Illustrating Zothique

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Cover art by George Barr, 1970.

A few years ago I wrote a short piece about Virgil Finlay’s illustrations for a Zothique story by Clark Ashton Smith, The Garden of Adompha, so this post may be regarded as a more substantial sequel. If Smith remains something of a cult author then Zothique is the pre-eminent cult creation from his career as a writer of weird fiction. Most of Smith’s stories can be grouped together according to their location: Atlantis, Hyperborea, Averoigne in medieval France, the planet Mars, and so on. Zothique was a more original conception than his other worlds, being the last continent on Earth in the final years of the planet, an idea which had precedents in earlier novels such as William Hope Hodgson’s The Night Land but which hadn’t been used before as a setting for a cycle of stories. The distant future suggests science fiction but, as with the Zothique-influenced Dying Earth of Jack Vance, science and technology is long-forgotten and sorcery rules the day. The poetry that Smith wrote before he took to writing short stories had a distinctly Decadent quality—”like a verbal Gustave Moreau painting“—and Zothique is a richly Decadent world, with the entire planet in a state of decay along with its barbarous, demon-worshipping peoples.

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Weird Tales, September 1932. Art by T. Wyatt Nelson.

All the Zothique stories had their first printings in Weird Tales, a magazine that ran illustrations with most contributions, but unless you’re a pulp collector many of the illustrations have been difficult to see until very recently. One of the pleasures of looking through fiction magazines is seeing how their stories might have been illustrated when they were first published. Popular tales eventually find their way into book collections but their illustrations tend to be marooned in the titles where they first appeared unless the artist is of sufficient merit to warrant a collection of their own.

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Weird Tales, March 1933. Art by Jayem Wilcox.

The examples here are all from recent uploads at the Internet Archive which now has a complete run of Weird Tales from 1923 to 1954. The illustrations also run in order of publication with links to the relevant issues, although I agree with Lin Carter’s ordering of the stories. Smith never organised them himself, and the later reprints from Arkham House and others tend to scatter them through separate volumes. When Lin Carter edited the Zothique collection in 1970 he put the stories into an order that follows the very loose chronology running through the cycle.

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Weird Tales, January 1934. Art by Clark Ashton Smith.

One surprise of this search was discovering that Smith himself had provided illustrations for several of the stories. Some Smith enthusiasts like his drawings and paintings but I’m afraid I’m not among them, his sculpture work is better. It’s doubtful that these would have been printed at all if they weren’t the work of the author.

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Weekend links 498

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The Sentinel 280, a car design by Syd Mead from 1964.

• “Boris Dolgov did not exist. The man who bore that name may have existed, but there never was a man in the United States with that name until 1956, too late for Weird Tales.” Teller of Weird Tales on the mysterious identity of a magazine artist.

• Saying goodbye to 2019 also meant saying farewell to Vaughan Oliver, Neil Innes and Syd Mead. Related: Vaughan Oliver at Discogs; I’m The Urban Spaceman; a look back at Syd Mead’s vehicle designs.

Lanre Bakare on how ambient music became cool. (Again. This begs the question of when it became uncool, especially when a ten-year-old Brian Eno piece about “the death of uncool” is being quoted.)

Westerners interpreted the peyote experience very differently from the practitioners of the peyote religion, where the focus was “ritual, song and prayer, and to dissect one’s private sensations was to miss the point”. Writers such as Havelock Ellis, who published an essay on his peyote experiences in the Lancet in 1897 (it’s likely that he also administered the substance to his friends W.B. Yeats and Arthur Symons), instead tended to focus on its visual effects. Ellis described “the brilliance, delicacy and variety of the colours” and “their lovely and various textures”. Peyote reached Europe in tandem with the X-ray, cinema and electric lights, Jay notes, and “nothing delighted the eye of the mescal eater so much as the new electrical sublime”.

Emily Witt reviewing Mescaline: A Global History of the First Psychedelic by Mike Jay

Peter Bradshaw takes on the thankless task of ranking Federico Fellini’s feature films.

Geoff Manaugh on when Russia and America coöperated to avert a Y2K apocalypse.

• “Music is an ideal medium for interstellar communication,” says Daniel Oberhaus.

Keith Allison on Karel Zeman, a creator of remarkable cinematic fantasies.

•  Japanese Designer New Year’s Cards of 2020.

• At Dennis Cooper’s: Vera Chytilová Day.

2020 in public domain.

Sentinel (1992) by Mike Oldfield | Sentinels (2001) by Cyclobe | Sentinel (2004) by Transglobal Underground

Fantaisies Architecturales by Henri Mayeux

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An entire book of architectural caprices is just the thing I like to see, so it’s a shame that most of the examples in Fantaisies Architecturales (1890) by Henri Mayeux are little more than sketches. Mayeux was an architect and a professor of decorative arts whose previous book had been a guide to the composition of decoration and its historical use. Fantaisies Architecturales applies a similar approach to architectural styles, offering a variety of historical pastiches as well as suggestions suited to stage designs and more contemporary buildings.

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Mayeux’s inventiveness is considerable but he shares with many of the architects of 19th-century expositions a reluctance or inability to imagine anything that breaks with the styles of the past. Étienne-Louis Boullée’s colossal plan for a cenotaph for Isaac Newton (proposed in 1784) remains astonishing because its design is so unprecedented. The construction of the vast internal sphere may have exceeded the engineering limits of the time but the unadorned abstraction of the design is closer to the architecture of the 20th century than anything from the 19th. The Eiffel Tower had been built a couple of years before Mayeux’s book was published but it wasn’t until the Exposition Universelle of 1900 that Paris saw any other buildings that could complement its architectural novelty.

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Weekend links 482

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Hades II (2004) by Ana Maria Pacheco.

• I’ve been reading a lot of Angela Carter over the past few weeks so the news of her house in Clapham being awarded a blue plaque was coincidental but also timely. Related: Angela Carter Online, and The Holy Family Album (1991), “a sacrilegious take on the history of Christian painting and iconography” written and narrated by Carter. Also, we’re still some distance from Halloween but take this as a precursor: Vampirella (1976), Angela Carter’s first radio play for the BBC, starring Anna Massey as a vampire countess.

• In May this year the Dark Entries record label announced the discovery of more tapes from Patrick Cowley’s pre-disco years in the 1970s. A selection from the archive, Mechanical Fantasy Box, will be released next month, together with a book of the same name reprinting Cowley’s homoerotic journal from the period.

• More Magma (there’s always more Magma): Warren Hatter on 7 essential albums from their sprawling discography. Related: Magma on film in 1972, appearing in Moi y’en a vouloir des sous, a short but typically intense performance.

• Out in November: Paul Wegener’s adaptation of Gustav Meyrink, Der Golem, wie er in die Welt kam (1920), receives a substantial blu-ray release from Eureka.

• Joe Banks’ forthcoming space-rock exegesis, Hawkwind: Days of the Underground, now has its own website.

• Mix of the week: The Stations Of Summer by Cafe Kaput.

Photos of London’s abandoned Underground stations.

• At Dennis Cooper’s: Alan Boyce grows invisible.

Gudrun Gut‘s favourite albums.

Tanz Der Vampire (1969) by The Vampires Of Dartmoore | Ketch Vampire (1976) by Devon Irons | Vampires (1999) by Pet Shop Boys

François Schuiten record covers

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Claudine Simon (1980) by Claudine Simon.

Continuing an occasional series about artists or designers whose work has appeared on record sleeves. Belgian artist François Schuiten is a familiar name here, being the co-creator with Benoît Peeters of the Obscure World, one of my favourite zones of fantastic invention. The Obscure World has grown to become a multimedia endeavour so Schuiten’s involvement with some of the later entries in this post goes beyond providing the cover art to being connected to the music itself.

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De Wolkentrapper (1983) by Herman van Veen.

Herman van Veen is a Dutch writer and singer who produced a number of albums and singles in the 1980s featuring Schuiten cover art. The gravity-defying people are from an early comic strip unattached to the Obscure World mythos, Going to Pieces.

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Signale (1984) by Herman van Veen.

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De Wisselaars (1985) by Herman van Veen.

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Sedimental Journey (1985) by Peter Principle.

The Obscure World makes its cover debut on this solo release by the late Peter Principle, bass player in Tuxedomoon. Principle was American but Tuxedomoon were based at the time in Europe, and their record label, Crammed are Belgian. Obscure World aficionados will recognise the structure about to be submerged by a vast wave as the Network, an inexplicable object first seen in Fever in Urbicand (1985).

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