{illustrators} – Page 33

Weekend links 523

One of Ian Miller‘s drawings from the illustrated edition of Ray Bradbury’s The Martian Chronicles, 1979.

• “I always said we were kind of an electronic punk band, really. We were never New Romantics, I don’t like it when we get lumped in with that.” Dave Ball of Soft Cell and The Grid talking to Duncan Seaman about his autobiography, Electronic Boy: My Life In and Out of Soft Cell. I’ll now be waiting impatiently for the unreleased Robert Fripp/Grid album to appear.

• “[Patricia] Highsmith’s writing—often eviscerating, always uncomfortable—has never been more relevant,” says Sarah Hilary.

• Ron Peck’s debut feature, Nighthawks (1978), is “a nuanced look at gay life in London,” says Melissa Anderson.

And then there are those figures who seem to flit around the edges of movements without ever being fully involved in any of them, who pursue their own eccentric paths no matter what is going on around them. These are the writers who make up the secret history of literature, the hidden history that’s not easily reduced to movements or trends, and who always waver on the verge of invisibility until you stumble by accident onto one of their books and realize how good they actually are, and wonder, Why wasn’t I told to read this before? But of course you already know the answer: You were not told because it doesn’t fit smoothly into the story those in authority made up about what literature is—it disrupts, it can’t be reduced to the literary equivalent of a meme.

That’s the kind of writer Pierre Klossowski (1905–2001) is. He is not a joiner. He has his own particular and often peculiar concerns, and pursues them. He does not particularly welcome you in. The content of his writing, too, has the feel of a gnostic text, as if you are reading something that, if only you were properly initiated, you would understand in a different way. In that sense his work has an esoteric or occult quality to it—and likewise in the sense that it returns again and again to the intersection of religion and pornography, the sacred and the profane.

Brian Evenson on The Suspended Vocation by Pierre Klossowski

• Chad Van Gaalen creates a psychedelic animation for Seductive Fantasy by the Sun Ra Arkestra.

• More sneak peeks from the forthcoming The Art Of The Occult by S. Elizabeth.

• More Robert Fripp: Richard Metzger on Fripp’s sui generis solo album, Exposure.

• Pamela Hutchinson on the pleasures of David Lynch’s YouTube channel.

• Mix of the week: a second Jon Hassell tribute mix by Dave Maier.

• At Dennis Cooper’s: Ferdinand presents…Dark Entries Day.

• 15 fascinating art documentaries to watch now.

• Soft Power by Patten.

• RIP Milton Glaser.

• hauntología

• Aquarium (1992) by The Grid (with Robert Fripp) | Soft Power (2005) by Ladytron | The Martian Chronicles (2007) by Dimension X

Interview with the vampire illustrator

Some of the many illustrators of Bram Stoker’s Dracula are the subject of a six-page feature in the latest issue of Illustration magazine. The writer of the piece, Simon Cooke, asked me a few questions about the edition I worked on for Editorial Alma in 2018 (previously), and he devotes two pages to analysing my illustrations. I was a little unnerved by this since Alma asked me to produce 27 full-page pictures—one for each chapter—in five weeks, which isn’t the kind of deadline I prefer for work that requires so much historical research. Consequently, I still feel the book is compromised but people evidently like the end results so I should stop complaining. Illustration magazine is available from Cello Press.

As for my work of the moment, the Joe Banks Hawkwind book will be published by Strange Attractor in the next few weeks, so everyone will finally get to see my Frank R. Paul-derived wraparound cover. And there’s more science fiction on the way with a new cover design featuring a robot as its centrepiece. Watch this space.

Previously on { feuilleton }
• Hawkwind: Days of the Underground
• Illustrating Dracula

Topsychopor by Roland Topor

Published in Paris in 1964, “a game in the form of a psychological test produced by Topor with the help of Jean Suyeux”. A red box measuring 41 x 32 cm, containing 6 “decor boards” or stages which depict a street, a region of rocks, a cemetery, a bedroom, a plain and an island; plus two sheets of pre-cut characters: a fire, a clock, an eye, a shell, two Citroën autmobiles (a 2CV and a DS), a wolfman, a blind man, a baby, a naked man, Death, a sleeping woman, and a truncated man.

“Sans prétendre atteindre à la rigueur d’un vrai test psychologique, TOPSYCHOPOR en utilise les principes. Il comprend six planches-décors et treize personnages ou objets. Le jeu consiste à choisir un décor et à y placer un ou plusieurs éléments découpés. ll suffit alors de se reporter au tableau des interprétations pour découvrir—avec horreur ou ravissement—ce que ce choix signifie. Le personnage ou l’objet choisi en premier lieu indique la tendance dominante du caractère du joueur, les éléments choisis ensuite viendront nuancer et compléter la première interprétation, selon un ordre d’importance décroissant. Certains objets ou personnages paraîtront peut-êtrc étranges; cela ne doit pas étonner, ils ont été voulus tels afin de faciliter les interprétations. Vous verrez d’ailleurs que vous vous familiariserez vite avec TOPSYCHOPOR et bientôt vous ressentirez la tentation de jouer avec lcs personnages sans plus vous soucier de leur signification. Car ce jeu cache son jeu, un jeu auquel vous vous prendrez. Pour l’interprétation des récits que vous ferez alors, vous pourrez toujours consulter votre psychiatre habituel.”

Rules of the game (autotranslated): “Without claiming to achieve the rigor of a real psychological test, TOPSYCHOPOR uses its principles. It includes six decor boards and thirteen characters or objects. The game consists of choosing a decor and placing one or more cut elements in it. It is then enough to refer to the table of interpretations to discover—with horror or delight—what this choice means. The character or object chosen in the first place indicates the dominant tendency of the player’s character, the elements then chosen will come to qualify and complete the first interpretation, in order of decreasing importance. Some objects or characters may appear strange; that should not surprise, they were wanted such in order to facilitate the interpretations. You will see that you will quickly become familiar with TOPSYCHOPOR and soon you will feel the temptation to play with the characters without worrying about their meaning. Because this game hides its game, a game that you will take. For the interpretation of the stories that you will then make, you can always consult your usual psychiatrist.”

I don’t have a copy of this, unfortunately (and please don’t tell me you have one to sell). Picture searches kept turning up links to film festivals which was a little confusing until I realised that there’s a short film by Antonin Peretjatko, Mandico et le TOpsychoPOR, about a man encountering the game.

Continue reading “Topsychopor by Roland Topor”

Weekend links 516

Bats in space: an illustration by Henrique Alvim Corrêa from a 1906 edition of The War of the Worlds.

• Auf wiedersehen to Florian Schneider. Until he left Kraftwerk in 2009 (or 2006 or whenever it was), Schneider had been the group’s longest-serving member, keeping things running for the few months in 1971 when Ralf Hütter was absent. The brief period when Kraftwerk was Schneider plus soon-to-be-Neu! (Michael Rother, guitar, and Klaus Dinger, drums) fascinates aficionados over-familiar with the later albums. The music they produced was a wild and aggressive take on the rock idiom but Scheider maintained the link with Kraftwerk before and after, not only instrumentally but with his ubiquitous traffic cones, as noted in this post. There’s no need for me to praise Kraftwerk any more than usual, this blog has featured at least one dedicated post about them for every year of its existence, and besides which, the group itself is still active. Elsewhere: Simon Reynolds on how Florian Schneider and Kraftwerk created pop’s future; A Kraftwerk Baker’s Dozen Special; Dave Simpson attempts to rank 30 Kraftwerk songs (good luck getting anyone to agree with this); Jude Rogers with ten things you (possibly) don’t know about Kraftwerk; Dancing to Numbers by Owen Hatherley; Pocket Calculator in five languages; Florian Schneider talks about Stop Plastic Pollution.

• Intermission is a new digital compilation from Ghost Box records featuring “preview tracks from forthcoming releases and material especially recorded for the compilation during the global lockdown”. In a choice of two editions, one of which helps fund Médecins Sans Frontières.

• How groundbreaking design weirdness transformed record label United Artists, against all odds. By Jeremy Allan.

Sex in an American suburb is not quite the same phenomenon as sex in, say, an eastern European apartment block, and sex scenes can do a great deal to illuminate the social and historical forces that make the difference. All of which is to say that sex is a kind of crucible of humanness, and so the question isn’t so much why one would write about sex, as why one would write about anything else.

And yet, of course, we are asked why we write about sex. The biggest surprise of publishing my first novel, What Belongs to You was how much people wanted to talk about the sex in a book that, by any reasonable standard, has very little sex in it. That two or three short scenes of sex between men was the occasion of so much comment said more about mainstream publishing in 2016, I think, than it did about my book. In fact, in terms of exploring the potential for sex in fiction, I felt that I hadn’t gone nearly far enough. I’ve tried to go much further in my second novel, Cleanness. In two of its chapters, I wanted to push explicitness as far as I could; I wanted to see if I could write something that could be 100% pornographic and 100% high art.

Garth Greenwell on sex in literature

• James Balmont’s guide to Shinya Tsukamoto, “Japan’s Greatest Cult Filmmaker”.

• A Dandy’s Guide to Decadent Self-Isolation by Samuel Rutter.

• Maya-Roisin Slater on where to begin with Laurie Anderson.

• The Count of 13: Ramsey Campbell’s Weird Selection.

• Adam Scovell on where to begin with Nigel Kneale.

• When John Waters met Little Richard (RIP).

• RB Russell on collecting Robert Aickman.

• Weird writers recommend weird films.

• Campo Grafico 1933/1939.

• Ruckzuck (1970) by Kraftwerk | V-2 Schneider (1977) by David Bowie | V-2 Schneider (1997) by Philip Glass

Weekend links 514

Athanasius Kircher welcoming two guests to the Collegio Romano, a detail from the frontispiece to his Romani Collegii Societatis Jesu Musaeum celeberrimum (1678).

• Opium (1919) by Robert Reinert: “A Chinese opium dealer takes revenge on Westerners who have corrupted his wife.” With Werner Krauss and Conrad Veidt a year before their pairing in The Cabinet of Doctor Caligari.

• Aubrey Beardsley at Tate Britain: in which the gallery thinks that 7 minutes is enough to give us a taste of a major exhibition that we can’t otherwise see.

• Joe Pulver (RIP): His Highness in Yellow. A memorial piece that includes artist Michael Hutter talking about his paintings of Carcosa.

• Court Mann on the strange history of Robert Smithson’s Spiral Jetty, 50 years old this month.

• “Invisible Little Worms”: Athanasius Kircher’s Study of the Plague by John Glassie.

• Sophie Monks Kaufman on why literary lesbians are having a moment on screen.

• Photographer Ryan McGinley: “I was taught to believe in Satan. It scared me.”

• At Dennis Cooper’s: Ellen Burstyn Day, and the ghostly novels of WG Sebald.

• Dorian Lynskey on where to start with Nina Simone’s back catalogue.

• Wie funktioniert ein Synthesizer? (1972). Bruno Spoerri explains.

• Banham avec Ballard: On style and violence by Mark Dorrian.

• John Boardley on the most dangerous book in the world.

• Improvisation for Sonic Cure by Ryuichi Sakamoto.

• The Strange World of…JG Thirlwell.

• Diet Of Worms (1979) by This Heat | Stomach Worm (1992) by Stereolab | Heartworms (1998) by Coil