Weekend links 765

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An Ideal Life (1950) by Leonor Fini.

• “…there has not been anything like a general, systematic discussion of what other, semantically different kinds of languages there can be, and the philosophical consequences of this. If reality has a certain structure, it would be a miracle if familiar languages contain all the resources to capture this structure.” Matti Eklund on the potential nature of alien languages.

• “As cats evolved from feral ratters into beloved Victorian companions, a nascent pet-food economy arose on the carts of so-called ‘cat’s meat men’. Kathryn Hughes explores the life and times of these itinerant offal vendors, their intersection with a victim of Jack the Ripper, and a feast held in the meat men’s honour, chaired by none other than Louis Wain.”

• Kinoteka, the UK’s Polish Film Festival, revealed its 2025 programme this week. Among the events will be a screening of the new Quay Brothers film, Sanatorium Under the Sign of the Hourglass (extract), at BFI Imax in London. Also in London (and with free entry), Swedenborg House will be hosting an exhibition of the Quays’ film decors.

• In a recent comment here I said that some of Charles Williams’ metaphysical novels were like John Buchan thrillers with an occult twist. At Wormwoodiana G. Connor Salter investigates the possible connections between the two writers.

Alice Coltrane & Carlos Santana, 1974: Lossless downloads of previously unissued recordings from the Illuminations album and a live set with John McLaughlin at San Francisco’s Kabuki Theater.

• “‘The Köln Concert is the hit he wants to disown’: why Keith Jarrett shunned two new films about his unlikely masterpiece.”

• New music: Shards by Tim Hecker; and Some Other Morning by Memory Effect.

• Mix of the week: DreamScenes – February 2025 at Ambientblog.

• At Colossal: Outdoor light installations by Lachlan Turczan.

• Galerie Dennis Cooper presents…Paul Laffoley.

Cat’s Eye (1977) by Van Der Graaf | Cat’s Eye (2015) by Patrick Cowley | No Cat’s Eyes (2017) by The Belbury Circle

Weekend links 762

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Aquarius from the 1971 Astrologicalendar by Peter Max. Via.

AOS of London: Psychogeographia Zosiana is a map guide to the London of Austin Osman Spare with accompanying illustrations by Ben Thompson. The book also contains an interview transcript in which Alan Moore talks about the importance of Spare’s work, and a contextual history by Gavin W. Semple.

Emigre was “…a (mostly) quarterly magazine published from 1984 until 2005 in Berkeley, California, dedicated to visual communication, graphic design, typography, and design criticism.” The magazine ran for 69 issues which can be downloaded here.

• “The ultimate reason for initiating something ambitious is not to fulfill certain notions but to find out what surprises might emerge.” Stewart Brand, quoted in a long read by Alec Nevala-Lee about the Clock of the Long Now.

• At the Criterion Current: David Hudson on David Lynch’s life and work, an overview of the reaction to last week’s news. I was surprised to find my comments about Alan Splet included in the collection.

• At Wormwoodiana: Mark Valentine on the connections between Charles Williams’ The Place of the Lion and an obscure piece of fiction (or is it?) by Ruaraidh Erskine.

• At Public Domain Review: Illustrations by Jay van Everen from The Laughing Prince: A Book of Jugoslav Fairy Tales and Folk Tales (1921).

• At Colossal: Beguiling botanicals fluoresce in Tom Leighton’s otherworldly photographs.

• New music: Glory Fades by Yair Elazar Glotman & Mats Erlandsson.

• Old music: Cités Analogues by Lightwave.

• At Dennis Cooper’s: Georges Perec Day.

The Clock Strikes Twelve (1959) by Bo Diddley | Clock Factory (1993) by The Sabres Of Paradise | Clock (1995) by Node

Weekend links 757

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The Breath of Creation (c. 1926–34) by Olga Fröbe-Kapteyn.

• At Wormwoodiana: “…Gresham was well-read enough to know that while magic can be more than a MacGuffin in a fantasy story, neither fantasy nor thriller fiction lets magic unsettle readers much. […] Even when it is good, the supernatural is never safe in a Williams story. Not conventional fantasy by half.” G. Connor Salter on William Lindsay Gresham’s enthusiasm for Charles Williams’ novels.

• At Harper’s Magazine: Christopher Tayler reviews Lawrence Venuti’s translations of Dino Buzzati’s Il deserto dei Tartari (now titled The Stronghold) which was published last year, and The Bewitched Bourgeois: Fifty Stories which will be out in January.

Dennis Cooper’s favourite fiction, poetry, non-fiction, film, art, and internet of 2024. Thanks again for the link here!

• The Approach to J.L. Borges: A Borgesian pastiche in homage to the creator of Ficciones by Ed Simon.

• “HP Lovecraft meets Fafhrd and The Grey Mouser”: an essay from 1992 by Fritz Leiber.

Can performing live on The Old Grey Whistle Test in January, 1974.

• DJ Food says “Let’s have some psychedelia”.

• RIP Zakir Hussain.

Creation Dub 1 (1977) by Lee Perry & The Upsetters | Threat To Creation (1981) by Creation Rebel/New Age Steppers | Theme from ‘Creation’ (1992) by Brian Eno

The Magic Shop, a film by Ian Emes

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An illustration by Arthur Wallis Mills from The Strand Magazine, June, 1903.

I had not thought the place was there, to tell the truth—a modest-sized frontage in Regent Street, between the picture shop and the place where the chicks run about just out of patent incubators—but there it was sure enough. I had fancied it was down nearer the Circus, or round the corner in Oxford Street, or even in Holborn; always over the way and a little inaccessible it had been, with something of the mirage in its position…

Despite writing about an HG Wells adaptation only a week ago I hadn’t gone searching for more of them when this one turned up anyway, rather like Wells’ mysterious shop. I’d actually been looking at the filmography of the late Ian Emes, a director best known for the short animations he made for Pink Floyd’s concerts, although his career encompassed animated shorts like The Beard as well as longer films for television and the cinema. The Magic Shop, which was made in 1982, looks as though it might have been another of those shorts that used to be programmed as supporting titles for first-run features in British cinemas. Andrew Birkin’s Sredni Vashtar was one of these, a film which is also under 30 minutes in length and an adaptation of a popular piece of Edwardian fiction.

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HG Wells’ story was first published in The Strand Magazine in June 1903 then collected in Wells’ Twelve Stories and a Dream a few months later. It’s been one of my favourite Wells stories since I first read it at the age of 11, as I mentioned in this review of the 1964 TV version. Wells’ fantasy reached me just as I was beginning to get very interested in conjuring tricks. I’d also been reading Victorian ghost stories in the reprint collections being published by Puffin and Lion, so a story about a shop that sold magic tricks, where the premises and proprietor had a slightly sinister quality, was exactly the kind of thing I wanted to read.

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Ian Emes’ adaptation is a more successful Wells film than The Door in the Wall, and a much better adaptation of the story itself than the attempt to update the tale for The Alfred Hitchcock Hour, but Emes still doesn’t really capture the spirit of the story. The main flaw is that the actor playing the boy who wants to explore the shop is too old for the role. The narrator’s son in the story is around five or six years old, and much of the tension in the telling comes from the way that the boy sees everything that’s happening as delightful and magical while the father experiences rising alarm at the unfolding events and the situation in which the pair find themselves. The second half of the story, in which father and son are led by the shopowner into the labyrinthine warehouse behind the shop, is also lacking. Emes’ production may have been compromised by its budget but there’s no sign of the surprises that you might have expected to be filmed by a former animator. Derek Jarman regular Karl Johnson plays the father, Ron Cook is the shopowner, and there’s a cameo near the beginning from William Rushton as the man whose whining son is denied admittance to the shop. (Rushton had earlier provided the voice of the afflicted shaver in The Beard.) At the end of Emes’ film father and son find themselves teleported to what looks like a back street somewhere near the river instead of being returned to a busy London street. This reminds me that the first time I visited Regent Street myself at the age of 13 I had half a mind to go looking for the “Genuine Magic Shop”—or to try and identify the place where it might have been. The elusive nature of Wells’ establishment makes it the forerunner of the chemist shop owned by the malevolent Grail-seekers in Charles Williams’ War in Heaven, which makes me wonder now whether Williams borrowed the idea from Wells.

Ian Emes’ film may be seen at his Vimeo channel (log-in required, or you can use the Vimeo app). The story can be found in a collection of fifty-four of Wells’ short stories at Standard Ebooks, the home of free, high-quality, public-domain texts.

Previously on { feuilleton }
The Door in the Wall, 1956
Claude Shepperson’s First Men in the Moon
The Beard, a film by Ian Emes
Uncharted islands and lost souls
Doctor Moreau book covers
The Island of Doctor Moreau
Harry Willock book covers
The Time Machine
The Magic Shop by HG Wells
HG Wells in Classics Illustrated
The night that panicked America
The Door in the Wall
War of the Worlds book covers

Weekend links 563

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Cover art by Jeffrey Schrier for the 1975 reissue of Zero Time by Tonto’s Expanding Head Band.

• RIP Malcolm Cecil, electronic musician, and producer of Stevie Wonder, among many others. The term pioneer is over-used when discussing electronic artists, but it’s an accurate one when applied to Cecil and his partner in Tonto’s Expanding Head Band, Robert Margouleff. The first Tonto album, Zero Time (1971), was a collection of fully-realised all-electronic compositions recorded in the days when “electronic music” in the rock sphere usually meant rock-band-plus-synth-burbles. As I said in a post about Tonto’s debut album a few years ago, “Jetsex sounds like an outtake from Kraftwerk’s Autobahn (albeit three years early) while Timewhys wouldn’t have been out of place on The Human League’s Travelogue album almost a decade later”. Cecil may be seen in this short film showing off the bespoke synth gear that comprised The Original New Timbral Orchestra (aka TONTO), while he talks at length about his career in issue 4 of Synapse magazine here. Cecil and Margouleff parted company in the mid-70s shortly after releasing a second album, It’s About Time (1974), a collection of jazzy instrumentals that’s overdue a proper reissue.

• “Every film production company they showed it to said it was ‘too weird’ to ever be made. ” Next month Strange Attractor publishes The Otherwise, a script by Mark E. Smith and Graham Duff for an unmade horror film.

• More horror: Predator’s Ball by Uni; music video as horror scenario in which you can play spot-the-reference: Alice in Wonderland, Rocky Horror, Leigh Bowery (?), Pasolini’s Salò (?)…

• At Bibliothèque Gay: Narkiss by Jean Lorrain, another homoerotic classic newly translated into Spanish, and with new illustrations.

• The week in Gary Panter: Nicole Rudick on Gary Panter’s Punk Everyman, and the man himself writing about his life and art.

• At Wormwoodiana: Mark Valentine investigates the connections between Charles Williams and Sax Rohmer.

• At Dangerous Minds: New Age Steppers, “the only ever post-punk supergroup”.

• Mix of the week: XLR8R Podcast 689, a feast of funk compiled by Steve Arrington.

• At Public Domain Review: Agostino Ramelli’s Theatre of Machines (1588).

• At Dennis Cooper’s: Pier Paolo Pasolini Day.

Valentina Magaletti’s favourite music.

Louvre site des collections

Narcissus Queen (1958) by Martin Denny | Narciso (1974) by Pierrot Lunaire | Narkissos (2006) by Sadistic Mikaela Band