Compass Road by Iain Sinclair

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I was hoping to get my delayed 2011 calendar launched today but other work needed completing so here’s an interim post.

Think of your journey through mortality as a sequence of valid movies and the pain is ameliorated. Forget the tedious 60-minute division of the lecture hall or dead television (quartered by adverts): arrange just enough markers for the 90-minute slots of Golden Age cinema. And then it’s only a question of nominating the eight guides, culture-figures who will dominate your thoughts (and reveries) for as long as you stay upright. The road is endless, you aren’t. Iain Sinclair

There may be a recession on but people still keep putting out the luxury goods; maybe the bankers are buying all this stuff with their unwarranted bonuses. Compass Road is a limited edition wristwatch from Mr Jones Watches, London, and sports a design commissioned from writer Iain Sinclair, a somewhat surprising choice given that these things are more usually farmed out to those individuals we have to call celebrities. Sinclair is too intelligent and interesting to be a mere celebrity and consequently designs a watch I’d probably buy if I had an excessive income. The watch middle and the hands are based on the British road signs designed by Margaret Calvert and Jock Kinneir while the typeface used for the compass points is Calvert and Kinneir’s Transport (below) which is also used across Britain’s road signs. For the destinations Sinclair has chosen eight writers with London associations: John Clare, Gerald Kersh, Bram Stoker, Joseph Conrad, William Blake, HG Wells, JG Ballard and Louis-Ferdinand Céline. The last seems an odd choice but he did work in London for a while.

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Sinclair’s design is a flexible enough to be applied to other literary cities which raises the question of which names you’d choose for Paris, say, or New York. And which signage systems? Subways or the local roads? Compass Road meanwhile can be yours for £145.

Haschisch Hallucinations by HE Gowers

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The Spirit of “Haschisch” by Sidney Sime.

Once upon a time, the discussion of drugs in British society wasn’t characterised by hysteria, paranoia and the repetition of falsehoods, but could encompass an open-minded curiosity. This is easier to do, of course, when the narcotics in question haven’t been subject to prohibition; it also helps if some of those narcotics have medicinal uses, as was frequently the case. The following article by HE Gowers, with illustrations by Sidney Sime, was published in The Strand Magazine for December 1905, a periodical famous for giving the world the adventures of the cocaine-using Sherlock Holmes. Also in issue 180 was an extract from Arthur Conan Doyle’s Sir Nigel (a turgid historical drama which the author bizarrely considered to be his masterpiece), The Adventure of the Snowing Globe by illustrator Warwick Goble, and Empire of the Ants, a chilling tale by HG Wells.

I was reminded of the Gowers piece earlier this week when Golden Age Comic Book Stories posted a selection of Sidney Sime’s Lord Dunsany illustrations. As well as working as a book illustrator, Sime was a regular contributor to magazines like Pall Mall and The Idler, and I’m fortunate to have a number of those otherwise unreprinted works in a scarce small-press collection which appeared in the 1970s. Sime’s illustrations here are taken from that volume which also included the partial text of the Gowers piece. With some searching around I was able to find the rest of the article and stitch the whole thing together. What’s nice about this essay is that the writing is for once as interesting as the illustrations; with Victorian and Edwardian magazines this isn’t always the case. Sime spent much of his life drawing unusual scenes but here he has a tough job to match the outré descriptions of what we’d have to class as episodes of Edwardian psychedelia. With the exception of Maurice Richardson’s Engelbrecht stories, this kind of outright weirdness wouldn’t be found in a British magazine for another sixty years.

*   *   *

HASCHISCH HALLUCINATIONS by HE Gowers

Illustrations by SH Sime

IN the eleventh century lived a fanatical Syrian sect who, under the intoxicating influence of haschisch, a native preparation of a plant called Indian hemp, committed many secret murders and fought recklessly against the Crusaders.

To-day many natives of Eastern lands fortify themselves with some form or the other—haschisch, bhang, gunjah, or churrus—of this drug. It has been repeatedly used in modern European medical practice, without, however, very consistent or satisfactory results.

A small dose of Indian hemp produces a feeling of cheerfulness and gives an increase of appetite; an overdose gives rise to strange errors of perception as to time and place, the patient’s heart-beats are much accelerated, intense thirst is generated, and often hallucinations of a most strange nature follow.

Mr. Bayard Taylor, in “Lands of the Saracen,” gives a graphic description of the effects produced on his travelling companion, Mr. Carter Harrison, and himself by a teaspoonful of paste made from a mixture of the dried leaves of cannabis indica (Indian hemp), sugar, and spices. About four hours after the haschisch was taken Mr. Harrison suddenly shrieked with laughter, and exclaimed excitedly:—

“Oh, ye gods! I am a locomotive!”

And then for over two hours he continued to pace to and fro the room in measured strides, exhaling his breath in violent jets, and when he spoke dividing his words into syllables, each of which he brought out with a jerk, at the same time turning his hands at his sides, as if they were the cranks of imaginary wheels.

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“He was moving over the desert in a barque of mother-of-pearl.

Mr Taylor’s hallucination was of a far more varied nature. He fancied himself at the foot of the pyramid of Cheops. He wished to ascend it, and was immediately at the top. Looking down, it seemed to be built out of plugs of Cavendish tobacco. Then other and stranger illusions followed. He was moving over the desert in a barque of mother-of-pearl, studded with jewels of surpassing size and lustre, and soon reached a waterless land of green and flowery lawns, where honey was drawn up in dripping pitchers. Later, when the drug began to make itself more powerfully felt, the visions were more grotesque and of less agreeable nature. His body seemed twisted into various shapes, and yet he had to laugh; his mouth and throat were as dry as if made of brass; his tongue seemed a bar of rusty iron. The excited blood rushed through his frame with a sound like the roaring of mighty waters; it was projected into his eyes so that he could not see, and beat thickly in his ears. His heart seemed bursting. He tore open his vest and tried to count the pulsations; but there were two hearts beating, one at the rate of one thousand beats per minute, the other with a slow, dull motion. Finally, he slept for thirty hours.

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“All the menageries of monstrous dreams, trotted, jumped, flew or glided through the room.”

Another great traveller in the East, according to Théophile Gautier, says that after a large dose of haschisch, two images of each object were reflected on each retina and produced a perfect symmetry. Then all kinds of Pantagruelic dreams passed through his fancy. Goatsuckers, storks, striped geese, unicorns, griffins, nightmares, all the menageries of monstrous dreams, trotted, jumped, flew or glided through the room. He saw horns terminating in foliage; webbed hands; whimsical beings, with the feet of his armchair for legs and dial-plates for eyeballs; enormous noses, dancing the cachuca while mounted on chicken legs. He imagined he was the parakeet of the Queen of Sheba, and imitated, to the best of his ability, the voice and cries of that bird. Then, with inconceivable rapidity he sketched these gruesome creatures on the backs of letters, cards or any handy piece of paper. He found, when the effects of the drug were past, that one of his frantically-drawn sketches bore the inscription: “An animal of the Future.” It represented a living locomotive with a swan’s neck terminating in the jaws of a serpent, whence issued jets of smoke, with two monstrous jaws composed of wheels and pulleys; each pair of jaws had a pair of wings, and on the tail of this fearsome creature was seated the Mercury of the ancients.

“Take care; you’re spilling me!” emphatically exclaimed another experimenter, Mr. S.A. Jones, a few hours after taking ten grains of haschisch.

“What’s the matter, old man?” asked the friend who was with him in his bedroom.

“Stupid, you’ll spill me! Can’t you see I’m an inkstand, and that you’ll have the ink all over the white counterpane?”

And for an hour, in the person of an inkstand, he opened and shut his brass cover—it had a hinge—shook himself, and both saw and felt the ink splash against his glass sides.

One of the most common effects of haschisch, previously mentioned, is to make everything appear a great way off, and a few seconds seem so many hours, or even weeks. Among the many strange illusions experienced by Mr. Shirley Hibbard, these distorted ideas of time and distance play a prominent part. He says that his room became larger and larger, and the skulls of animals that ornamented his study walls became colossal, and seemed monsters of the oolitic age. He seemed to have been staring at them for years, but after looking at his watch and finding that he had been under the influence of the drug but twenty minutes, the illusion was temporarily dispelled… Then suddenly the watch began to expand, and ticked like the pulsations of a world. He seized a pencil with the intention of taking notes, but his limbs became convulsed, his toes shrank within his slippers, his fingers became the long legs of a convulsed spider, and the pencil dropped with a thunder-like crash. He looked out of the window and beheld a sublime spectacle. The horizon was infinitely removed; the sunset had marked it out with myriads of fiery circles, revolving, mingling together, expanding, and then changing into an aurora which shot up into the zenith and fell down in sparks and splashes among some trees, which became brilliantly illuminated. The landscape continued to expand. The trees shot higher and higher until their mingled branches o’erspread the gradually-darkening sky. With a mighty effort of will, he managed to look at the watch again, and discovered that only twenty-five minutes had passed.

He screamed: “Twenty-five minutes, twenty-five days, twenty-five months, twenty-five years, twenty-five centuries, twenty-five aeons. Now I know it all. I have discovered the elixir of life; I shall live for ever.”

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“The cup seemed a huge tankard, beautifully chased all over with dragons.”

As his heart was beating very fast he tried to count his pulse. The throbs were like the heaving of mountains; as he counted “One, two, three,” they became “One, two, three centuries,” and he shrieked at the thought of having lived from all eternity and of going to live to all eternity in a palace of coloured stalactites, supported by shafts of emerald resting on a sea of gold… A servant brought him a cup of coffee. He says the cup seemed a huge tankard, beautifully chased all over with dragons that extended all round the world. The girl appeared to stand for an hour smiling and hesitating where to place the cup, as the table was strewn with papers. He then removed a few papers, and heaved a sigh that dissipated the dragons and made odours fall in showers of rain; the servant put down the cup with a crash that made every bone in his body vibrate as if struck by ten thousand hammers. The maid stood aghast, and her rosy face expanded to the size of a balloon, and away she went like lightning while he stood applauding in the midst of thousands of fairy lamps, which he noticed were glow-worms. He drank the coffee, which caused sensations of insupportable heat, and found that forty minutes had gone by since he took the haschisch. He then went to bed—a difficult undertaking, as his legs seemed so very long. On undressing, his clothes flew away into space. As he got into bed it extended, and his body covered the whole earth. Then followed a sense of indescribable pain all over his body; his skin seemed to move to and fro upon his flesh, his head swelled to an awful size, and, finally, his body parted in two from head to foot… Unlike most persons Mr. Hibberd felt in his usual good health the next morning.

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“He distinctly saw within himself the drug he had chewed.”

As will have been noticed from the last experience the intoxicating effect of haschisch is not continual; but, like madness, has its short lucid intervals. The doctor whose sensations are described below says that his attack was easily divisible into three stages, each increasing in strength and weirdness, and that there was a brief period of comparative sanity between each.

He distinctly saw within himself the drug he had chewed: it looked like an emerald, from which thousands of sparks were emitted. His eyelashes grew rapidly, and when about two feet long twisted themselves like golden threads around little ivory wheels, which whirled rapidly. Half animals and half plants his friends appeared; and a pensive ibis standing on one leg addressed a discourse on music in Italian, which the haschisch delivered in Spanish. Later, after a clear interval, his hearing was wonderfully developed. He could hear the sound of colour—green, red, blue, and yellow sounds struck his ear with perfect distinctness. For fear of razing the walls and bursting like a bomb he dared not speak. More than five hundred clocks (in reality, one) chimed the hour. He swam in an ocean of sound, wherein beautiful passages from the operas floated like islets of light. He felt as a sponge in the midst of the sea; every instant waves of happiness washed over him, entering and departing through his pores, for he had become permeable, and even to the smallest capillary vessel his whole being was filled with the colour of the fantastic medium in which he was plunged… According to his calculations this stage must have lasted three hundred years, for the sensations succeeded each other so rapidly and potently that the real appreciation of time was impossible. When the attack was over he found that it had lasted just a quarter of an hour! •

The Strand Magazine, 1905.

Elsewhere on { feuilleton }
The illustrators archive

Previously on { feuilleton }
Demon rum leads to heroin
Sidney Sime and Lord Dunsany
HP Lovecraft’s favourite artists
German opium smokers, 1900

Steampunk overloaded!

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Yes, it’s the “S” word again, and if there was any doubt that this has been the Year of Steampunk here at Coulthart Towers, look at these recent works. And this is by no means everything I’ve been doing in this area, there’ll be further announcements later on.

The covers for KW Jeter’s novels are a pair of reprintings from UK publisher Angry Robot whose books will shortly be available in the US and Canada. Jeter is now famous—infamous, perhaps—for having given the word “steampunk” to the world in the early 1980s. This was intended as a jest after he and a couple of other writers (including a favourite of mine, Tim Powers) had written a number of science fiction novels set in the 19th century; like many light-hearted neologisms, it gained a life of its own. Angry Robot are reissuing two of these early works as a result of the ongoing steampunk explosion.

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Morlock Night (1979) is a pulpy affair which sees the Morlocks from HG Wells’ The Time Machine using the Time Traveller’s vehicle to return to Victorian London and wreak no end of havoc. Infernal Devices (1987) is a rather more substantial confection involving a great deal of clockwork mechanisms (for once the clock parts are justified!), automata, fish people, and a device capable of destroying the earth. I’ve been producing a lot of engraving collage à la Ernst and Sätty recently but the technique seemed especially appropriate here as a means of illustrating works which themselves are collages of Victorian motifs.

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Meanwhile, over at Tachyon Publications, there’s this cover for another Victorian adventure, two in fact, from master beserker Joe R Lansdale. Flaming Zeppelins combines a pair of comic adventures, Zeppelins West (2001) and Flaming London (2006), which feature a host of notable figures including Mark Twain, Annie Oakley, Buffalo Bill Cody…and a talking seal. Publication date is November 1st.

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Then from Tachyon in mid-November there’ll be Steampunk II: Steampunk Reloaded, a 430-page anthology edited by Ann & Jeff VanderMeer which includes fiction and non-fiction from William Gibson, Caitlín R Kiernan, Jeffrey Ford, Cherie Priest, and many others. Also a comic strip, copious illustrations and a very full-on interior design from yours truly of which I’ll only show you the above page for the time being. Yes, that’s a mechanical ostrich but if you want to know what it’s doing there you’ll have to read the book. More about this later. And more later about The Steampunk Bible to which I’m also a contributor, a glossy, full-colour guide to the entire sub-culture which will be published next year by Abrams. By the time that appears I’ll probably be sick of the sight of clockwork parts, dirigibles, florid typefaces and Victorian decoration; I’ll be needing a good dose of Helvetica and Josef Müller-Brockmann minimalism to calm down.

Previously on { feuilleton }
Skeleton clocks
Vickers Airship Catalogue
The Air Ship
Dirigibles
More Steampunk and the Crawling Chaos
La route d’Armilia by Schuiten & Peeters
The art of François Schuiten
Steampunk Redux
Steampunk framed
Steampunk Horror Shortcuts
The Airship Destroyer
Zeppelin vs. Pterodactyls

Weekend links 22

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Planet of the Apes Magazine #15 (1975), art by Bob Larkin.

I never read any of Marvel Comics’ Planet of the Apes titles but the painted covers of the American editions are evidence of a distinctly lurid imagination. An excess of drugs—this was the Seventies, after all—or mere enthusiasm? You decide. Related: “The Soft Intelligence”: 5 Underrated Literary Cephalopods by China Miéville. Kudos to him for mentioning The Sea Raiders (1896) by HG Wells, a favourite story of mine when I was 12.

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My ever-lovin’ octopussy (1970) by Jackie Black.

A Journey Round My Skull chooses selections from Ang Wyman’s flickr group Eye Candy (above), psychedelic illustration for children’s books by Nicole Claveloux, Peter Max, Heinz Edelmann and others.

• Watch out, there are “fancy gentlemen” about. It’s The Homosexual Menace!

• Design in opposition: Neville Brody announces the Anti-Design Festival.

• The Almias Rural Psychogeography Walk takes place on July 25th.

• Steven Heller on The Incredible Posters of Tadanori Yokoo.

Hipster Priest: Alan Moore interviewed at The Stool Pigeon.

FACT mix 167, a great selection by These New Puritans.

• The Orion Galaxy is a beautiful bespoke synthesizer.

• A radio portrait of Moondog at Speechification.

• RIP: Sugar Minott. RIP Tuli Kupferberg.

• Introducing Wizard’s Tower Press.

Octopus (1970) by Syd Barrett.

Weekend links: Ghosts, Spooks and Spectres edition

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Cover design by Philip Gough.

Ghosts, Spooks and Spectres (1972 reprint). Editor Charles Molin collected nineteen ghost stories by writers including Oscar Wilde (The Canterville Ghost), Charles Dickens (The Signal-Man), J. Sheridan Le Fanu (Madame Crowl’s Ghost) and HG Wells (The Inexperienced Ghost). This was one of my favourite books when I was ten-years old. There’s nuffin like a Puffin. Puffin Books’ parent company, Penguin, is 75 this year.

• The good people at the Outer Alliance have posted an interview with me here in which I talk about the subversive sexualities of sf in the 1970s and also admit to writing fiction.

• There’s just time to mention It Came From Pebble Mill, an event which includes another screening of David Rudkin’s Penda’s Fen.

• “In our society, there has tended to be a very strong compartmentalization of different experiences, different cultural forms, different genres. We can talk in a very broad sense and say art is separate from science, for example, or body is separate from mind, or we can talk in a specific sense and say one certain form of dance music is separate from one form of, say, heavy metal. I don’t really buy those compartmentalizations. I understand why they exist, how they’ve come into being and why they’re convenient, but it’s not the way I think, it’s not the way I experience the world, it’s not the way I believe things should be.” From an interview by Colin Marshall with David Toop at 3QD. Toop’s latest book is Sinister Resonance: The Mediumship of the Listener.

The Kingdom of the Pearl by Léonard Rosenthal, illustrated by Edmund Dulac.

Ghost Stations by Dollboy, a CD package. And then there’s the Ghostly Bento.

7 Inch Cinema are Birmingham-based cultural historians.

• Mark Pilkington’s Mirage Men now has its own site.

Borges on Pleasure Island: JLB and his love of RLS.

• RIP Arne Nordheim, Norwegian composer.

• Charlie Visnic’s Modular Ghost Synth.

On the trail of Tutankhamen’s penis.

Photos by Thom Ayres.

Ghosts by Japan | Spooky Rhodes by Laika | Purple Dusk by Spectre.