{horror} – Page 34 – { feuilleton }

Weekend links 548

The Aurora Borealis by Charles H. Whymper.

• “In 1829, when the celebrated Japanese artist Katsushika Hokusai was almost 70 years old, he created more than 100 drawings of a dazzling array of subjects: playful cats, serene landscapes, even severed heads. Hokusai’s fame continued to grow after his death in 1849, and the suite of small, elaborate drawings was last purchased a century later, at a Paris auction in 1948. Then it disappeared from the public eye.” The British Museum now has the drawings which may be seen here.

• The week in cover design: Emily Temple compares US and UK covers for the same books, while Vyki Hendy collects recent titles with objects as the main feature of the cover designs. One of my recent covers (which will appear here soon) is less minimal than these but also features an arrangement of objects.

• The compilation experts at Light In The Attic Records have put together another collection of obscure Japanese music. Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds Of Japan 1980–1988 will be released in January.

“A Jamesian world is one of cursed artefacts, endlessly subsuming landscapes, forgotten manuscripts and tactile beings that punish the curious and intellectually arrogant.” Adam Scovell visits the grave of MR James.

• Dragons and Unicorns: John Boardley on the lost art of the Hieroglyphic Bible.

• I almost missed John Waters’ favourite films of the year.

• At Dennis Cooper’s: Sade’s Castle, Cardin’s House.

• Northern lights photographer of the year.

• Aurora Hominis (1970) by Beaver & Krause | Aurora (1971) by Tonto’s Expanding Head Band | Soft Aurora (1979) by Tod Dockstader

Harry Clarke online

The Devil’s Wife and her Eldest. A frontispiece for The Golden Hind, July, 1924, a magazine edited by Clifford Bax and Austin Osman Spare. I’ve seen this drawing referred to in print as “Goddem with Attendants” although this isn’t how it was titled in the magazine.

It’s taken some time but with a little careful searching it’s now possible to see (almost) all of Harry Clarke’s major works of illustration online. The Poe illustrations have been available in a variety of different scans for many years, their popularity being followed by some of the Faust drawings. But Clarke’s other books are more elusive, so what you have here is links to the most complete collections of illustrations from each title, several of which also include the accompanying text.

This isn’t all of Clarke’s illustration work, of course. He produced many single pieces for magazines, as well as two rare promotional publications for the Irish whiskey distiller, Jameson. If he hadn’t been so tied up with the stained-glass business he inherited there would have been much more. The biographical books mention titles he suggested to publishers as potential projects, a list which includes Dr Jekyll and Mr Hyde, Huysmans’ À rebours, and—most tantalising of all—Bram Stoker’s Dracula.

Fairy Tales of Hans Christian Andersen, 1916.

A post at Flickr. Despite Clarke’s achievements as a stained-glass artist his colour illustrations aren’t always as successful as those in black-and-white. That’s certainly the case here.

Tales of Mystery and Imagination by Edgar Allan Poe, 1919.

The 1923 edition is at the Internet Archive, a reprint which added several new colour pieces, none of which fare well in this scan. The book is also missing the frontispiece.

The Year’s at the Spring, edited by Lettice D’Oyly Walters, 1920.

Another complete edition at the Internet Archive.

The Fairy Tales of Charles Perrault, 1922.

An almost-complete edition. This one again suffers from a missing frontispiece.

Faust by Johann Wolfgang von Goethe, 1925.

Not great reproductions since this edition is adapted from an e-book, but it does feature all of the black-and-white Faust illustrations in order, and with their accompanying quotes. No colour plates, however.

Selected Poems of Algernon Charles Swinburne, 1928.

Clarke’s most Decadent and erotic work, this one has yet to turn up in complete form but the defunct art blog, Golden Age Comic Book Stories, posted all of the art here.

Elsewhere on { feuilleton }
• The illustrators archive

Previously on { feuilleton }
• Harry Clarke record covers
• Thomas Bodkin on Harry Clarke
• Harry Clarke: His Graphic Art
• Harry Clarke and others in The Studio
• Harry Clarke’s Fairy Tales of Charles Perrault
• Harry Clarke in colour
• The Tinderbox
• Harry Clarke and the Elixir of Life
• Cardwell Higgins versus Harry Clarke
• Modern book illustrators, 1914
• Illustrating Poe #3: Harry Clarke
• Strangest Genius: The Stained Glass of Harry Clarke
• Harry Clarke’s stained glass
• Harry Clarke’s The Year’s at the Spring
• The art of Harry Clarke, 1889–1931

Weekend links 547

Anti-Vanitas (2018) by Carrie Ann Baade.

• RIP Richard Corben, an artist whose work I wasn’t always keen on but whose enthusiasm for pulp weirdness and cosmic horror was matched by a pulp vitality of his own. Corben’s Den was the first story in the first issue of Heavy Metal, a strip in which Den’s ever-present penis provided some rare equality of nudity in American comics. Corben was also a lifelong Lovecraftian; his 1972 adaptation of The Rats in the Walls is one of the earliest Lovecraft-derived comic strips.

• “Wit was the great man’s defence. Once, crossing Leicester Square with a friend, he looked up and saw a cinema marquee advertising a new film: Michael Redgrave and Dirk Bogarde in The Sea Shall Not Have Them. Coward turned to his friend and said: ‘I don’t see why not. Everyone else has.'” Philip Hoare on Noël Coward’s private lives: the photographs that could have landed him in jail.

• The end of the year brings the lists: Strange Flowers’ Secret Satan, 2020 is a guide to a surfeit of delectable volumes, while at 3 Quarks Daily Dave Maier selects his favourite ambient music of the year.

It’s not an easy life, but for Layne it is better than the alternative. “There is a generation of writers who think that it is a perfectly acceptable thing to accumulate a couple of hundred thousand dollars in student loan debt and go write “takes”—contrary opinion on things like ‘Why Dogs Are Actually The Worst Pet.’” None of it is new, he says, “it’s what people were doing when Rome burned.” But it has left us worse off, he says.

“I feel like we are post-language now,” he says. “Things are more symbolic. The relationship between words and facts and objectivity and their impact seems to have separated to the point where most of the writing that I see, especially on something like Twitter, is by people baffled that people don’t get what they are trying to say. It’s depressing.”

Dominic Rushe on how Ken Layne created an alternative to clickbait in the desert

• “Underworlds, otherworlds, so many passageways on this earth to elsewheres, especially during these weeks of the year.” Nina MacLaughlin on The Shadows below the Shadows.

• Dennis Cooper‘s favourite fiction, poetry, non-fiction, film, art, and internet of 2020. Thanks again for the link here!

• The week in strange worlds: The Strange World of Colossive Press, and The Strange World of Robbie Basho.

• The Images Wish To Speak: An interview with artist Carrie Ann Baade.

• Jackson Arn on why so many filmmakers have paid homage to Pieter Bruegel.

• Physicists nail down the “Magic Number” that shapes the Universe.

• Dreams, Built By Hand

• Shadow (1990) by Nusrat Fateh Ali Khan | Shadows (1994) by Pram | Shadow Of A Twisted Hand Across My House (2001) by I.E.M.

The Spring Codex

Lou Taylor Pucci in Spring.

It was good to finally see Spring (2014) at the weekend, the film that Justin Benson and Aaron Moorhead made in between their connected time-twisters, Resolution (2012) and The Endless (2017). Halfway through Spring there’s a blink-and-you-miss-it moment of intertextuality when the poster above is shown among the pictures that cover the apartment walls of the mysterious Louise (Nadia Hilker). Most of the other pictures in the room are charts that depict the stages of animal evolution; Louise’s poster also depicts a process of evolution but one that occurs only within the pages of the Codex Seraphinianus (1981), the celebrated guidebook to an invented world by Luigi Serafini. If you’re familiar with Serafini’s drawing, which originally filled two pages of the Codex, then the reference is especially enjoyable. Spring‘s themes of sexual obsession and physical transformation are neatly paralleled here, as is the Italian setting of the film, Serafini being an Italian artist whose work is still more visible in Italy than elsewhere. Many other directors would give more attention to this but Benson & Moorhead leave the reference in the background.

Spring is available on blu-ray in the UK from 101 Films. For more on the Codex Seraphinianus there’s this piece of mine written a few years ago for Fantastic Metropolis.

Previously on { feuilleton }
• The Codex Seraphinianus

Electronic Tonalities For The Subjugation Of Parasitic Psychical Entities

In today’s post, the latest release from The Wyrding Module. The electronic tonalities emanating from darkest Salford continue to be satisfyingly spectral, and with sufficient character to avoid being taken for the work of another artist. Wyrding Module music inhabits a haunted zone where occult rites, parapsychology, cosmic horror and kosmische music intersect; there’s a William Burroughs reference in the title of a piece from an earlier release—Infused With The Venom Of Giant Aquatic Centipedes—and even a hint of psychedelia, mostly evident in the persistently vivid cover art. Pastiche is kept to a minimum; last year’s Typhonic Neural Tantra featured the kind of groovy organ-led number you might hear playing in a horror-film nightclub but this was an uncommon departure. Previous releases (of which there may now be 13…details remain vague) are generally forward-looking, as you’d expect from an artist whose name is borrowed from a science-fiction device—a sonic weapon—invented by David Lynch.

The new album delivers familiar Wyrding Module trademarks: grinding synthetic timbres, glitch-ravaged voices that might be the product of a ritual working, and that organ tone which maintains a generic mood without ever becoming too literal. The print inside each disc is a unique work of generative art. Being someone who likes to keep the seasonal parasites at bay by sustaining the spirit of Halloween until January, this is all very welcome. Subjugate your own psychical entities here.

Previously on { feuilleton }
• The Outer Church