In the footsteps of The Soul

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Adeline Carr, aka “The Soul”, wandering through the streets of Holborn while worrying about her future. Her dress is an Erté creation with curiously complicated sleeves.

After checking out of my Bloomsbury hotel on Saturday morning I decided to walk over to the nearby Atlantis Bookshop, London’s oldest occult bookseller, which is located in Museum Street close to the British Museum. I know the shop well but this visit was different since the route would take me past a number of locations mentioned in the fiction serial which runs throughout the Moon and Serpent Bumper Book of Magic.

The Dweller in the Abyss is a story about “The Soul”, a young woman in the 1920s who was originally going to be a kind of occult investigator for a comic series Alan Moore and I were planning for ABC in the late 1990s. This didn’t work out for a variety of reasons but The Soul has been reborn in the new book, with her character reinvented in order to demonstrate the personal evolution of a neophyte entering the world of magic. Adeline Carr, “The Soul”, is an artist’s model who lives in the first-floor flat above the Atlantis shop. I won’t go into detail about the story, the whole thing needs to be read with the complementary material surrounding it, but Adeline’s wanderings around this quarter of the city take her to a number of well-known locations which you can visit today, and which I illustrated to a greater or lesser degree.


1: Russell Square

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The first location I encountered—although my drawing of it appears near the end of the story—is the park in Russell Square, one of two such parks in the Bloomsbury area. It was raining on the morning I was there but Adeline’s walk through the park takes place on a sunny spring afternoon. The real place is rather more wooded than I showed it (there are more trees on the page which faces this one) but artistic licence is in operation here, and the park has been reorganised once or twice since the 1920s.

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2: The British Museum

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The next location is one I didn’t photograph, the British Museum. If it hadn’t been raining I might have walked through the gates to get a corresponding shot of the portico but the rain was heavier at this point and a large mass of umbrella-wielding tourists were crowding the entrance.


3: Museum Street

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Into Museum Street and the Atlantis shop where the Bumper Book of Magic is visible in the window! This view shows the windows above the shop where Adeline lives. (Adeline’s windows aren’t a precise match but artistic licence again… Also, windows get replaced, especially after the wartime bombing that London endured.) The shop hadn’t opened yet so I walked round the corner into Bloomsbury Way to face the imposing bulk of Nicholas Hawksmoor’s church.

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4: St George’s, Bloomsbury

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To date, this building and Christ Church, Spitalfields, are the only Hawksmoor churches I’ve visited in person. The church is an important location in Adeline Carr’s journey into magic, being the place where her spiritual revelations begin and reach their eventual climax. The pyramid-capped tower looks slightly different to the one I was drawing. The steeple, which is based on Pliny’s description of the Mausoleum of Halicarnassus, was originally decorated at its base with statues of lions and unicorns but these were removed during a restoration of the building in the 1870s. Like many London buildings, the church suffered from the ravages of neglect, wartime bombing and air pollution during the 20th century (Hawksmoor’s St John, Horsleydown, was destroyed entirely during the Blitz). Restoration of St George’s began in the late 1990s, a process which included the return to the steeple of the missing lions and unicorns. (See this website.) Visiting the place this time I was hoping to get a view of the tower from the passage that runs along the side but the gate to this was locked. You can, however, see the church from the rear via a narrow road where the steeple rises over the dingy back rooms which fill out the plot.

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5: The Atlantis Bookshop

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And so to the Atlantis shop again. It was a genuinely magical moment seeing the book in the window after spending so much time thinking about this very location and the events that take place in the flat above. By coincidence (or is it? etc), the book sitting next to it is by Gary Lachman who I’d been with the previous evening for the book launch. After the shop had opened I talked for a while with the proprietors, showing them the place on page 39 of the Bumper Book where their establishment is mentioned. The Atlantis isn’t the only occult bookshop in London (or even the only one in Bloomsbury…Treadwell’s is nearby) but if you’re in London it should be your first port of call if you’re looking for a copy of the Bumper Book.

The Atlantis Bookshop

Previously on { feuilleton }
Moon and Serpent Rising
Serious houses: The Lud Heat Tapes, 1979
London churches of the XVIIth and XVIIIth centuries
The Cardinal and the Corpse
Terror and Magnificence

Weekend links 697

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The Haunted Room, Painted at a Farmhouse on Exmoor (1952) by Alfred James Munnings.

• “In Scotland, children made terrifying jack-o’-lantern turnips and piled cabbage stalks around doors and windows, baiting fairies to bring them new siblings.” It’s that time of year again. Public Domain Review looks at The Book of Hallowe’en (1919) by Ruth Edna Kelley.

• At Wormwoodiana: Mark Valentine on the centenary of Visible and Invisible, EF Benson’s collection of horror stories.

• At Dennis Cooper’s: DC’s ostensibly favourite haunted attractions of Halloween season 2023 (international edition).

Mostly it was down to the environments of their sound. The aerial acrobatics of Fraser’s voice. The architecture of sound that came from Guthrie’s effects-treated guitars; not just the often-cited often-derided ‘cathedrals of sound’ but all manner of sunken ballrooms, tunnels, factories, attics, foundries, observatories, caverns. If any category was required, Cocteau Twins could have been placed within Symbolism, a hallucinatory death-rattle of romanticism in the industrial age, when all that had been discarded returned in dreams and decadence, orgiastic excess, disembodied spectral heads and ornate altars, lonely demons and alluring succubi, jewels and masks and apparitions, all the minutiae of things that the steam engine and the printing press had yet to fully exorcise.

Darran Anderson on the Cocteau Twins’ Head Over Heels at 40. His digs at the music press are a welcome riposte to the nostalgia that often attends discussion of the weekly snark-machine that was the NME, Sounds et al in the 1980s

• Follow the footsteps of the Beast in a guide to Aleister Crowley’s British haunts, with text by Gary Lachman and design by Michelle Merlin. Also at Herb Lester: Occult Paris: City of Night.

• At Print Magazine: Charlotte Beach talks to illustrator and author Edward Carey about his spooky drawings.

• “Silent movies are full of friendly ghosts.” Kathleen Rooney on Caspar, Colleen [Moore] and the Beyond.

• New music: Mizuniwa by Yui Onodera.

Spooksville (1963) by The Nu-Trends | Spooks (1981) by Tom-Tom Club | Spooky Rhodes (1997) by Laika

Weekend links 431

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Postcard collage by Alex Eckman-Lawn.

• “He deserves to be a major figure not only in the history of Japanese music, but in popular music writ large.” Geeta Dayal on Haruomi Hosono, a musician whose solo albums from the 1970s are reissued this month by Light In The Attic.

Erica X Eisen reviews Black Light: Secret Traditions in Art since the 1950s, an exhibition of occult art at the Barcelona Contemporary Culture Centre. Related: Gary Lachman‘s talk from the same exhibition.

• Mixes of the week: Jesús Bacalão’s Light Entertainment Programme 2, Secret Thirteen Mix 265 by Alexander Tucker, and FACT Mix 672 by Rian Treanor.

Whenever horror is criticised, it is criticised for staging a dark carnival of physicality. Perhaps the only sort of media we moralise more than we do horror is that other mainliner of bodily response, pornography.

Horror’s historical ghettoisation has meant that weightier, smarter horror reliably gets labelled as something else. The finest films of our current golden age have been dubbed “elevated horror” and “post-horror”. In literary circles, works of horror seen as sufficiently cerebral get relabelled “Gothic”. It’s certainly true that great horror is always about more than gore. But we should be careful not to gentrify the genre by cleansing it of everything but the philosophy.

MM Owen on the perennial attractions of a perennially despised genre

• “Netflix is a woeful service,” says Jeremy Allen who prefers DVD/Blu-ray to streaming video (as do I). Related: The problem with film aspect ratio on Netflix.

• The Thought Gang album, a Twin Peaks-related collaboration between David Lynch & Angelo Badalamenti from 1993, will be released next month.

Tangerine Dream: Sound From Another World: a TV documentary from 2016. In German but with auto-translated subtitles.

The Thing’s Incredible! The Secret Origins of Weird Tales by John Locke.

Haute Macabre Staff Favorites: Tarot Decks

First Light (1980) by Harold Budd & Brian Eno | Blue Light (1993) by Mazzy Star | Black Light (1994) by Material

Weekend links 412

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Lovecraft: The Myth of Cthulhu, an English-language edition of three comic-strip adaptations by Esteban Maroto, is now available from IDW.

The Coffin House, a short story by Robert Aickman that’s a taster for the new Aickman collection, Compulsory Games. Anwen Crawford wrote an introduction to Aickman’s world of “strange stories” for The New Yorker. Related: Victoria Nelson, editor of the new collection, chooses ten favourite horror stories.

• German music this week at The Quietus: Sean Kitching talks to Irmin Schmidt about his years with Can; and there’s an extract from Force Majeure, an autobiography by the late Edgar Froese, writing about the early days of Tangerine Dream.

• More German music at Carhartt WIP: a lengthy and revealing interview with guitarist Michael Rother about his time as one half of Neu!. There’s also a bonus Neu!-themed mix (and one of the mixes of the week) by Daniel Miller.

• From October last year, a Stereoklang interview with master synthesist Hideki Matsutake (Logic System, Yellow Magic Orchestra, et al).

• “When did you first get interested in esoteric studies?” Gary Lachman interviewed at The Astral Institute.

• At Sweet Jane: early illustrations by Wojtek Siudmak for Plexus magazine, 1969.

• 87 prints and drawings by MC Escher in zoomable high-resolution.

• Meet the Small Press: James Conway of Rixdorf Editions.

• Mix of the week: Goodbyes & Beginnings by Zach Cowie.

Derek Jarman on the trouble with shopping for clothes.

Person To Person (1981) by Logic System | Plan (1981) by Logic System | Prophet (1981) by Logic System

Weekend links 349

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• Before Stanley Kubrick fixed an image of Alex and his droogs in the popular imagination, artists could get away with playing on the threat of biker gangs as Wilson McLean does in this vaguely psychedelic cover from 1969. (McLean’s interpretation may possibly derive from a 1965 edition.) LibraryThing has a collection of Clockwork Orange covers from around the world which run the gamut of cogs, orange hues and variations on David Pelham’s famous Penguin design from 1972. Meanwhile, AL Kennedy celebrates 100 years of Anthony Burgess by examining the writer’s career as a whole, although the web feature still manages to get a photo of Malcolm McDowell in there.

• “Even bad books can change lives,” says Phil Baker reviewing The Outsider by Colin Wilson and Beyond the Robot, a Wilson biography by Gary Lachman. I wouldn’t call The Outsider a bad book but Wilson’s more wayward opinions (and later works) are best treated with scepticism.

• “Murtaugh refers to his subject’s ‘pervasive sense of doom’ and Welch himself speaks of ‘the extraordinary sadness of everything.'” David Pratt reviewing Good Night, Beloved Comrade: The Letters of Denton Welch to Eric Oliver, edited by Daniel J. Murtaugh.

• At The Quietus this week: Tinariwen bassist Eyadou Ag Leche is interviewed by Richie Troughton, Jane Weaver unveils a new song from her forthcoming album, Modern Kosmology, and Danny Riley explores the strange world of Ben Chasny.

• “A micro-history of cultural gatekeeping: once told by the censors what we may read, then by critics what we should, we are now told merely what we can read.” Ben Roth writing against the use of “readability” as a literary value.

• Yayoi Kusama’s amazing infinity rooms are at the Hirshhorn Museum and Sculpture Garden, Washington DC, until May. For the rest of us, Peter Murphy’s panoramic photo is still online.

• More music: my friends Watch Repair have become visible enough to be interviewed by an Argentinian website. The group’s Bandcamp page recently made three new releases available.

• Yet more music: They Walk Among Us, a new song and video by Barry Adamson, and Anymore, a new song and video by Goldfrapp.

• Earth and The Bug announce Concrete Desert, a collaborative album inspired by Los Angeles and the fiction of JG Ballard.

• Bad Books for Bad People: Episode 7: The Incal – Epic French Space-Opera Comics.

• Mixes of the week: FACT Mix 589 by Aisha Devi, and Secret Thirteen Mix 212 by Qual.

Eduardo Paolozzi‘s forays into fashion and furnishings.

Cooking with Vincent [Price]

Moroccan Tape Stash

• Tin Toy Clockwork Train (1986) by The Dukes Of Stratosphear | Clock (1995) by Node | Clockwork Horoscope (2009) by Belbury Poly