A Genius Like Us: A Portrait of Joe Orton

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Last week’s reading was the script of Joe Orton’s Loot after finding one of the first published editions of the play. Reading a play is never the same as seeing it performed, of course, but it’s still very funny, and many of its digs at police corruption haven’t dated at all. There is a film of Loot but it’s poor stuff, with Richard Attenborough miscast as the belligerent Inspector Truscott. Much better is Douglas Hickox’s film of Entertaining Mr Sloane (1970) which appeared shortly before Loot, and which is worth seeing for Beryl Reid reprising her stage role as the unfortunate Kath.

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Orton’s brief career—a mere four years from complete obscurity in 1963 to his death at the hands of partner Kenneth Halliwell in 1967—is explored in A Genius Like Us: A Portrait of Joe Orton, a 70-minute BBC Arena documentary from 1982. Anyone who’s seen Prick Up Your Ears (1987)—Stephen Frears’ Orton biopic with a script by Alan Bennett—will be familiar with the train of events. Pamela Brighton and Nigel Williams’ film interviews some of the real people who appear in Prick Up Your Ears, notably surviving members of Orton’s family and Orton biographer John Lahr. In addition there’s a substantial contribution from Kenneth Williams, a close friend of Orton and Halliwell’s who was also badly miscast as Inspector Truscott in the first disastrous performances of Loot. Between the interviews there are some scenes from a lacklustre TV performance of Loot, a stage performance of What the Butler Saw, and bits of Entertaining Mr Sloane.

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Previously on { feuilleton }
Malicious Damage
Joe Orton Online
Joe Orton

Weekend links 193

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A Problem Glyph by Eliza Gauger. Problem Glyphs are “symbolic illustrations … drawn in response to problems sent in by tumblr users”.

Kosmische Night takes place at the Museum of Bath at Work, Bath, Somerset, on January 25th (Rescheduled to February 22nd).  “…a celebration of all things Teutonic for anyone who enjoys Neu!, Can, Tangerine Dream, Stockhausen and Kraftwerk,” say the organisers. Also on the bill, The Electric Pentacle, a Carnacki-esque collaboration between Narco Lounge Combo and The Levels.

• Shock Headed Peters’ Fear Engine II: Almost As If It Had Never Happened. Joe Banks on Karl Blake, “…one of the most fascinating and colourful characters to emerge from the fertile loam of the post-punk scene”.

• “The great question in the film and the tale is not the existence of the ghosts but the way the governess understands their no-longer-lived lives and desires.” Michael Wood on The Innocents.

Nobody, however, is a greater authority on the intersection of porn and alternative spirituality than Annie Sprinkle. Beginning as a prostitute in the 1960s and 70s, she entered porn in the pre-AIDS era and made over two hundred films. She then jumped into a career as a sex-positive author and educator, which brought her into close conflict not only with feminists like Andrea Dworkin and Catharine MacKinnon, but also right-wing patriarch Jesse Helms, who denounced one of her sex magick performance pieces on the floor of the Senate. For Sprinkle, both sexuality and performance are explicitly spiritual and magical, part of her role as a cultural shaman.

In the Valley of the Porn Witches by Jason Louv.

Stars of the Lid and Wordless Music Orchestra playing for two hours last month at the Basilica of Our Lady of Perpetual Help in Sunset Park, Brooklyn.

Rick Poynor on the late Martin Sharp’s contributions to People, Politics and Pop: Australians in the Sixties (1968) by Craig McGregor.

Maggie Greene on The Woman in Green: A Chinese Ghost Tale from Mao to Ming, 1981–1381.

• “TED actually stands for: middlebrow megachurch infotainment,” says Benjamin H Bratton.

Geoff Manaugh on how corpses helped shape the London Underground.

Tony White on Eduardo Paolozzi at New Worlds by David Brittain.

• Mix of the week: Secret Thirteen Mix 102 by Frank Bretschneider.

• At Dangerous Minds: film of Syd Barrett‘s first psychedelic trip.

NYPL Wire: a New York Public Library Tumblr.

Microbial art by Eshel Ben-Jacob and others.

Interstellar Rock: Kosmische Musik (1974) by The Cosmic Jokers | I, Bloodbrother Be (1984) by Shock Headed Peters | Obscene and Pornographic Art (1991) by Bongwater

Art of Fencing

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Race Imboden.

The Men with swords archive hasn’t received much attention recently, the last addition being in May 2012. Had I been more diligent I might have found a photo or two of American fencer Race Imboden before now, the picture above being one of many such images at a Pinterest page entitled Art of Fencing. Many of the pictures there are sport-related but the concerns are also a little less academic, in fact at least two of them are things I’ve posted myself in the past.

If you spend a lot of time scouring the web for images then Pinterest has become very useful, very quickly with all manner of niches and micro-niches covered. That this has happened just as Flickr has been rendered unusable by idiotic interface changes is especially welcome. So we’ll say farewell, Flickr, if we want more pictures of the pulchritudinous Race Imboden in future we’ll look here.

Elsewhere on { feuilleton }
The men with swords archive

Robert Louis Stevenson’s Moral Emblems

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Being the owner of half the volumes in the Tusitala Edition of Robert Louis Stevenson’s collected works I’m not exactly unacquainted with the author’s books but this is one I hadn’t seen before. It is included in the Tusitala set (vol. 22) but this is one of the books I don’t own. The Moral Emblems & Other Poems Written and Illustrated with Woodcuts were published originally in Edinburgh Edition in 1898. The copies here are from a book edition prepared by Stevenson’s stepson, Lloyd Osbourne, in 1921. The 35 Tusitala volumes followed in 1924. Stevenson enjoyed sketching while on his travels so these crude woodcuts aren’t without precedent even if he didn’t make a habit of adding illustrations to his writing.

Emblem books were a popular form of moral instruction from the 16th century on. This particular example shares some of the pious qualities of its ancestors albeit with a wry attitude typical of its author. Regarding a man (“who might be you or me”) who pushes another into the sea, we’re told “And he will spoil his evening toddy / By dwelling on that mangled body.” The verses being written some years after Treasure Island, pirates appear in a couple of places, especially in the last sequence: Robin and Ben: Or, The Pirate and The Apothecary. The final illustrations aren’t as successful as his rough little vignettes but for someone with no reputation as a draughtsman they’re better than you’d expect. See the rest of the book here or download it here.

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The weekend artists, 2013

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“Chloromgonfus detectis, a dragonfly that can detect volatile pollutants.” A speculative insect by artist Vincent Fournier.

The annual review of artists/designers/photographers featured in the weekend posts should have run at the end of December but MR James got in the way. Big thanks, and happy new year to Form is Void and Beautiful Century for pointing the way to many of these people.

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Two cover designs from Eliash Strongowski’s 30 Days—30 Covers project.

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Pink Boy by Melinda Gebbie.

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Seam Stress (1987) by Laurie Lipton. The Drawings of Laurie Lipton is out now from Last Gasp.

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The Baron in the Trees (2011), a book-cut sculpture by Su Blackwell.

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