Early British Trackways

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Continuing the Earth mysteries/megaliths theme, Early British Trackways: Moats, Mounds, Camps, and Sites (1922) by Alfred Watkins (1855–1935) was the first book in which the ley lines theory was proposed. Watkins was an amateur archaeologist (more a kind of early psychogeographer), photographer and writer who theorised that ancient Britons had marked the land with pathways connected by a variety of natural and man-made features: hills, mounds, trees, ponds, hillside notches and (of course) standing stones. Watkins coined the term “ley” after noticing that many of the lines connecting these features ran through villages or areas of land whose names ended in “-ley”, “-lay” or similar. The thesis was developed more fully in The Old Straight Track (1925), a book which became the ur-text for subsequent ley hunters. I’ve never seen any of Watkins’ books so it was interesting finding this short volume at the Internet Archive, not least because several of the photos appear in Mysterious Britain (1972) by Janet & Colin Bord, a classic guide to Britain’s sacred sites and folk rituals.

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Watkins never regarded ley lines as having any mystic significance, he thought they were probably old trade routes. Archaeologists have never agreed with his suppositions, however, and Watkins himself might have disapproved of the conjectures added to his theories by John Michell in The View Over Atlantis (1969) which wedded ley line theory to feng shui to create the whole “lines of energy” idea. Whatever one thinks of Michell’s theories, that book and subsequent volumes put ley lines firmly into popular culture, and without them we wouldn’t have the references in Children of the Stones, Steve Hillage’s Green (1978) (pretty much a Michell-inspired concept album), Nigel Kneale’s Quatermass (1979) and so on. But this slim book is where it all begins.

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Illustration by Roger Dean (1972).

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A Journey to Avebury by Derek Jarman

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Among the Doublevision video releases I was writing about earlier this month there’s a notable omission from those which have been reissued on DVD: Derek Jarman’s In the Shadow of the Sun was the seventh release on the label, the 1980 version of a film which was compiled in 1974 using footage from his earlier Super-8 shorts, one of which was A Journey to Avebury (1971). Several of the short films have appeared as extras on recent DVDs but the gorgeously oneiric In the Shadow of the Sun remains stubbornly unavailable.

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A Journey to Avebury lasts for ten minutes, and in its original state was nothing more than silent, static shots of fields, pathways (putative ley lines, perhaps), silhouetted trees, and finally the Avebury stones. I still find it one of the most fascinating of his short films. The yellow filter gives all the shots an oppressive, sulphurous cast which turns the otherwise bucolic landscape into a place of imminent (or even post-) apocalypse. I’m reminded of the yellow skies in Charles Platt’s erotic nightmare The Gas (1970), or some of the outdoor shots in Penda’s Fen (1974) which are equally suffused with menace.

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The copy of A Journey to Avebury that’s currently on YouTube is a recent version with an uncredited electronic score. I still don’t know who did the music; it doesn’t sound like Coil. Cyclobe? (It’s Coil.) The YouTube version can be found in far better quality on the Second Sight DVD of Jarman’s The Last of England.

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And just to show how everything here is connected to everything else, that brooding megalith above (known locally as “The Devil’s Seat”) can be seen in at least one shot in Children of the Stones. No surprise there but the shot also reveals the place where Jarman and co. would have been standing five years earlier.

Previously on { feuilleton }
Children of the Stones
Avebury panoramas
Derek Jarman’s music videos
Derek Jarman’s Neutron
Mister Jarman, Mister Moore and Doctor Dee
The Tempest illustrated
Penda’s Fen by David Rudkin
In the Shadow of the Sun by Derek Jarman
Derek Jarman at the Serpentine
The Angelic Conversation
The life and work of Derek Jarman

Children of the Stones

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“Pretty phantasmagorical!” says precocious teenager Matthew when he and his father drive into the fictional village of Milbury in the opening scene of Children of the Stones. Matthew’s father is a scientist whose work requires a three-month stay in a village built in the centre of a series of ancient ramparts and stone circles. Once settled they find many of the villagers to be blandly cheerful, while Matthew discovers that his maths skills at the local school pale beside younger children who can solve complex equations with ease. Omnipresent characters in the village are Hendrick, a retired astronomer who owns the local manor house and acts as village squire, Margaret, a newly-arrived archaeologist who knows the history of the stones, and Dai, a vagrant poacher who lives outside the circle, and who seems eager to remain free of the Stepford-like happiness afflicting his neighbours.

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Matthew (Peter Demin).

Matthew’s “phantasmagorical” epithet is directed at the neolithic mound outside the village but could easily apply to the whole of this seven-part serial which I watched again recently. It was an HTV production first broadcast in early 1977 and I’d not seen any of it since that time. A mystery serial for children involving pagan history, folk rituals and an undercurrent of science fiction wasn’t such a surprising thing in the 1970s, this was a decade when a popular interest in the occult and the paranormal was more prevalent than at any time before or since. Children’s television reflected adult trends which is why we got to see an adaptation of Alan Garner’s The Owl Service, the occult adventure series Ace of Wands (with its hero named “Tarot”), The Tomorrow People (which occasionally strayed from science fiction to science fantasy) and others (see an earlier post, Occultism for kids). Children of the Stones was the most complex of all of these, a well-crafted drama with similarities to Nigel Kneale’s TV plays, The Wicker Man and The Prisoner. With a slight change of emphasis it would have worked just as well as a serial for adults. The best children’s serials of the period were usually adaptations of novels; Children of the Stones was an original work for television, written by Jeremy Burnham & Trevor Ray, and directed by Peter Graham Scott.

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Adam (Gareth Thomas), Margaret (Veronica Strong) and Hendrick (Iain Cuthbertson).

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Splendor Solis revisited

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1. The Arms of the Art

I have something of an obsession with the plates of the allegorical alchemical text known as the Splendor Solis, hence another post on the subject. This new entry is partly a bookmark for my own convenience, and also a pointer for those who keep arriving here searching for these images.

The plates this time are taken from this 1922 edition at the Internet Archive which presents pages from the copy at the British Library. The colours in the reprint are washed-out and have a reddish cast but that can be easily adjusted using image editing software. The British Library has photos of their pages online for comparison. The BL edition is fenced about with the usual copyright warnings whereas the Internet Archive version is a free download here.

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2. Philosopher with Flask

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3. The Knight on the Double Fountain

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4. Solar King and Lunar Queen Meet

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Weekend links 128

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Seven-inch sleeve design by Savage Pencil for Wrong Eye (1990) by Coil.

• “Can you use sensory deprivation to explore ESP? And then make music from the process?” Drew Daniel and MC Schmidt of Matmos decided to find out for their new EP. Related: Occult Voices—Paranormal Music, Recordings of Unseen Intelligences, 1905–2007 at Ubuweb. Details of the original CD release can be found here.

Gorgeous Gallery: The Best in Gay Erotic Art is a new book by David Leddick featuring the work of contemporary gay artists. Howard G. Williams has a review at Lambda Literary.

Trip or Squeek by Savage Pencil, a book collection of the artist’s comic strips for The Wire magazine, forthcoming from Strange Attractor Press.

The novels of the middle period are Burgess’s most vital because it was in these that he forged what we might now recognize as the Burgessian – the antic puns and wordplay, the etymological digressions, the opacity, the glamorous pedantry, the tympanic repetitions, and an alliterative, assonantal musicality that makes every sentence seem vivid and extrovert: “Seafood salt with savour of seabrine thwacking throat with thriving wine-thirst”; “the lucent flawlessness of the skin, of the long fleshly languor that flowered into visibility”; “he was in a manner tricked, coney-caught, a court-dor to a cozening cotquean”. This is Burgess’s description of an Elizabethan brothel: “He entered darkness that smelled of musk and dust, the tang of sweating oxters, and, somehow, the ancient stale reek of egg after egg cracked in waste, the musty hold-smell of seamen’s garments, seamen’s semen spattered, a ghost procession of dead sailors lusting till the crack of doom”.

Ben Masters on A Clockwork Orange and its creator, fifty years on

• A streaming album for the beginning of autumn, the self-titled debut by Eraas, available in a range of formats at Bandcamp.

• “How Collecting Opium Antiques Turned Me Into an Opium Addict.”

Ted Hughes reads from Crow. Related: Raptors by Leonard Baskin.

• Janitors of Lunacy: Jonny Mugwump remembers Coil.

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Back in June I suggested Clive Hicks-Jenkins’ paintings as potential artwork for Penguin’s Modern Classics series. Last week Clive revealed that Penguin will be using one of his painted maquettes for a new edition of Equus next year.

150 Years of Lesbians and Other Lady-Loving-Ladies

Color Sound Oblivion: a Coil/TG/related Tumblr.

Tune in, psych out: the new black psychedelia.

The Hills Are Alive (1995) by Coil | QueenS (2012) by THEESatisfaction | Goldblum (2012) by Oddience.