Weekend links 646

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It’s that lethal book again. A sample of wallpaper impregnated with arsenic, one of many such pages in Shadows from the Walls of Death: Facts and Inferences Prefacing a Book of Specimens of Arsenical Wall Papers (1874) by RC Kedzie.

• “I like to spend time in the now because there I can create something new but in the past I cannot.” Damo Suzuki, former vocalist in Can, on creativity and his resilience in the face of long-term illness. Related: a trailer for Energy: A Documentary about Damo Suzuki.

• “I enjoy Carnival of Souls, but it is a dark form of enjoyment, with high stakes, because the enjoyment is predicated on me being able to shake myself free of the film after it is over, and that can be a struggle.” Colin Fleming on fear as entertainment.

• “Some people like fantasy epics or Regency romance or Sudoku or science-fiction world-building or the gentle challenge of cozy mysteries; I like the undead.” Sadie Stein on encounters with ghosts.

• “You’re now standing on the blocks of the Great Pyramid at Giza. For the first time ever you can explore the entire pyramid interior.” The Giza Project.

• “What do we think about when we watch films set in vanished decades that many of us experienced at first hand?” asks Anne Billson.

• At Bandcamp: Touch celebrates forty years of not being a record label.

• “Why scientists are sending radio signals to the Moon and Jupiter.”

• At DJ Food’s: Retinal Circus gig posters 1966–68.

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

The Pyramid Spell (1978) by Nik Turner | I Am Damo Suzuki (1985) by The Fall | Carnival Of Souls Goes To Rio (2001) by Pram

Marabout Fantastique book covers

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A post for Halloween featuring a selection of covers from the “Fantastique” imprint of Belgian publisher Bibliothèque Marabout. The imprint, which was only labelled “Fantastique” on later editions, was launched around 1969 and ran through the 1970s before petering out in the early 1980s. The uniform cover design—almost always black with titles set in Roberta—is an attraction for paperback collectors even when the titles are very familiar ones, and when the cover art, most of which was the work of Henri Lievens (1920–2000), is sketchy and vague.

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Among the Belgian writers rubbing shoulders with their more famous foreign counterparts are Jean Ray, author of the cult novel Malpertuis, playwright Michel de Ghelderode, and Thomas Owen (the pen-name of Gérald Bertot). Not all of the artwork is credited but most of the examples here are the work of the prolific Lievens, an artist whose cobwebbed eccentricities sometimes exceed the bounds of their brief; that flapping creature on the cover of The White People by Arthur Machen has no analogue in any of Machen’s stories. Later covers in the series saw contributions from Jean Alessandrini, with collages that were the subject of an earlier post. Marabout is still publishing today, albeit in a reduced fashion, having relocated to France where the company is now a tiny part of the Hachette empire.

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Continue reading “Marabout Fantastique book covers”

The Needful Thing

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Very fitting this one turning up today of all days, especially when the story takes place in the month of October. This time last year I was still working on the interior illustrations. It’s a heavyweight volume, bulked out to 730 pages by Richard Christian Matheson’s afterword and the sturdy slipcase; I designed the cover lettering but the rest of the book design is by Michael Smith. I also signed the main run of 1000 copies, with a smaller run (40 copies, I think) being signed by author and artist. Demand from collectors sold out the book very quickly but if you’re really needful you can find them on Abebooks and eBay for the inevitable high prices.

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Still to come is a post about the illustrations but before I can do that I need to create a new page for the main website. In the meantime, here’s a picture of Mr Gaunt making Polly Chalmers an offer she can’t refuse.

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Previously on { feuilleton }
All the Things
Needful Things

Weekend links 645

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Halloween (no date) by William Stewart MacGeorge.

• Couldn’t Care Less: Cormac McCarthy in a 75-minute conversation (!) with David Krakauer at the Santa Fe Institute, filmed in 2017 and recently posted to YouTube. Not a literary discussion, this one is all about science, philosophy, mathematics, architecture and the operations of the unconscious mind. McCarthy’s essay about the origins of language, The Kekulé Problem, may be read here.

• At Wormwoodiana: Douglas A. Anderson finds a 1932 reprint of an HP Lovecraft story, The Music of Erich Zann, in London newspaper The Evening Standard. The story had appeared a few months prior to this in a Gollancz book, Modern Tales of Horror which reprinted a US collection edited by Dashiell Hammett. The newspaper printing includes an illustration by Philip Mendoza.

• New Hollywood Vs Mutant Cinema: The flipside of US cinema, 1960s–80s. Joe Banks talks to Kelly Roberts, Michael Grasso and Richard McKenna about their new book, We Are the Mutants: The Battle for Hollywood from Rosemary’s Baby to Lethal Weapon.

• At Bandcamp: Rich Aucoin explains the army of synths on his new quadruple album. The battalion includes the bespoke modular setup known as T.O.N.T.O., a rig that few people get to play with.

• New/old music: Malebox, an EP of Patrick Cowley rarities coming soon from Dark Entries.

• Mix of the week: Samhain Séance 11: endleofon by The Ephemeral Man.

• The surreal photographs of Ralph Eugene Meatyard.

• “NASA team begins study of UFOs”.

Ghost Rider (1969) by Musical Doctors | Ghost Rider (1970) by The Crystalites | Ghost Rider (1977) by Suicide

Sticks

1: Illustrations by Lee Brown Coye

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One recurring feature in Coye’s work is the motif of wooden sticks, often in latticework-like patterns. This was inspired by a 1938 discovery in an abandoned farmhouse.

Coye had returned to the North Pitcher, New York, area where he spent much of his childhood. While wandering deep in the woods, Coye discovered an abandoned farmhouse. Boards and pieces of wood which had been set perpendicular to one another surrounded the site. Neither inside nor out could Coye find an explanation for the presence of these crossed sticks. In the years following, Coye remained interested in the significance of his discovery.

When Coye returned to the site in 1963, there was nothing left of the building or the sticks (the area had suffered severe flooding), and he never found out why the sticks were there or who it was that had arranged them in such a manner. Because of the strangeness of the entire experience, these forms never left Coye, and they appear in many of his paintings and illustrations. [Via]

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2: A short story by Karl Edward Wagner

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Whispers #3, March 1974. Cover art by Lee Brown Coye.

The story [Sticks] is really Lee Brown Coye’s and is about Lee Brown Coye, as the Afterword [in Whispers #3] explains. Coye had described the events upon which Sticks was based to me, and when Stuart David Schiff decided to bring out a special Lee Brown Coye issue of Whispers, I stole time from my final few months of medical school to write a story inspired by Coye’s experiences. Sticks is shot through with in-jokes and references which the serious fantasy/horror fan will recognize. I wrote the story as a favour and tribute to Lee, and I never expected it to be read by anyone beyond the thousand or so fans who read Whispers. To my surprise, Sticks became one of my best known and best liked stories. It won the British Fantasy Award and was a runner-up in the World Fantasy Award for best short fiction. The story has been anthologized numerous times and translated into several languages. It was broadcast on National Public Radio on Hallowe’en 1982 and was to have been produced for the short lived television series, Darkroom. Not bad for an in-joke. [Via]


3: Season one of True Detective

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4: An invented soundtrack album by Kish Kollectiv

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Produced for UK television in 1982 by ATV, the undeservedly obscure Dwellers in the Earth is a loose adaptation of the late Karl Edward Wagner’s short story Sticks (itself an inspiration for The Blair Witch Project). The film—thought lost for many years until a somewhat degraded can of film reel turned up in a private collection in Hong Kong in 2009—has been routinely described as one of the scariest made-for-television horror movies of all time. It was directed by the late Freddie Francis and starred Robert Powell and Jenny Agutter with Michael Ironside, Ian McCulloch and Linda Hayden in supporting roles.

With the kind permission of the composer’s widow, Nadezhda Mastandrea, Kish Kollektiv has painstakingly recreated Staszek Korolenko’s long lost soundtrack score for the mysterious film. The UK-based Kollektiv gratefully acknowledges Mr. Korolenko’s huge influence on its own work. The Anglo-Belarusian composer died at the age of only 43, while the master recordings of many of his scores were later destroyed when the cellar of his family home flooded in 1989. [Via]

Previously on { feuilleton }
Owls and flowers
In the Key of Yellow