Weekend links 335

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The Expectation (1936) by Richard Oelze.

Richard Oelze, 1900–1980 is an exhibition of paintings and drawings at the Michael Werner Gallery, London, which runs until January 2017. More Surrealist works by Oelze may be seen at But Does It Float and Ubu Gallery.

Will McMorran on the problems of translating the Marquis de Sade’s most obscene work. Related: Jay Sina on Sexistential Horror: HP Lovecraft and the Marquis de Sade as perverse peers.

• Mixes of the week: More Halloween horror at No Condition Is Permanent, Secret Thirteen Mix 200 by JK Flesh, and a mix for The Wire by Botany.

The Chronicles of Clovis (1911), a story collection by Saki (HH Munro) who died 100 years ago this week.

• “Jack is 24, sometimes he’s a drag queen named Sabrina.” The Queen (1968).

• The Mindset of the Macabre: An interview with Abigail Larson.

• “The world is full of bloviators,” says MAD cartoonist Al Jaffee.

Ginette Vincendeau on how the French birthed film noir.

• How to throw a dinner party like Salvador Dalí.

Sastanàqqàm, another new song by Tinariwen.

• At A Year In The Country: more Quatermass.

• Photographs by Klaartje Lambrechts.

Paul Bailey on Pasolini’s lost boys.

Adam Shatz on Leonard Cohen.

Subterranean London

Joan Of Arc (1986) by Jennifer Warnes with Leonard Cohen | Who By Fire (1986) by Coil | The Future (1992) by Leonard Cohen

Weekend links 108

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Bob Staake’s cover illustration acknowledges President Obama’s statement last week in favour of gay marriages.

• Related to the above: Gay rights in the US, state by state, an infographic and a useful riposte to people like Orson Scott Card (yes, him again) who claim that gay Americans are equal in everything but the right to marry. On the same theme, “Now Obama’s come out on same-sex marriage, maybe so will I,” says Edmund White (yes, him again), and Eric Berkowitz, author of Sex & Punishment: 4,000 Years of Judging Desire, who writes that “In the period up to roughly the thirteenth century, male bonding ceremonies were performed in churches all over the Mediterranean.”

• The fifth edition of A Humument by Tom Phillips will be published soon by Thames & Hudson. The Tom Phillips website has just been relaunched in a form which now incorporates the notes I made in December about Phillips’ album cover designs.

• The Greenfriars are encouraging people to follow their example and get involved with their local communities (the habits are optional). Kudos for the choice of a Dürer knot.

The action centres on the arrival of a man who may or may not be a prophet, or the devil, or just a violent con-man, in a rotting, rain-drenched Hungarian hamlet. This is the “estate”, apparently some sort of failed collective, where all hope has been lost and all the buildings are falling down. It is inhabited by a cast of semi-crazed inadequates: desperate peasants cack-handedly trying to rip each other off while ogling each other’s wives; a “perpetually drunk” doctor obsessively watching his neighbours; young women trying to sell themselves in a ruined mill; a disabled girl ineptly attempting to kill her cat.

Sátántango by László Krasznahorkai is published in a new translation by George Szirtes

• The Quietus interviewed Kevin Shields following the long-awaited reissue of the My Bloody Valentine catalogue.

• The first volume of Russ Kick’s Graphic Canon (to which I’m a contributor) has been sighted in the wild.

Rise of the Living Type: Stylised 17th century floriated letterforms & grotesque mask sprinkles.

Ed Jansen’s Camera Obscura III, a tour of museums, galleries and venues, 2009–2011.

• io9 reports on the new translation of Roadside Picnic by Arkady & Boris Strugatsky.

Shanghai Expression: Graphic Design in China in the 1920s and 30s.

Liberty Realm, a monograph of drawings by Catharyne Ward.

• 100 mins of Adrian Sherwood‘s best dub productions.

Strange Flowers checked into the Chelsea Hotel.

Chelsea Girls (1967) by Nico | Chelsea Morning (1968) by Fairport Convention | Chelsea Hotel #2, Rufus Wainwright sings Leonard Cohen.

Weekend links 91

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Untitled (1978) by GR Santosh at 50 Watts.

Evertype Publishing produces a range of Lewis Carroll special editions including Ailice’s Àventurs in Wunnerland (a translation in Scots), Alicia in Terra Mirabili (a Latin version), and an edition printed in the Nyctographic Square Alphabet devised by Carroll.

• This week’s bookshop animations: Type Books, Toronto presents The Joy of Books while at Shakespeare and Company, Paris, Spike Jonze and Simon Cahn explore the erotic life of book covers in Mourir Auprès de Toi.

• Invisible Girls and Phantom Ladies, a 1982 article on sexism in (US superhero) comics by Alan Moore. Thirty years on, things haven’t improved much at all.

I reread it now, 35 years later, and I am struck by its capacity to change like a magic mirror. Where I had originally seen it as a book about writing, about becoming a writer, I now see it as a book about reading, about taking one’s place in the chain. Where I once assumed it was a book about eternal youth, I now see it as a book about growing up, about learning to live.

Tilda Swinton on Virginia Woolf’s Orlando

Dark Water, Lovecraftian carpet designs (yes, carpets) by Kirill Rozhkov. Danish carpet manufacturer Ege has a catalogue showing the finished products.

Neil Gaiman ventures into the treacherous labyrinth of M. John Harrison’s Viriconium.

Nicholas Lezard reviews The White People and Other Weird Stories by Arthur Machen.

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The Dream (1910) by Henri Rousseau at the Google Art Project.

• Reassessing the Saul Bass and Alfred Hitchcock Collaboration by Pat Kirkham.

• Getting There Too Quickly: Peter Bebergal on Aldous Huxley and Mescaline.

Hidden in the Open: A Photographic Essay of Afro-American Male Couples.

Filles En Aiguilles, a new musical work by Schütze+Hopkins.

RubiCANE’s Erotic Illustrations.

Laurie Anderson has a Godplex.

Alan Bennett on Smut.

The Jungle Line (1975) by Joni Mitchell | The Jungle Line (1981) by Low Noise (Kevin Armstrong, Thomas Dolby, JJ Johnson & Matthew Seligman) | The Jungle Line (2007) by Herbie Hancock with Leonard Cohen.

Snowbound cinema

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A satellite view of snow across Great Britain on January 7, 2010.

Walking the snow-laden streets this week felt like a considerable novelty when we rarely have snowfalls of any depth here and what there is never lasts much longer than a day. The current low temperatures which began just before Christmas may be inducing a national trauma but the genuinely wintery weather makes a change from the dreary weeks of rain and cold which usually prevail until April.

Whilst trudging through the crusted ice I found myself remembering favourite films which make the most of winter landscapes. Here’s a short list to follow the earlier winter-themed posts.

McCabe & Mrs Miller (1971)
Several Westerns before this one had featured winter scenes but I think Robert Altman’s was the first to be set at the height of winter in a snowbound town. Memorable for Vilmos Zsigmond’s photography, Leonard Cohen’s lugubrious songs, Warren Beatty’s doomed businessman stomping around wrapped in furs muttering “Pain, pain, pain!”, and the finale when he’s hunted down by a trio of assassins.

The Shining (1980)
Has anyone not seen this film? Despite the artificial snow, Kubrick’s direction and John Alcott’s photography communicate authentic chills, both meteorological and metaphysical.

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Yes, it’s a genuine Christmas postcard from Oregon’s Timberline Lodge which became the model for Kubrick’s Overlook Hotel. Writer Tom Veitch sent me this some years ago.

The Thing (1982)
John Carpenter’s grisly Antarctic horror is the film I still find to be his best. Like his earlier Assault on Precinct 13, this is another siege situation borrowed from Howard Hawks only this time the enemy is within. Until someone films At the Mountains of Madness, this is the closest you’ll get to Lovecraft’s polar nightmares.

Runaway Train (1985)
Few people know this: escaped convicts Jon Voight and Eric Roberts find themselves on the titular train with rail worker Rebecca De Mornay, and it’s a long ride through frozen landscapes as they try to escape the law and the train itself before it crashes. Andrei Konchalovsky directs a story by Akira Kurosawa rewritten by Edward Bunker (who has a cameo) and others. The result is a strange blend of hardboiled drama and existential symbolism with a great score by Trevor Jones.

Fargo (1996)
One of the Coen Brothers’ best. Watching this again over Christmas along with many of their other films, it was amusing to see Steve Buscemi transform from Fargo‘s vicious and splenetic kidnapper to the mild-mannered character he plays in The Big Lebowski. Despite the statement at the beginning of the film, Fargo isn’t a true story but its existence became tangled with some curious real-life events.?

Update: I was reminded on Twitter about Altman’s bizarre future Ice Age drama, Quintet, which I should have mentioned above. Not as successful as the earlier film but its setting certainly suits the weather.

Previously on { feuilleton }
Bruegel in winter
Winter panoramas
Winter music
Winter light
Kubrick shirts
At the Mountains of Madness
Images by Robert Altman