Weekend links 750

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Cover art by Edward Gorey, 1964.

• Plenty of Halloween fallout as usual this week, but then Halloween here is a state of mind rather than a single day’s celebration. Leading off with an article by Smoky Man for Italian readers (and for auto-translators) at (Quasi), the first in what will be a series of reviews of each section of the Moon and Serpent Bumper Book of Magic. I’ve been helping with this, answering questions about the book’s production. I may post my answers here at a later date but for the moment I’m happy to keep them exclusive. In other Moon and Serpent news, the Bumper Book was reviewed by Sam Thielman in the New York Times last weekend, and also subjected to a deeper exploration by Joe McCullough for The Comics Journal.

Michael Atkinson explores the psychosocial dread at the heart of Japanese horror. One of the films I watched for Halloween was Kiyoshi Kurosawa’s brilliantly unnerving Pulse, a film which turns up again in Anne Billson’s evolution of horror in ten revolutionary films.

• Among the new titles at Standard Ebooks, the home of free, high-quality, public-domain texts: Short Fiction by Frank Belknap Long, a collection of science fiction and horror stories which opens with Long’s contribution to the Cthulhu Mythos, The Hounds of Tindalos.

Paracelsus’ quasi-scientific, quasi-magical worldview would profoundly influence scientists for centuries to follow. As historian Violet Moller puts it in her new book Inside the Stargazer’s Palace, “To our rational, orderly, 21st-century minds the 16th-century map of knowledge appears messy, a paradoxical and confusing place where magic was studied alongside geometry, people searched obsessively for the philosopher’s stone and astrology was fundamental to many areas of life.” But in this mixed-up cauldron of magic and nature, real science was forged.

Dale Markowitz on how the occult gave birth to science

• New music: Of Nature & Electricity by Teleplasmiste, and Tristitiam Et Metus Tradam Portare Ventis by Philippe Blache (Day Before Us).

Adam Scovell dares to look inside Dario Argento’s dungeon-like museum of horror memorabilia, Profondo Rosso.

• At Little White Lies: Tyler Thier on Stan Brakhage’s autopsy film, The Act of Seeing With One’s Own Eyes.

• At Spoon & Tamago: Keisuke Oka’s Arimaston Building in Tokyo, made entirely by hand.

• At Bandcamp: George Grella on the pioneers of musique concrète.

• At Unquiet Things: Marci Washington’s midnight revelations.

Typo 8: The International Journal of Prototypes.

• RIP Teri Garr.

Pulse (1972) by Agitation Free | Pulse State (1991) by The Future Sound Of London | Pulse Detected (2021) by The Grid/Fripp

Weekend links 747

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Eden Flag with Solar-Anal Emblems and Hexes (2017) by Elijah Burgher.

• A note for regular readers that I’ll be in London for a couple of days next week, so the weekend post may be delayed by a day, if it arrives at all. I’ll be attending this event at The Century Club, Shaftsbury Avenue, a talk about The Moon and Serpent Bumper Book of Magic which will be published here and in the USA a few days from now. I’m told that copies of the book will be on sale if anyone wishes me to sign a copy.

• “Published two years before André Breton’s Manifeste du surréalisme (1924), which delineated the contours of the capital-S Surrealism movement, Les Malheurs represents a proto-Surrealist experiment par excellence.” Daisy Sainsbury on Les Malheurs des immortels (1922) by Paul Éluard and Max Ernst.

• “It has been two decades since Japan’s tidying boom began, and the nation remains as cluttered as ever. I know this because I live here.” Matt Alt in a long read exploring the Japanese cultivation of clutter. Don’t be shamed by minimalist interiors.

…with the Bumper Book, we wanted to present what we hope are lucid, coherent and joined-up ideas on how and why the concept of magic originated and developed over the millennia, a theoretical basis for how it might conceivably work along with suggestions as to how it might practically be employed—and, perhaps most radically, a social reason for magic’s existence as a means of transforming and improving both our individual worlds, and the greater human world of which we are components. And we wanted to deliver this in a way that reflected the colourful, psychedelic, profound and sometimes very funny nature of the magical experience itself. That, we felt, would be the biggest and most useful rabbit to pull out of the near-infinite top hat that we believe magic to be.

Alan Moore talking to Rob Salkowitz about the Moon and Serpent Bumper Book of Magic

• “When it comes to pure cinematic terror The Texas Chain Saw Massacre has no equal,” says Mat Colegate. I’d avoid being quite so definitive but it’s a film I’d put in a list of my favourite cinematic horrors.

• At Smithsonian Magazine: See 15 winning images from the Wildlife Photographer of the Year contest.

• At The Quietus: Lara Rix-Martin on the heavy existentialism of Soviet science fiction. Previously: Zone music.

• New music: Decimation Of I by Meemo Comma.

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

Hex (1971) by Gil Mellé | Hex (1978) by Jon Hassell | Hexden Channel (2012) by Pye Corner Audio

Weekend links 745

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Eros (1905) by Julius Kronberg.

• At the Internet Archive (for a change): All 15 episodes (with English subs) of Návštevníci (The Visitors, 1983/84), a Czech comedy TV serial about time travellers visiting the present day. Directed by Jindrich Polák, better known for the serious science fiction of Ikarie XB-1 and another time-travelling comedy, Tomorrow I’ll Wake Up and Scald Myself with Tea. The main interest for this viewer is the involvement of Jan Svankmajer who creates collage animation for the first episode while animating food and other objects in later episodes. This was the period when Svankmajer was mainly working as an effects man at the Barrandov Studios after the Communist authorities had put a stop to his film-making. Even with Svankmajer’s involvement I’m not sure I can endure 450 minutes of Czech wackiness but it’s good to keep finding these things.

• “…for the melomaniac who wasn’t in and around Bristol in the 1980s or 90s, the term [trip hop] simply opens the door to a whole universe of music that blurs the lines between so many styles in a way that is still compelling three decades on.” Vanessa Okoth-Obbo on the 30th anniversary of Protection by Massive Attack.

• Coming soon from Strange Attractor: Moon’s Milk: Images By Jhonn Balance, compiled by Peter Christopherson & Andrew Lahman.

For some in Ireland, [The Outcasts] is a dim but impressive memory, glimpsed on late-night television during its only broadcast in 1984. The Outcasts over the decades became a piece of Irish cinema legend, less seen and more peppered into conversations revolving around obscure celluloid. The Irish Film Institute describes this film as “folk horror”, a phrase I find too liberally applied these days to just about anything featuring sticks, rocks, and goats or set in the countryside. The Outcasts does not necessarily strive for the ultimate unified effect of horror. Instead, this film is of a rarer breed, more akin to Penda’s Fen (1974) in its otherworldly ruminations. I’ve come to prefer the phrase “folk revelation” as perhaps a more accommodating description for these sorts of stories. Whatever the case, I hope you get to see this remarkable film.

Brian Showers discussing the contents of The Green Book 24, newly published by Swan River Press. The Outcasts has just been released on blu-ray by the BFI

Still casting a spell: Broadcast’s 20 best songs – ranked!

• New music: Earthly Pleasures by Jill Fraser.

• At Dennis Cooper’s: John Carpenter‘s Day.

• RIP Maggie Smith.

The Visitors (1981) by ABBA | Two Different Visitors (2003) by World Standard & Wechsel Garland | We Have Visitors (2010) by Pye Corner Audio

New Worlds 224

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Illustration by Mark Reeve.

New issues of New Worlds magazine have been rare things in recent years so the announcement last week of issue number 224 was a special moment:

New Worlds Vol. 66 No. 224, ed. Michael Moorcock (to commemorate the sixtieth anniversary of his taking over editorship of the title), 09/’24, 978-0-9575764-6-9, a new full-colour A4 stapled outsized paperback/magazine, 72pp., illustrated by John Coulthart, Mal Dean, Herbert Sydney Foxwell, Allan Kausch, Mark Reeve, Julius Stafford-Baker; fiction/non-fiction anthology, contributors: John Clute, Coulthart, John Davey, Thomas M. Disch, Kausch, Roz Kaveney, Moorcock (a brand-new Cornelius story), Iain Sinclair, John Sladek, Pamela Zoline; first edition: £20.00 (for pre-ordered signed copies [while stocks last]).

N.B. This title is published on 30th September, 2024. Pre-ordered copies will be signed by Michael Moorcock and the magazine’s publisher.

See: https://jaydedesign.com/products_new.php

Copies in the U.S.A. will soon be available via www.ziesings.com @ $25 (for pre-ordered signed copies [while stocks last]).

If you’re in the mood for a spoilerish review you can see the entire issue leafed through and described here. In addition there’s also the New Worlds Annex which I’m hosting on these pages, a small repository of supplementary material.

There’s no need for me to recount the history of New Worlds, you can read about it in detail here. If you do know the history then you’ll know that the magazine under Michael Moorcock’s editorship acquired a considerable reputation in the late 1960s, upsetting politicians, the proprietors of WH Smiths, and the more conservative readers and writers of science fiction while publishing many important stories. In the 1970s New Worlds became a paperback series for a few years, managing ten numbers before resuming magazine format and increasingly sporadic publication.

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Mike Moorcock’s Jerry Cornelius story is a Holiday on the Buses scenario set in the usual Cornelius landscape of geo-political chaos. Mark Reeve and Allan Kausch also illustrated this one. I think my piece may be the first time I’ve ever had reason to draw a bus despite being a regular user of public transport. In order to create a contrast with the other illustrations I opted for something in the isometric manner of George Hardie. Not as severely styled as Hardie’s drawings often are but it’s heading in that direction.

The last Moorcock-edited number prior to the present one was in 1996, an issue which included a drawing of mine from the Reverbstorm comic series. The new issue sees Moorcock returning to the editor’s chair for what he insists will be the final time so I feel fortunate to be able to contribute more substantially to this issue than I did in 1996. As well as designing the magazine I’ve illustrated four of the stories, and also wrote a page about the hundredth anniversary of Surrealism which provides a loose theme for the issue as a whole. In a reversal of the usual state of affairs the writing was commissioned first, the design having been offered to other parties earlier this year. This didn’t work out, however, so Mike asked if I could take over, something I was more than happy to do. Rather than follow any pre-existing layouts I started with a blank slate, something I prefer in these situations. The erratic nature of the magazine schedule has meant that many of the recent issues have been standalone items even though each one bears an issue and volume number. The issues that followed the paperback series in the 1970s differed widely from one another, a trend that continued up to 1996; consequently I didn’t have to worry about retaining any attributes of the previous issues.

Continue reading “New Worlds 224”

Weekend links 743

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Icebergs and the aurora borealis in the Arctic. From the Illustrated London News, 13 October 1849.

• The week in award-winning photographs: Winners and finalists from the Ocean Photographer of the Year Awards; and winners and finalists from the Astronomy Photographer of the Year.

• A new layer of mystery is added to The Voynich Manuscript with the discovery of additional writings revealed by multispectral imaging. Lisa Fagin Davis explains.

• At Swan River Press: Helen Grant talks to John Kenny about her new collection of stories, Atmospheric Disturbances, a book whose cover design I discussed here.

Some in Hollywood were taken aback by Huston’s screenwriting choice to bring Melville to the big screen. After all, to adapt a profoundly complex literary novel, he had given the nod to a man known for writing science fiction. Perhaps no one was more surprised by Huston’s choice than Bradbury himself. Huston had read the most recent book Bradbury had sent him, The Golden Apples of the Sun, and the lead story was all it took.

“The Fog Horn” is a tale about two lighthouse keepers who, late one November night, are paid a visit by a beast that has surfaced from the depths after hearing the lonely call of the lighthouse’s foghorn. Bradbury’s love of dinosaurs had led him to write the story, and it was this love that led Huston to believe he was the right man to adapt Moby-Dick. In reading “The Fog Horn,” Huston stated in his 1980 autobiography An Open Book, he “saw something of Melville’s elusive quality.”

Sam Weller on how Ray Bradbury came to write the screenplay for John Huston’s adaptation of Moby-Dick

• At Public Domain Review: Kirsten Tambling on the life and art of Gottfried Mind (1768–1814), a Swiss artist known as “The Raphael of Cats”.

• At Spoon & Tamago: Tentacle-inspired leather accessories handcrafted by Cokeco.

• Mix of the week: DreamScenes – September 2024 at AmbientBlog.

• Steven Heller’s font of the month is Rig Solid.

Solid State Survivor (1979) by Yellow Magic Orchestra | All That Was Solid (1996) by Paul Schütze | From A Solid To A Liquid (2006) by Biosphere