The Green Sheaf

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Pamela Colman Smith, artist, is more of a familiar figure today than she used to be thanks to the increased attention given to women artists of the past. Less familiar is Pamela Colman Smith, magazine editor, a role she briefly occupied in 1903 when she launched The Green Sheaf, an arts magazine published in London. This was a slight publication—the first number is a mere 8 pages—but the contents included heavyweight contributors such as John Masefield together with Smith’s mystically-oriented Irish friends, WB Yeats and “AE” (George Russell). Smith provided many of the illustrations, as did Cecil French and William Horton, the latter an artist whose work I hadn’t seen in colour before. All the colouring in The Green Sheaf was done by hand, presumably by Smith herself, which must have limited the circulation. Smith’s intention was to publish 13 issues a year, and 13 issues were all the magazine eventually managed. The number 13 was evidently an important one for the artist/editor, although we’re left to guess why. In addition to 13 issues, the subscriptions sold for 13 shillings, with individual issues costing 13 pence each. All the issues may be browsed or downloaded here.

See also: “A Paper of Her Own”: Pamela Colman Smith’s The Green Sheaf (1903–1904)

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The Dillons at Caedmon

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L. Frank Baum: Queen Zixi Of Ix (Or The Story Of The Magic Cloak) Read By Ray Bolger (1977).

There’s a lot you could write about illustrators Leo and Diane Dillon. They were very prolific for a start, creating many book covers and interior illustrations in a variety of styles and different media. They also maintained a long-running association with Harlan Ellison whose praise for the pair was never less than fulsome. Like Bob Pepper and other versatile illustrators, they created art for album covers as well as books, with regular commissions from Caedmon Records, a label that specialises in spoken-word recordings.

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Walt Whitman’s Leaves Of Grass Read By Ed Begley (1959).

During the time the Dillons were working for Caedmon most of the label’s releases were on vinyl, a format that tended to restrict the readings to poetry, short stories or extracts from novels and plays. The format was limited for writers and listeners but beneficial for book illustrators, giving them a larger canvas to work on. These examples are a small selection of the Dillons’ output, more of which may be seen at Discogs. Not everything on Caedmon looked this good. I used to own the David McCallum reading of The Dunwich Horror, an album whose cover art was so amateurish it might have been drawn by Wilbur Whateley himself. The Dillons’ cover for The Rats in the Walls is much better, with a gnawing figure that resembles the woodcut-style illustrations the pair created for Harlan Ellison’s Dangerous Visions anthologies. I’ve never read anything about the Dillons’ techniques so can’t say whether their woodcut style was a product of actual wood engraving rather than linocut, a more convenient medium. I’d guess the latter since the end results look pretty much the same, but if anyone knows the answer then please leave a comment.

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The Stories Of Kafka Read By Lotte Lenya (1962).

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Great Scenes From Shakespeare’s Macbeth: Anthony Quayle, Gwen Ffrangcon-Davies, Stanley Holloway (1962).

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Great Scenes From Shakespeare’s Antony And Cleopatra: Pamela Brown And Anthony Quayle (1963).

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Weekend links 652

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Landscape with Antiquities (1955) By Ithell Colquhoun.

• “The ontological horror at the core of these stories is that the stone–which represents the natural world and the uses we carve out for it–is unknowable. It’s been here, affecting the land, whether erected as a monument or laid as bricks, for longer than we can fathom, and its inaccessible past has some frightening bearing on the present.” Sean McGeady on 50 years of stone-tape theory, from Nigel Kneale to Ben Wheatley. Also a reminder that Christmas ghosts on TV could be more than another adaptation of MR James.

• “Midnight is the time when one can recall, with ribald delight, the names of all the Great Works which every gentleman ought to have read but which some of us have not. For there is almost as much clotted nonsense written about literature as there is about theology.” At Wormwoodiana: That Black-Edged Light: A Note on HM Tomlinson.

• “Anxious but stubborn herself, she was a lucid observer of social awkwardness, her subject matter in her books being primarily worry: at disasters real and imagined (comet-fall, floods, unplanned chaos), but also at small-scale domestic panics (such as how to mollify unwanted guests).” Mark Sinker reviewing Tove Jansson, a new biography by Paul Gravett.

Dennis Cooper’s favourite fiction, poetry, non-fiction, film, art, and internet of 2022. Thanks again for the link here!

• “A is for Alphabet and Architecture.” Public Domain Review now has an index. Rather slight but still useful.

Ju-on: The Curse and four other Y2K J-Horror movies you may have missed: a list by James Balmont.

• At Smithsonian Magazine: Listen to the sound of a dust devil swirling around on Mars.

• Unquiet Things offers the latest accumulation of Intermittent Eyeball Fodder.

Stone God (1957) by Martin Denny | Sanctuary Stone (1973) by Midwinter | Children Of Stone (2006) by Espers

Weekend links 651

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The Horror of Living (1907) by Tyra Kleen. Via

• “Voss suggests Af Klint was a pioneer of abstract painting, a label that fits in some ways – her work certainly isn’t representational in the normal sense – but jars in others. She saw her work as a spiritual calling, supercharged with meaning in ways most of her contemporaries struggled to grasp. Most, but not all. Af Klint socialised and collaborated with other visionary women. Some were artists, others were writers, but all were adherents of the new philosophies sweeping Europe in the late 19th century: spiritualism, Rosicrucianism, theosophy.” Madoc Cairns reviewing Hilma af Klint: A Biography by Julia Voss.

• “I want to insist on an amateur internet; a garage internet; a public library internet; a kitchen table internet. At last, in 2023, I want to tell the tech CEOs and venture capitalists: pipe down. Buzz off. Go fave each other’s tweets.” Robin Sloan looking for new avenues away from the corporate cul-de-sacs of social media.

• “Even when subjects take psychedelics in clinical environments devoid of nature…many of them still emerge with stronger relationships to the natural world.” Simran Sethi on the connections between psychedelic use and eco-activism.

• At A Year In The Country: A Shindig! Selection: From Celluloid Hinterlands to Children of the Stones via The Delaware Road and a Sidestep to the Parallel World of él Records.

• At Public Domain Review: Mighty Mikko: A Book of Finnish Fairy Tales and Folk Tales (1922) by Parker Hoysted Fillmore.

• “When coffee is all gone. It’s over.” Spoon & Tamago gets existential at Tokyo’s Museum of Wonky English.

The “S” Word: Spirtuality in Alternative Music is a book-length study by Matthew Ingram (aka Woebot).

• New music: Does Spring Hide Its Joy by Kali Malone (featuring Stephen O’Malley & Lucy Railton).

• Steven Heller’s font of the month is Geetype.

Spiritual Awakening (1973) by Eddie Henderson | Spiritual Blessing (1974) by Pharoah Sanders | Spiritual Eternal (1976) by Alice Coltrane

Franklin Booth’s Flying Islands of the Night

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More of Franklin Booth’s invented architecture is on display in his 1913 edition of James Whitcomb Riley’s blank-verse drama, although not as much as the title might suggest. I wrote a little about this one shortly after I’d begun looking for illustrated books at the Internet Archive, and was dismayed at the time to find a copy with all the colour plates removed. One of the conveniences of the Internet Archive is that the books uploaded there are from many different libraries, so if one has been damaged (or poorly scanned) you may find a duplicate appearing from another source, as with this intact copy of Booth’s book. The plates this time are slightly marred by the “LC” insignia that the Library of Congress likes to punch through colour illustrations but since this was done to deter the kind of theft that spoiled the other copy it seems churlish to complain.

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Booth proves himself in this volume to be the equal of any of the major book illustrators of the period (also more besotted with the Golden Section than most) yet this is one of his few illustrated editions. You can find a few more of these at the Internet Archive but most of them are lesser fare, the most substantial being A Hoosier Holiday (1916), a travelogue collaboration with Theodore Dreiser.

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