El Banquete Magnético (2011) by Cristina Francov.
• Did Vertigo Introduce Computer Graphics to Cinema? asks Tom McCormack. He means Saul Bass’s title sequence which mostly uses still harmonographs but also features some animated moments by John Whitney.
Harrison is best known as one of the restless fathers of modern SF, but to my mind he is among the most brilliant novelists writing today, with regard to whom the question of genre is an irrelevance. To read his work is to encounter fiction doing what fiction must: carrying out the kinds of thinking and expression that would be possible in no other form. I pass through his novels feeling a mixture of wonder, calmness and disturbance; I end them brain-jarred and unsettled. Metaphysical echoes persist for days afterwards. It feels as if I have had a strabismus induced, causing illusions that slowly resolve into insights.
Robert Macfarlane on M. John Harrison and the reissue of Climbers.
• Divine Machinery: An Interview with Paul Jebanasam. Arvo Pärt, Cormac McCarthy and Algernon Blackwood are folded into his new album, Rites.
• Autostraddle shows the evolution of twelve queer book cover designs. As is often the case in cover design, latest isn’t always best.
• “My Definition Of Hell? It’s Other People, At The Cinema!” Anne Billson on the very thing that finished me as a cinema-goer.
• “London in the 1830s was a truly weird and terrifying place.” Spring-Heeled Jack, The Terror of London.
• At Scientific American: The Reading Brain in the Digital Age: The Science of Paper versus Screens.
• Van Dyke Parks: “I was victimised by Brian Wilson’s buffoonery.”