Weekend links 609


Cover of Tom Veitch Magazine #1 (1970).

• RIP Tom Veitch, a writer with whom I almost created a comic-book series in the 1990s. Things didn’t work out for a variety of reasons but we had some good conversations. All the news notices focus on his writing for comics, a career which ranged from angry, political strips with Greg Irons to typical franchise fare. But he had short stories published in New Worlds magazine when it was at its peak under Michael Moorcock’s editorship, and in Quark, a short-lived paperback magazine edited by Samuel Delany & Marilyn Hacker. Veitch was also among the first 35 contributors to John Giorno’s Dial-a-Poem service when it launched in 1968, part of a select group that included John Ashbery, William Burroughs and Allen Ginsberg. Related: An interview with Tom Veitch on William Burroughs at Reality Studio.

• “I won’t deny that I thought very much about a post punk influence on it. Everybody knows that I love post punk, but I didn’t want to copy anybody.” Robert Hampson talking to Jonathan Selzer about the return of Loop.

• “What Joyce and Eliot, Ulysses and The Waste Land, had in common was a showiness, an overt ambition as well as a magpie approach to literature as assemblage.” John Self on the year 1922, “literature’s year zero”.

• At Spoon & Tamago: All of Japan’s 47 prefectures captured in expressive typography.

• At Public Domain Review: Composition (1905) by Arthur Wesley Dow, a book for art students influenced by the example of Japanese prints.

• At Wormwoodiana: Mark Valentine on the unending attempts to solve The Mystery of Edwin Drood.

• Mixes of the week: Fact Mix 846 by Ehua, and Soylent Green – No Escape by The Ephemeral Man.

• At Dennis Cooper’s: Matthew Suss presents…Joseph Cornell Day.

• At Bandcamp: A guide to Alvin Lucier.

Loop The Loop (1980) by Young Marble Giants | Q-Loop (1995) by Basic Channel | Loop-Loop (1996) by Michael Rother

Weekend links 596


Jam III (2021) by Kotaro Hoshiyama.

• “Powell and Pressburger are peerless in realizing what Orson Welles would term plotless scenes—extra bits that ostensibly do not advance the story, but are a story unto themselves, and aggregate such that they’re vital to how we understand the characters who are living the story.” Colin Fleming says thanks for the Archers.

• A short promo for The Incal: The Movie. Hmm, okay. A film that adapted all 300 pages of the original story without changing anything or trying to explain away the weirdness would be worth seeing. But I doubt that’s what this will be. Read the book.

• “If a single word distills the New Wave aesthetic, it’s plastic…ironically flaunted artificiality became a leitmotif of the era.” Simon Reynolds reviews Reversing Into the Future: New Wave Graphics 1977–1990 by Andrew Krivine.

• Mixes of the week: a mix by Princess Diana Of Wales (not that one) for The Wire, and At The Outer Marker Part I, a Grateful Dead Twilight Zone mix by David Colohan.

The Bloomingdale Story: read the never-before published Patricia Highsmith draft that would become Carol (aka The Price of Salt).

• At Spoon & Tamago: Multiple panels form collaged portraits painted by Kotaro Hoshiyama.

• New music: Pyroclasts F (excerpt) by Sunn O))), and Loop return with Halo.

• At Dennis Cooper’s: William E. Jones Day.

Plastic Bamboo (1978) by Ryuichi Sakamoto | Barock-Plastik (2000) by Stereolab | Black Plastic (2002) by Ladytron