Tag: Séamas O’Reilly

Weekend links 758

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Monstrum in animo (1955) by Yves Laloy.

• This week’s obligatory Bumper Book of Magic links: Alan Moore World has more of my ongoing comments about the creation of the book, while Séamas O’Reilly talked to Alan about the book itself and its connections with The Great When. The latter piece lowered my already low opinion of the late Genesis P-Orridge.

• At Timeless: A reprint of Bright Lights and Cats With no Mouths by John Balance. Still in print is The Cupboard Under the Stairs, a selection from JB’s notebooks.

• If you enjoy sleight-of hand magic—and I most certainly do—then Ricky Jay & His 52 Assistants (1996) is 58 miraculous minutes by a master of the art.

• Mixes of the week: Winter Solstice 6 at Ambientblog; a mix for The Wire by Rafael Toral; and Reflection on 2024 at a Strangely Isolated Place.

• “Whatever the reason, there is something sorrowful about the disposal of art, whatever the perceived quality,” says Steven Heller.

• New music: The Path Of The Elder Ones by Nerthus.

• Bright Lights (1959?) by Wade Curtiss & The Rhythm Rockers | Bright Lights, Big City (1961) by Jimmy Reed | I Want To See The Bright Lights Tonight (1974) by Richard & Linda Thompson

Weekend links 754

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The Remains of Minotaur in a Harlequin Costume (1936) by Pablo Picasso. Via.

• At Rarefilmm: Long Live the New Flesh: The Films of David Cronenberg, a TV documentary from 1987 which includes contributions from Martin Scorsese and Stephen King. I wrote about this one years ago but at the time the only available copy was chopped into 10-minute segments.

• Coming soon from Strange Attractor: Delinquent Elementals: A Pagan News Anthology, edited by Phil Hine & Rodney Orpheus.

• At Wormwoodiana: Mark Valentine explores the possible influence of the Sherlock Holmes stories on Arthur Machen’s early fiction.

Perhaps there was a Super-Sargasso Sea in the upper atmosphere into which were carried objects from earth—frogs, fish, leaves—and from which they later rained. Perhaps the universe was a living thing, rains of blood its bleeding. Perhaps in 1903 the earth, in its orbit about the sun, passed through the remains of a world destroyed in an interplanetary dispute, the particles falling as rains of dust and redness. Perhaps humanity was controlled. “I think we’re property”, Fort wrote. Or, perhaps not; so skeptical he could not accept even his own authority, he had given up theorizing. “We have expressions: we don’t call them explanations: we’ve discarded explanations with beliefs.”

Joshua Blu Buhs on how Charles Fort came to write The Book of the Damned

• More Alan Moore: “Magic is not this big, spooky, dark thing that’s full of nightmares,” he tells Séamas O’Reilly at the Irish Times.

• High-resolution images of 14,000 woodblock illustrations and letterforms free to use at the Plantin-Moretus Museum, Antwerp.

• New music: Music For Bus Stations by Rod Modell; and Between Soil And Sky by Tarotplane.

• At Dennis Cooper’s: Spotlight on…Denton Welch In Youth is Pleasure (1945).

• At the Quietus: The Strange World of…Irena and Vojtech Havlovi.

• Apollo Explorer

• Pagan Love Song (1959) by Martin Denny | Pagan Lovesong (Vibeakimbo) (1982) by Virgin Prunes | Pagan Sun Temple (2022) by Hawksmoor