Weekend links: fifth anniversary edition

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The Figure 5 in Gold (1928) by Charles Demuth.

It’s a little surprising to find I’ve been doing this for five whole years yet here we are. Having seen a number of blogs call it quits at the five-year point I should note that I don’t feel quite that exhausted although maintaining a discipline of daily posting can be a chore at times, especially when you’re pressured by work. On the whole the advantages continue to outweigh the disadvantages. Some of the discoveries here have fed back into things I’ve been working on or opened avenues for future exploration. Researching something for an audience (however slight that audience or the resulting post) encourages you to look more deeply into a given subject; sometimes you learn more as a result and occasionally make surprising discoveries. Obsessions are teased out which might otherwise have lain dormant. Yes, it’s an extra bout of work but I’ve spent much of my life saying to people “if you like that, you may like this”, and that’s all many of these posts are doing.

This year promises to be an interesting one so watch this space. And, as always, thanks for reading!

John x

On to the links…

Cathedral Scan translates the architectural plans of Gothic cathedrals into open-ended musical scores via custom software. There’s more at Blake Carrington‘s website.

Forty-three William Burroughs recordings (tape experiments and readings) at the Ubuweb archives.

• The opening scene of Deadlock (1970), an obscure German film with a theme by the mighty Can.

Strange Lands: A Field-Guide to the Celtic Otherworld, a new book by Andrew L Paciorek.

• The enduring nature of Frankenstein, currently on stage at the National Theatre, London.

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Owl One (2004) by Yuri Shimojo.

¡Activista! by Sonny Smith: Drag Queens, Borders, Rivers, Death and Transformation.

• Estonian sculptor Mati Karmin makes furniture out of Russian anti-submarine mines.

Alan Moore’s contribution to the Save Our Libraries campaign.

• Innsmouth Free Press is raising funds for their running costs.

A history of queer street art (Facebook link, unfortunately).

Illuminated book design for Heston’s Fantastical Feasts.

Physica Sacra, an engraving set at Flickr.

Egypt (1985) by Tuxedomoon | Egyptian Basses (1998) by Coil | Soleil D’Egypte (2001) by Natacha Atlas.

The writhing on the wall

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Dracula (1992).

This is the closest you’ll get to a guest post here even though it’s been done remotely and I’ve changed things around a little. Following my mention yesterday of the Cocteau-derived lantern-arms in Francis Coppola’s Dracula, Jescie sent me an abandoned blog post which collected similar examples of the arms-through-the-walls motif. I’ve done this kind of thing here in the past so it’s good {feuilleton} material. Almost all these examples are fantasy- and horror-related which isn’t too surprising, and I’m sure there’ll be other examples in films I haven’t seen. If anyone has any suggestions just remember that hands grasping through doors and windows don’t count with this, it’s through the wall or not at all.

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La Belle et la Bête (1946).

Jean Cocteau sets things off in 1946, a perfect piece of fairytale Surrealism and one of the many memorable aspects of this film.

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La Belle et la Bête (1946).

Continue reading “The writhing on the wall”

Symbolist cinema

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Symbolist? Arguably. Decadent? Certainly. Watching Francis Ford Coppola’s Dracula (1992) again this weekend I thought it worth making note of some of these resonances. The real age of Symbolist cinema was the Silent Era from around 1910 onwards, something I discussed in more detail here. That being so, several films made since can be taken as Symbolist (more usually Decadent) productions even if this was never their original intention. Kenneth Anger‘s Magic Lantern Cycle comes immediately to mind, so too Sergei Parajanov’s The Colour of Pomegranates.

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Bram Stoker’s novel was published in 1897 at the ebbing of the fin de siècle but vampires and vampirism were already recurrent Symbolist themes. Aesthetic magus Walter Pater wrote of the Mona Lisa in 1893, “She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave…” Dracula almost demands a Symbolist interpretation, and for now Coppola’s production is the closest we get. I’ve found this makes the film more satisfying in a way: you can ignore the shoddy performances by secondary characters and concentrate on the decor and details (and the tremendous score by Wojciech Kilar). Some of the following screen grabs argue my point.

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Oh look, peacock feathers. I loved the artificiality of this film, the excessive palette, the obvious models and miniatures, the layering of images. The dissolve from a peacock feather to Jonathan Harker’s infernal train journey is a great moment.

Continue reading “Symbolist cinema”

Kenneth Grant, 1924–2011

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Kenneth Grant by Austin Spare (c. 1951).

Kenneth Grant, writer and occultist, died last month but the event was only announced this week. He’ll be remembered for the nine fascinating occult treatises he wrote from 1972 to 2002, and for continuing the work of Aleister Crowley as head of the Ordo Templi Orientis, a position which became fraught in later years as various occult factions disputed his authority. Having collected occult books for much of the 1980s I find his name calls out from the shelves more than many other writers; as well as authoring his own works he edited all the major Crowley texts with Crowley’s executor John Symonds, presenting them in authoritative editions for a new readership.

Grant proved a very loyal champion of people he admired, significantly so in the case of Austin Osman Spare whose work he collected, exhibited and republished from the 1950s on. It was Grant’s position as one of the many advisors for Man, Myth & Magic in 1970 which resulted in the part-work encyclopedia using one of Spare’s stunning drawings as the cover picture for its first issue. That effort alone gave Spare an audience far beyond anything he received during his lifetime, and Grant ensured the magazine featured Spare’s work in subsequent issues. Grant’s occult works made liberal use of unique illustrations by his wife, Steffi Grant, Austin Spare and others. The books were singular enough even without their pages of curious artwork, a beguiling and sometimes incoherent blend of western occult tradition, tantric sex magick and hints of cosmic horror which were nevertheless always well-written, annotated and crammed with technical detail. Alan Moore in 2002 examined the experience of an immersion in Grant’s mythos with a wonderful review he called “Beyond our Ken“. He notes there the influence of HP Lovecraft, another of the visionary figures who Grant championed throughout his life.

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In Spaces Between from The Great Old Ones (1999).

And speaking of Lovecraft, I’ve often wondered whether Kenneth Grant ever saw a copy of my Haunter of the Dark collection. For the opening of the Great Old Ones Kabbalah sequence which Alan Moore and I created for the book I added an extra piece of art entitled In Spaces Between, a reference to Coil via an epigraph from Grant’s Outside the Circles of Time (1980) which I borrowed for the facing page:

For there are Thrones under ground
And the Monarchs upon them
Reign over Space and Beyond

Invoke Them in Darkness, Outside
The Circles of Time

In Silence, in Sleep, in Conjurations
Of Chaos, the Deep will respond…

Coil aficionados will recognise those words as the origin of some lines from Titan Arch (1991):

There are Thrones under ground
And Monarchs upon them
They walk serene
In spaces between

Grant followed his epigraph with another quote, from Lovecraft’s Necronomicon.

In addition to Alan Moore’s Grant review, Fulgur have a detailed Kenneth Grant bibliography on their pages. They were also the publishers in 1998 of Zos Speaks! Encounters with Austin Osman Spare by Kenneth and Steffi Grant, a memoir and celebration of Spare’s work which revealed this trio of remote astral voyagers to be human beings after all. The book is currently out of print but it’s essential for anyone interested in Austin Spare or, for that matter, Mr and Mrs Grant.

Previously on { feuilleton }
New Austin Spare grimoires
Austin Spare absinthe
Aleister Crowley on vinyl
Austin Spare’s Behind the Veil
Austin Osman Spare

CthulhuPress

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The Twitter consensus yesterday was that CafePress products based on this design were required so here they are. As usual I never know what people want from CafePress so I tend to throw the design on their entire range so long as it fits the requisite size and shape. This piece works better than most since it’s simple and direct, my more detailed and pictorial creations look better as prints. I keep feeling that someone must have made a design like this already, these variations on the “Keep Calm” poster have proliferated so much, but searching didn’t reveal anything so… The web address doesn’t appear on the CafePress things, that’s just for the images posted here if and when they drift into Tumblr’s Sargasso Sea of uncredited pictures.

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The Call of Cthulhu (1987–88).

While we’re on the subject of everyone’s favourite Great Old One, I may as well take the opportunity to remind those interested that these earlier renderings are also available as various CafePress products. The Call of Cthulhu piece above is the opening page of my comic strip adaptation of the story as seen in The Starry Wisdom anthology from Creation Books and my Haunter of the Dark collection.

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Cthulhu from The Great Old Ones (1999).

The Great Old Ones drawing was one of the plates from the series of the same name I produced with Alan Moore for the Haunter book. And Cthulhu Rising is the cover of that volume, of course, seen here with its Haeckel-derived frame. The Great Old Ones Cthulhu was drawn with a Biro pen then tweaked slightly in Photoshop. I don’t think I’ve ever posted a large version of it so here it is.

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Cthulhu Rising (2004).

Elsewhere on { feuilleton }
The Lovecraft archive