Alan Moore – Page 3 – { feuilleton }

Weekend links 725

Springtime in Paris (1923) by Georg Kretzschmar.

• I’ve been asked to mention that the tribute book put together for Alan Moore’s 70th birthday, Alan Moore: Portraits of an Extraordinary Gentleman, is still available. As before, the book features contributions from many well-known comic artists, a foreword by Iain Sinclair, and this piece of my own.

• “I never posted any lecture of mine on Tumblr, even though Tumblr would seem to have plenty of elbow-room for hour-long, learned, European public lectures (with many lecture slides).” Utopian Realism, a speech by Bruce Sterling.

• Reading the Signs: John Kenny in conversation with Mark Valentine about Mark’s new collection Lost Estates.

There remains something suspect about blotter, a stain that is both a blessing and a curse. As the blotter producer Matthew Rick, who started selling sheets as non-dipped ‘art’ collectables at festivals in 1998, puts it: ‘[B]lotter is the last underground art form that’s going to stay underground, simply because you’re creating something that looks like and functions like a felony.’ In other words, blotter is ontologically illicit; it is, as Rick says, ‘drug paraphernalia by its very existence’.

Erik Davis (again) on LSD and the cultural history of the printed blotter

• At Colossal: Uncanny phenomena derail domestic bliss in Marisa Adesman’s luminous paintings.

• Standing stones, urban hellscapes and male nudes: Andrew Pulver on Derek Jarman’s Super-8 films.

• “ [breaking news] An anomaly on earth has brought the cats to over 150 meters. Please be patient.”

• At We Are The Mutants: Alien Renaissance: An interview with illustrator Bob Fowke.

• At Dennis Cooper’s: Spotlight on…René Crevel My Body and I (1926).

• At Public Domain Review: The Little Journal of Rejects (1896).

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

• RIP Steve Albini.

• Sandoz In The Rain (1970) by Amon Düül II | Bon Voyage Au LSD (2001) by Acid Mothers Temple & The Melting Paraiso U.F.O. | Careful With That Sheet Of Acid, Eugene (2019) by Jenzeits

Weekend links 724

Dr Faustus Conjuring Mephistopheles (1928) by Eric Ravilious.

• Materialising in July from a cloud of sulphurous smoke: The Devil Rides In – Spellbinding Satanic Magick & The Rockult 1967–1974. Cherry Red Records, home of the well-sourced, well-researched multi-disc compilation, might have been channelling my inner desires with this one, a Sabbath-esque soundtrack to the Occult Revival. I ordered it faster than you can say “Hail Satan!”

• A Series of Headaches: Shakespeare’s First Folio meets the London Review of Books. “In this film, letterpress printer Nick Hand pulls apart the whole process, from making ink from crushed oak galls to heaving the levers of a replica Jacobean press, and shows how we produced our own (almost) authentic version of the LRB circa 1623.”

• Alan Moore will be subject to greater attention than usual in October. In addition to the forthcoming Moon and Serpent Bumper Book of Magic, the month will also see the publication of The Great When, the first novel in his Long London series. Bloomsbury now has cover art to go with their description of the novel.

• Mad Dogs & Englishmen: Faust On Virgin Records: An extract from Neu Klang: The Definitive Story of Krautrock by Cristoph Dallach, “the first comprehensive oral history of the diverse and radical movement in German music during the late 60s and 1970s.”

• Alien life is no joke: Adam Frank on combating “the giggle factor” in the search for extraterrestrial life.

• At Colossal: Lauren Fensterstock’s Cosmic Mosaics Map Out the Unknown in Crystal and Gems.

• New music: Ritual (evocation) by Jon Hopkins; Time Is Glass by Six Organs Of Admittance.

• At Unquiet Things: The Gentle, Jubilant Visual Poetry of Tino Rodriguez.

• At Retro-Forteana: Colin Wilson, Philosopher of the Paranormal.

• DJ Food on Jeff Keen’s Amazing Rayday Comic collages.

At Dennis Cooper’s: Alan Clarke Day.

• Krautrock (1973) by Faust | Krautrock (1973) by Conrad Schnitzler | The Kraut (2007) by Stars Of The Lid

Moon and Serpent Rising

Top Shelf announced this one on Friday so I can break my silence about the book I’ve been working on since May 2021. The Moon and Serpent Bumper Book of Magic by Alan Moore and Steve Moore was first announced in February 2007. I’d created the cover design which was used for promotional purposes after which the project went into hibernation for several years. In 2014 Alan and Steve were back at work again, and were co-writing the final essay when Steve died suddenly in March of that year, whereupon the book retreated to limbo once more. Since 2007 my cover has been floating around the internet like the lid for an empty toybox, but the book really is finished at last, and will be published by Knockabout (UK) and Top Shelf (US) in October.

In addition to the cover design I was also slated to be working on two of the book’s internal features: The Soul, a six-part illustrated serial set in the 1920s which evolved out of the occult-detective strip that Alan and I were planning circa 1999; also a series of twenty full-page illustrations for a feature titled Magical Landscapes. When Tony at Knockabout informed me at the beginning of 2021 that the book was being revived I made the audacious suggestion to him and to Alan that I could, if need be, design the whole thing as well as illustrate my own sections. Alan readily agreed, saying he trusted me implicitly, which was good to hear; his sole brief was that the book should be “beautiful and psychedelic”. One reason for his trust is that we’d already made excursions into the Moon & Serpent zone together. I designed three of the Moon & Serpent CDs in the 2000s, and made the video that accompanied the William Blake-themed reading/performance by Alan and co. at the Purcell Room, London, in 2001. Consequently, I’ve often felt like a floating member of the Moon & Serpent cabal.

A couple of things are worth noting now that the book is about to enter the world. The first is that the contents are a little different to the press release from 2007 which announced a book of 320 pages, with 78 of those pages being brand new Tarot card designs. The authors subsequently realised that creating an entirely new Tarot deck is a huge task in itself, especially if, as was the intention, you wanted it to be as wide-ranging and authoritative as the Crowley/Harris Thoth deck. There is a chapter about the Tarot in the finished book but readers will now have to choose decks of their own. I can imagine disappointment being expressed about this, and about some of the other changes but the book as it now stands is actually bigger than the original proposal, with an additional 32 extra pages. The expansion is partly a result of my page design which put fancy borders on all of the text pages. I ended up doing a lot more work for the book than I expected, adding new pages here and there, creating a lot of extra graphics and illustrations, and breaking up the long final essay into sections which are illustrated throughout with small pictures.

Continue reading “Moon and Serpent Rising”

A Wizard with a Pen

The wizard is Mr Alan Moore who celebrated his 70th birthday last month. This piece is my contribution to Alan Moore: Portraits of an Extraordinary Gentleman, a birthday book put together by Smoky Man, curator of the Alan Moore World blog:

This 150-page volume contains short essays, memories and portraits by 50+ contributors including Gary Spencer Millidge (cover), Iain Sinclair (foreword), Peter Hogan (afterword), Paul Gravett, Russell Willis, John Coulthart, Koom Kankesan, Gene Ha, Zander Cannon, Hilary Barta, Jacen Burrows, Eduardo Risso, Hunt Emerson, and more…

100% of the net profits proceed from this book are to be donated to the NGO Doctors Without Borders. (more)

The book is a print-on-demand production via Amazon so anyone interested in a copy should click the above link which will direct you to a regional outlet. I’d have preferred the printing to have avoided Bezos’s feudal empire but the decision wasn’t mine to make.

As for the artwork, after spending the past couple of years looking for examples of the style I refer to as “the groovy look” I’d been itching to do something similar myself. Alan happens to enjoy this look as well—see all those Promethea covers, especially the one for issue 16 which nodded to Peter Max. Alan also likes the Beatles’ psychedelic years so my portrait is a riff on the Yellow Submarine art style: small head, big feet, and the same Kabel typeface they used for the film titles. The garment pattern is the Art Nouveau wallpaper design by André Morisset that I resurrected last year, and which I’ve been using in another project that’s yet to see the light of day. More about that later.

Previously on { feuilleton }
• 32 Short Lucubrations Concerning Alan Moore
• Voice of the Fire by Alan Moore
• The Blake Video
• The Cardinal and the Corpse
• Mapping the Boroughs
• Art is magic. Magic is art.
• Alan Moore: Storyteller
• Alan Moore: Tisser l’invisible
• Dodgem Logic #4

Weekend links 700

Lux in Tenebris (1895) by Evelyn De Morgan.

• “NASA celebrates the worm logo designer, Richard Danne“. Until I read this story (and this one) I wasn’t aware that the NASA logos were known as The Meatball and The Worm.

• The Red Shoes: behind the scenes of the classic Powell and Pressburger film – in pictures. Related: Kings of the movies: Martin Scorsese on Powell & Pressburger.

• The 700th weekend post happens to arrive on Alan Moore’s 70th birthday. Many happy returns to the Northampton Magus.

Fundamentally, we face a choice. Either:

• it’s a coincidence that, of all the possible values that the finely tuned constants of physics may have had, they just happen to have the right values for life;

or:

• the constants have those values because they are right for life.

The former option is wildly improbable; on a conservative estimate, the odds of getting finely tuned constants by chance is less than 1 in 10^-136. The latter option amounts to a belief that something at the fundamental level of reality is directed towards the emergence of life. I call this kind of fundamental goal-directedness ‘cosmic purpose’.

As a society, we’re somewhat in denial about fine-tuning, because it doesn’t fit with the picture of science we’ve got used to. It’s a bit like in the 16th century when we started getting evidence that our Earth wasn’t in the centre of the universe, and people struggled to accept it because it didn’t fit with the picture of the universe they’d got used to. Nowadays, we scoff at our ancestors’ inability to follow the evidence where it leads. But every generation absorbs a worldview it can’t see beyond. I believe we’re in a similar situation now with respect to the mounting evidence for cosmic purpose. We’re ignoring what is lying in plain view because it doesn’t fit with the version of reality we’ve got used to. Future generations will mock us for our intransigence.

Philip Goff, professor in philosophy at Durham University, making an argument for cosmic purpose

• At Spoon & Tamago: Exploring Japanese Hell through art from the 12th to 19th century.

• New music: Turning The Prism by Ben Frost, and Sanctuary Of Desire by Steve Roach.

• Mix of the week is DreamScenes – November 2023 at Ambientblog.

• DJ Food looks at Tomi Ungerer’s Electric Circus posters.

• At Dennis Cooper’s: Alain Resnais Day.

• Strange Flowers visits the Villa Stuck.

• Diet Of Worms (1979) by This Heat | Opera Of Worms (1981) by Van Kaye & Ignit| Wormhole (2002) by Cliff Martinez