracted to.

Have you ever tried to drain your aggressivity through your works? Can we say you started writing as a violent reaction against society's downfall situation?
I don't think there's a quantifiable downfall in society. And I certainly don't think my reaction to whatever society may be is at all violent. Quite the opposite, in fact. There's a great deal of cowardice involved. Which, as far as the material goes, can be very attractive.

Why such crude texts, such perverted works and such extreme subjects?
Limited options.

Has it been difficult to emerge in your country? Did you find someone who understood and helped your great talent or did you have been "put to rest" being thought as "too much"?
There have been some publishers who've been extraordinarily helpful. There are people who've had to put their necks on the line for me to get published. I find that I rely heavily on these people. Distributors are constant problems, however.

White House: how the band was born?
I give a fuck.

Do you think is it possible to start from a particular kind of music (like industrial) to create literature or comics art or do you think music has to pass through literature first?
I think songwriting is, most often, a cheap distillation of ideas. It's rare that the songs are as interesting as the performers think they are. More bands than Whitehouse have used my writing for their lyrics. I don't usually care for the outcome.

Has industrial music been your compulsory impulse to become a writer?
Not at all. I was writing before I ever became involved with Whitehouse. The singer and I thought we had similar tastes.

Maybe not so much fitting with the other questions, but has been a female person which, besides liking your art, has inspired some of your works?
Yes. I don't know if she'd like to be identified, however.

Do your "squirts of craziness" for the "ordinary world" have influenced too much your actual lifestyle?
"Squirts of craziness" is an interesting term. It would be impossible to deny that the books have put me in situations that have had enormous effects on how I continue to live. It would also be ridiculous to pretend to want it any other way.

What are the writers who influenced Sotos?
Lately I've been obsessed with Anna Gekoski and, in particular, her treatment of Sara Payne. I think the way that Andrea Dworkin writes is something to aspire to.

There's always a big social emargination towards people following such deviate forms of entertainment and thinking. In my opinion, one must be a little bit of a deviate to fully appreciate them, making such people create a personal world in which they can shelter themselves, vomiting on the rest. What do you think about this? Have you felt yourself this same impulse of retaliation into hatred or did you live everything in a more comfortable way?
Again, I don't think that hatred or retaliation are aspects of my work. Or my life. I do think that the people who find something of worth in my books, at some point, have to stop excusing the material as cultural deconstructions and look to the subjects and tastes as specific.

What's the most important between your works, and why?
In PURE I did a collage with photos of missing children and pictures of cumming cocks. The latest book, "Rat" is not too dissimilar. The introduction to Ian Brady's book that I recently did was on a subject I first wrote about in PURE. Honestly, the book I'm writing at the time is always my favorite.

Tell me something about your work about JonBenet Ramsey...
I can tell you that it's not a million miles away from my writing about Sarah Payne, Milly Dowler or Lesley Ann Downey. There was a book that ran into printing and publishing problems awhile ago titled "Playground Sex" and that was written contemporaneously to the whole press outrage on her. "Tick" has her on the cover.

I figured out you're not a big music fan in general. More of the music, you look better at the lyrical and visual impact a band has, and I know you loved Slayer a lot... what are your favourite bands?
I don't listen to music all that much these days. It's hard to say this without sounding cheesy and cartoon sinister but I love Boys Air Choir. I find that Lou Reed and Pete Townshend do stuff that can only be done in music and, lyrically, seem more personally honest than typically derivative. I saw a documentary recently on some of Slayer's fans and was horribly disappointed. I used to think that was most of their appeal.

White House are a particular band in the industrial scene, like they're not bound in a genre, but they stand like a separate culture. You joined WH because they played with music what you were doing with your writings. Have you brought in some change?
I think I brought in something that wasn't related to music in any way.

Talking about movies, what caught you the most?
There have been some absolutely amazing documentaries lately. Stevie. Bus 174. Capturing The Friedmans. Just amazing stuff.

If you have something more to say to garbage Dump readers, here's your space
These questions probably deserve more lengthy answers. It just doesn't seem possible right now.