Weekend links 62

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A plate from Tales of the Amur by Dmitry Nagishkin, a 1975 edition illustrated by Gennady Pavlishin.

• The week in Surrealism: Opera of the surreal gives Dalí an encore: Yo, Dalí, a previously unperformed work by Xavier Benguerel, receives its premier in Madrid. Meanwhile Tate Liverpool’s summer exhibition, René Magritte: The Pleasure Principle, is profiled here. “René Magritte has inspired more book covers than any other visual artist,” says James Hall.

If Rimbaud anticipated the Surrealists by decades, Ashbery is said to have gone beyond them and defied even their rules and logic. Yet though nearly 150 years have intervened since Rimbaud’s first declaration of independence, many readers in our own age, too, still prefer a coherence of imagery, a sameness of tone, a readable sequential message, even, ultimately, what amounts to a prose narrative broken into lines.

Lydia Davis on Rimbaud’s Wise Music.

Umberto Eco’s glimpse into the art of the novel | Return to Wonderland: an essay on Lewis Carroll’s world by Alberto Manguel | Heavy sentences by Joseph Epstein: On How to Write a Sentence and How to Read One, by Stanley Fish.

And then there’s the mystery of what happened to him for those four months in London when we have no trace of him. Rimbaud mentions Scarborough in “Promontory” and talks about “Hotels, the circular façades of the Royal and the Grand in Scarborough or Brooklyn.” Since there’s that missing period in England, people say he must have gone to Scarborough, and have even checked hotel registers for that period, but as far as I know nobody has ever found anything. Someone even checked railway and train schedules in order to pin him to this real place. I seem to remember a French writer admitting that Rimbaud was never in Brooklyn, but kind of wishfully thinking that he might have been. Which is very funny. “Rimbaud in Brooklyn”: there’s a project for someone.

A Refutation of Common Sense, John Ashberry on translating Rimbaud.

Robert Jeffrey posts a video of his nine-year-old self giving Madge a run for her money in 1991. As Boy Culture puts it: “Anyone who feebly clings to the belief that gay can be prayed away should take a look at this and give up already…” Amen.

• The mathematics of Yog-Sothoth: Richard Elwes on Exotic spheres, or why 4-dimensional space is a crazy place.

For I Will Consider My Cat Jeoffry by Christopher Smart (1722–1771).

Lesbian pulp fiction, 1935–1978 and Faber 20th century classics.

As The Crow Flies, a new album from The Advisory Circle.

New World Transparent Specimens by Iori Tomita.

79 versions of Gershon Kingley’s Popcorn.

Minor Man (1981) by The League of Gentlemen.

Dalí’s Salomé

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Queen Salomé (1937) by Salvador Dalí.

Of all the Surrealists, Salvador Dalí had his fingers in the most cultural pies—designing for film and theatre, writing books (including a novel, Hidden Faces), even performing occasionally, or at least making a public spectacle of himself—so it’s no surprise to find him adding to the stock of 20th-century Salomé interpretations, first in a drawing then for the stage. The stage work was something I hadn’t run across before (not since this current obsession began, anyway), a 1949 production of the Strauss opera at Covent Garden directed by Peter Brook. The now celebrated theatre director was at the outset of his career when he chose Dalí as his designer but the resultant furore shows that Brook’s ability to challenge an audience (or at least, a gaggle of theatre critics) had an early start. The critics savaged the production and the show closed after only six performances. Brook, who was sacked, had this to say:

The critics all decided that Dali and I were only out to annoy them. There, at least, I might claim that they underestimated us; if that have been our intention I think that between us we might have done much worse… (More)

Getty Images has some tantalising photos here, here and here, but I’ve not seen anything in the way of production sketches. The objections seem to have been the usual tiresomely English revulsion against anything too original, too strange or too imaginative (it’s no wonder Leonora Carrington abandoned Britain for Mexico). An article about the production from the BBC’s Music Magazine includes this detail:

In the last scene for Dali and Brooke, [Salomé] was slowly covered over by a sort of green ooze of bile that came from the head of John the Baptist, an effect of luxuriant disgust which we can imagine without too much difficulty, bearing in mind others of Dali’s images.

That piece also mentions a proposed restaging of the opera with Dalí’s designs but I’ve been unable to discover whether this took place. If anyone knows better, please leave a comment.

Elsewhere on { feuilleton }
The Salomé archive

Weekend links 57

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A 1973 Ballantine edition of William Burroughs’ novel with a cover illustration from Metamorphosis of Narcissus (1937) by Salvador Dalí. Via the Burroughs Book Covers archive.

The Sel Publishing House, Turkey, published a new translation of The Soft Machine by William Burroughs in January, an edition which is now under investigation by the Istanbul Prosecutor’s Office following a report by the (deep breath) Prime Ministry’s Council for Protecting Minors from Explicit Publications. The Council lodged a number of complaints, among them assertions of “lacking unity in its subject matter,” “incompliance with narrative unity,” “using slang and colloquial terms” and “the application of a fragmented narrative style.” Details here. Does Turkey still want to join the EU? Because this kind of persistently illiberal bullshit (see the earlier treatment of Orhan Pamuk) isn’t helping their case at all.

• Related to the above: Evan J Peterson reads Allen Ginsberg’s Howl in the toilet of a Seattle gay bar; Ginsberg himself reads Kaddish and other works here.

• More illiberal bullshit: LGBT activists arrested during royal wedding; Queer Resistance released a statement about the arrests. MPs, activists and trade unionists condemn new attacks on the right to protest.

The Dorian Gray That Wilde Would Want Us To Read. Harvard University Press publishes an uncensored and annotated edition of Wilde’s novel. Kudos for using Caravaggio’s Narcissus on the cover.

One weekend in late 1967, they all decamped to a hotel suite in California’s Ojai Valley for a brainstorming session. Amid clouds of pot smoke, they talked all weekend with the tape recorder running. [Jack] Nicholson then took the tapes and turned the conversations into a screenplay; according to Rafelson, he structured it while on LSD.

Revisiting The Monkees’ psychedelic movie, Head.

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Kraftwerk icons for Windows and Mac OS X by Dave Brasgalla.

Robert Louis Stevenson gets his revenge on sneaky literary agent – 120 years later. And Michael Moorcock imagines tales of unseen Mervyn Peake pictures.

Painting doesn’t look so good on the web. It looks better in life. Sculpture looks better in life. What you end up with is just a reproduction. Whereas with film or with sound or with poetry, you get the deep primary experience not the secondary experience. The web delivers those primary experiences very well.

Ubuweb’s Kenneth Goldsmith interviewed.

• Arkhonia’s Another Dispatch in a World of Multiple Veils is now a free download.

• The story of This Is The Sea: An interview with Mike Scott of The Waterboys.

Fairlight: The Rolls Royce of synthesizers.

Haeckel Clock, a free app for the iPad.

What is totalitarian art?

Porpoise Song (1968) by The Monkees | Hope For Happiness (1969) by The Soft Machine | I’m A Believer (1974) by Robert Wyatt.

Dalí and the City

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left: Lady Godiva with Butterflies; right: Alice in Wonderland.

London already has a number of Salvador Dalí works on display but there’s even more to see this month with an exhibition at Moor House, London Wall, where a handful of minor pieces are on show until 30th June, 2011. Dalí and the City features the artist’s Alice in Wonderland sculpture as well as the print shown here, and also some Tarot card designs. The masculine form of Lady Godiva above can be taken as further confirmation of Dalí’s recurrent interest in gender confusion. The Independent has more examples from the show while this page has details of opening times.

Previously on { feuilleton }
Dalí’s Elephant
Dalí in Wonderland
Dirty Dalí
Impressions de la Haute Mongolie revisited
Dalí and Film
Salvador Dalí’s apocalyptic happening
Dalí Atomicus
Impressions de la Haute Mongolie

Weekend links 45

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That essential journal of esoteric culture, Strange Attractor, announced a fourth number this week sporting a psychedelic cover which may be the work of Julian House (no credit is given on the SA site). As to the contents:

From Haiti and Hong Kong to the fourth dimension and beyond: discover the secrets of madness in animals; voodoo soul and dub music; ancient peacock deities; Chinese poisoning cults; the history of spider silk weaving; heathen mugwort magic; sentient lightning; Jesuit conspiracy theories; junkie explorers; Dali’s Atlantis; the resurgence of Pan (in London’s Crouch End); anarchist pirates on Madagascar; an ancient Greek Rip Van Winkle; French anatomical waxworks; Arthur Machen’s forgotten tales and Alan Moore’s unpublished John Dee opera.

Further details and the means to order a copy can be found here.

• Resonance FM’s Weird Tales For Winter has returned beginning with a presentation of The Gateway of the Monster, one of the better Carnaki tales by William Hope Hodgson. The story is read by Moon Wiring Club‘s Ian Hodgson (no relation) and the musical atmospheres are provided by The Advisory Circle. I ought to have posted this news yesterday since you’ll have missed the broadcasting of the first half but the second half will go out at midnight (UK time) on Monday. Details here, and the next release on the Café Kaput label in February will be the soundtrack, Music for Thomas Carnaki (Radiophonic Themes & Abstracts).

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• The Keep Calm and Carry On Image Generator lets you work your own variations on the ubiquitous poster. It wouldn’t work for me, however, so I rolled up my sleeves and made my own. This may be good as a CafePress design, yes?

Interplay is an album by John Foxx and The Maths due to be released on March 21st. As with last year’s collection of Foxx instrumental pieces, DNA, the package design is by Jonathan Barnbrook. John Foxx first came to prominence as the lead singer in Ultravox (do I need to say “of course”? Okay…“of course”) and Ultravox’s debut album was part-produced by Brian Eno. It’s been painfully obvious recently (and it pains me to say it) that Foxx’s DNA was a far more accomplished and engaging work than Eno’s recent collection of over-hyped instrumentals. Related: Barnbrook Design’s albums of 2010.

Word Horde 2.0, “a substantial archive of manuscript material, correspondence, and books and printed matter, mostly signed” from the William Burroughs archives can be yours for $260,000. Related: William Burroughs’ Wild Boys photos. Also: Rudy Rucker on David Cronenberg’s Naked Lunch.

• “Nabokov described how ‘a modern taxonomist straddling a Wellsian time machine with the purpose of exploring the Cenozoic era’ would encounter the following series of events in the evolution of these butterflies…” The Royal Society confirms that a contentious theory of Vladimir Nabokov’s concerning the descent of butterfly populations was accurate.

• The work of Gérald Bertot aka Thomas Owen, a Belgian author of weird fiction, is explored at A Journey Round My Skull.

The Other Side of the Wind, Orson Welles’ unfinished film from 1972, may finally be given a release.

• Jon Savage celebrates Roy Harper and his extraordinary Stormcock album.

Philip Pullman wants the Tory philistines to leave our libraries alone.

• Rick Poynor takes a dérive through the arcades of Paris.

Space music new and old.

Young Savage (1977) by Ultravox | Clicktrack (2010) by John Foxx & Jonathan Barnbrook.