August 2014 – Page 2 – { feuilleton }

The Voyage of the Pequod

American illustrator Everett Henry (1893–1961) created several maps based on classic American novels but The Virginian and The Adventures of Huckleberry Finn lack the epic, globe-trotting qualities of Moby-Dick, one of the few novels where almost every scene takes place in a different part of the world. The linear nature of the voyage also aids Henry’s design with its graded colours and suitably bloody culmination. The use of vignettes in literary maps reminds me most of the charts drawn by Pauline Baynes for Tolkien’s books but there are plenty of other examples, some of which may be seen at VTS.

Elsewhere on { feuilleton }
• The illustrators archive

Previously on { feuilleton }
• Of the Monstrous Pictures of Whales
• Jan Saenredam’s whale
• The Whale again
• Rockwell Kent’s Moby Dick
• Pauline Baynes, 1922–2008

The Case of the Mukkinese Battle-Horn

I probably should have posted this when the Monty Python reunion shows were in progress since the first time I saw it was as the support film for a screening of Monty Python and the Holy Grail in 1974.

The Case of the Mukkinese Battle-Horn (1956) is one of the few film outings for The Goons, the radio-comedy troupe who famously influenced the Pythons and The Beatles. Joseph Sterling was the director. The 27-minute film features a diminished Goons cast: regulars Peter Sellers and Spike Milligan, with Dick Emery replacing Harry Secombe; all three have multiple roles, as they did in the Goons, and Emery did later in his TV shows. It’s a cheap production but packed with silly sight gags, some of which draw attention to the film medium: no wonder the Pythons liked it. Most surprising of all is seeing Michael Deeley listed as producer; Deeley started out producing lowly fare such as this but went on to produce some very notable British films including The Man Who Fell to Earth and Blade Runner.

Previously on { feuilleton }
• The Running Jumping & Standing Still Film

Weekend links 222

A self-portrait by Nadia Wicker from her Projectie series.

• “And boy, did that Rain Parade sleeve look cool with its picture of the insouciant band sitting in front of large hot-house (or glass palace), the sky behind them tinted a sickly shade of apocalypse pink…” Joe Banks on the Rain Parade’s finest moment, Explosions In The Glass Palace.

• “…there are pleasures to be had from books beyond being lightly entertained. There is the pleasure of being challenged; the pleasure of feeling one’s range and capacities expanding…” Rebecca Mead on the pleasure of reading to impress yourself.

• “If Gengoroh Tagame performed the acts he drew in his comics he’d probably be dead or in jail,” says Zac Bayly, interviewing Tagame for BUTT.

Crime does not fascinate James Joyce as it fascinates the rest of us—the suggestion of crime dismays him. He tells me that one of his handicaps in writing Work in Progress is that he has no interest in crime of any kind, and he feels that this book which deals with the night-life of humanity should have reference to that which is associated with the night-life of cities—crime. But he cannot get criminal action into the work. With his dislike of violence goes another dislike—the dislike of any sentimental relation. Violence in the physical life, sentimentality in the emotional life, are to him equally distressing. The sentimental part of Swift’s life repels him as much as the violence of some of his writing.

Padraic Colum attended Joyce’s 47th birthday party.

• I’m currently reading The Wanderer, “a weird document” by Timothy J. Jarvis, which is officially published this week.

• The Changes, another remarkable children’s TV series from the 1970s, is out on DVD next week.

• Sir Richard Bishop has made all 14 of his solo albums available as free downloads.

• “How long do CDs last? It depends, but definitely not forever,” says Laura Sydell.

• “Readers absorb less on e-readers than on paper, study finds”

• Book designer Craig Mod wants to talk about margins.

• Mix of the week: a mix for The Quietus by Helm.

• Ozu’s passageways

• The Rain Parade: No Easy Way Down (BBC TV, 1984) | No Easy Way Down (studio, 1984) | No Easy Way Down (Tokyo, 1984)

Parajanov posters

Shadows of Our Forgotten Ancestors (1964).

A selection of the better ones. Last week I was rewatching Sergei Parajanov’s The Colour of Pomegranates and was curious to see how it had been advertised. Shadows of Our Forgotten Ancestors is also known as Wild Horses of Fire (or Horses of Fire), after the novelette by Mykhailo Kotsiubynsky which provided the story. The Russian poster above shows the fateful axe which kills Ivan’s father at the beginning of the film, while the French and Japanese posters below play on the horses of fire in their titles.

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In Homage to Priapus

I’ve written a few things in the past about the covers of the gay pulps but decent source material—never mind the books themselves—has often been difficult to find. So it’s been good to stumble across the huge trove of covers at LibraryThing where diligent collectors have tagged and archived some very scarce publications. These are the books that flourished briefly in the US between the first flowering of gay liberation in the mid-60s to the advent of easily available hardcore porn in the mid-70s which must have made the text-only pleasures of a few years earlier seem very quaint and rather superfluous. Looking back today many of the covers of these books have a provocative silliness which is wholly absent from current titles for a gay audience. They may be crude and camp (sometimes simultaneously), and the design is often rudimentary, but they also give an insight into how gay men perceived themselves when they were starting to be more public about their desires.

Despite its cover, In Homage to Priapus looks like a fairly serious sampler of a kind you still see today. By contrast, many of the authors of the titles below were pseudonymous, some ridiculously so: “Billy Farout”. This time I’ve avoided the pulpy art styles featured at sites like Gay on the Range and Strange Sisters in favour of photo covers, odd titles or the more provocative illustrations, of which there are many examples. By coincidence, the latest post at Lambda Literary concerns the publishing of lost gay classics. One of the titles mentioned there, The Leather Boys by Gillian Freeman, can be found in the LibraryThing collection.

Don’t mention Jerry Lewis, please. I’ll think instead of this song by Heaven 17.

Whoever chose that typeface could also do with a thrashing.

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