Frank C. Papé’s The Well of Saint Clare

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I was asked recently if I’d ever written anything about British illustrator Frank C. Papé (1878–1972). The answer was no for two reasons, the first being that where book illustration is concerned I like to be able to point to whole books, and until recently there hasn’t been much of Papé’s work available in complete editions. The second reason is that Papé’s illustration is often broadly comic, to a degree that had he been born a generation or two later he might have been drawing humorous comic strips or editorial cartoons. Papé was very adept on a technical level but his drawings aren’t always to my taste so I’ve never spent much time looking for his books.

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The first of those caveats has been ameliorated by recent uploads at the Internet Archive which include this volume, one of several Anatole France editions with Papé illustrations. The Well of Saint Clare (1928) is a collection of religious stories set in the medieval era. The book appeared a few years after Papé had illustrated James Branch Cabell’s Jurgen: A Comedy of Justice, a quasi-medieval fantasy which was the subject of a celebrated obscenity case in the USA. Anatole France’s satires were almost as contentious for a time—the Vatican put his books on their prohibited list—which leaves me wondering whether Papé had a natural inclination for risqué material or whether his publishers pushed him in this direction. Probably a little of both.

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Weekend links 735

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The Adventure of the Giant Squid (c.1939) by NC Wyeth.

• Mix of the week is a superb XLR8R Podcast 860 by Kenneth James Gibson. Elsewhere there’s DreamScenes – July 2024 at Ambientblog, and Deep Breakfast Mix 267 at A Strangely Isolated Place.

• A trailer for a restored print of Time Masters (1982), the second animated feature by René Laloux, with character designs/decor by Moebius. Now do Gandahar.

• Coming soon from Strange Attractor: Music From Elsewhere: Haunting Tunes From Mythical Beings, Hidden Worlds, and Other Curious Sources by Doug Skinner.

Not only a prolific lyricist, Lovecraft considered his main vocation to be poetry. And at its best, his verse can be judged an apt expression of his philosophical vision, in which cosmic horror embodies the predicament of all sentient beings in a meaningless universe. That Lovecraft’s poetry never reaches the heights attained by such Modernists as T.S. Eliot or Ezra Pound should not diminish the fact that his is verse that, in the most archaic of ways, advances a startlingly modern metaphysic, a poetic encapsulation of what Thomas Ligotti in The Conspiracy Against the Human Race describes as an affirmation that the universe is a “place without sense, meaning, or value.” Lovecraft, with his antiquated prosody and his anti-human ethics, presented readers with a type of counter-modernist poetry. Ironically, he is the radical culmination of William Carlos Williams’s injunction of “No ideas but in things;” he is an author for whom there are only things. Graham Harman in Lovecraft and Philosophy describes Lovecraft as a “violently anti-idealist” who “laments the inability of mere language to depict the deep horrors his narrators confront.” Unpleasant stuff, for sure. It is verse that at best exemplifies something that controversial poet Frederik Seidel called for in the Paris Review: “Write beautifully what people don’t want to hear.”

Ed Simon on The Unlikely Verse of HP Lovecraft

• Among the new titles at Standard Ebooks, the home of free, high-quality, public-domain texts: The Case of Charles Dexter Ward, by HP Lovecraft.

• At Spoon & Tamago: An ethereal bubble emerges from a Japanese townhouse.

• New music: The Head As Form’d In The Crier’s Choir by Sarah Davachi.

Mabe Fratti’s favourite albums.

Bubble Rap (1972) by Can | Bubbles (1975) by Herbie Hancock | Reverse Bubble (2014) by Air

Thomas Mackenzie’s Crock of Gold

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Thomas Mackenzie (1887–1944) was an English illustrator whose work has appeared here before via his illustrations for a verse rendering of the Aladdin story by Arthur Ransome, a typical product of the 1920s’ boom in illustrated children’s books. James Stephens’ The Crock of Gold (1912) is a vessel of a different kind, too sophisticated for children yet suffused with a fairy-tale quality, this is more like a fable for adults:

A mixture of philosophy, Irish folklore and the “battle of the sexes”, it consists of six books, Book 1 – The Coming of Pan, Book 2 – The Philosopher’s Journey, Book 3 – The Two Gods, Book 4 – The Philosopher’s Return, Book 5 – The Policemen, Book 6 – The Thin Woman’s Journey, that rotate around a philosopher and his quest to find the most beautiful woman in the world, Cáitilin Ni Murrachu, daughter of a remote mountain farm, and deliver her from the gods Pan and Aengus Óg, while himself going through a catharsis. (more)

The illustrations, which Mackenzie created for a 1926 edition, are a little different to his earlier work, tending in places towards that Hellenic stylisation that became increasingly popular in the graphic art of the 1920s and 30s. The depictions of Pan remind me that I once tried to catalogue all the appearances of the god in prose and poetry from the 1890s on. The years from 1890 to 1930 saw Pan become a persistent presence in English literature, while also giving a title to one of the leading Jugendstil journals. The idea of trying to document all this activity is an attractive one until you set to work and find that there are many more examples than you imagined, not all of them indicated in the titles of the works.

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Weekend links 734

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Illustration by Frank Mechau for The Love of Myrrhine and Konallis (1926) by Richard Aldington.

• At A Year In The Country: The Delaware Road: “A surreal post-war Albion and Quatermass meets Tinker, Tailor, Soldier, Spy.”

• At Colossal: Rajesh Vora photographs the unique Punjabi tradition of adorning homes with sculptural water tanks.

• At Unquiet Things: The fragile eternity of Margaretha Roosenboom’s floral still lifes.

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Illustration by Frank Mechau for The Love of Myrrhine and Konallis (1926) by Richard Aldington.

• New music: Damaged by Ghost Dubs, and Selene by Akira Kosemura & Lawrence English.

• At Public Domain Review: Allison C. Meier on The Dance of Death across centuries.

• RIP Shelley Duvall. Related: Anne Billson on Shelley Duvall: her 20 greatest films.

• At Dennis Cooper’s: Galerie Dennis Cooper presents…Félicien Rops.

• Steven Heller’s font of the month is Sisters.

Eno Williams’ favourite records.

Two Sisters (1967) by The Kinks | All Your Sisters (1996) by Mazzy Star | Two Sisters (2017) by Gel-Sol

Weekend links 732

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Chasing Fireflies, A Lady of the Tenmei Era, from the series Thirty-six Elegant Selections (1894) by Mizuno Toshikata.

• While working on the Herald of Ruin cover late last year I was wondering when we might get to see the BFI or Eureka releasing Louis Feuillade’s silent serials on Region B blu-ray discs. Six months later, Eureka have announced this very thing: Louis Feuillade: The Complete Crime Serials (1913–1918), a box comprising the Gaumont restorations of Fantômas, Les Vampires, Judex and Tih Minh. I’ll probably have more to say about this in September.

• At A Year In The Country: Wyrd Explorations: A Decade Of Wandering Through Spectral Fields, a book which collects revised and extended pieces from the first ten years of A Year In The Country posts.

• At The Paris Review: Eliza Barry Callahan visits and revisits Joseph Cornell’s house at 37-08 Utopia Parkway, NYC.

• New music: Jinxed By Being by Shackleton & Six Organs of Admittance.

• Browse artworks by Pablo Picasso at the Picasso Museum, Paris.

• At Unquiet Things: Victor Kalin’s Paradoxical Paperback Art.

Strange Transmissions: The World Of Experimental Radio.

• At Dennis Cooper’s it’s Satoshi Kon‘s Day.

Aaron Turner’s favourite music.

• DJ Food’s haul of Acid Badges.

Acid Head (1966) by The Velvet Illusions | Acid Heart Mother (2000) by Acid Mothers Temple & The Melting Paraiso U.F.O. | Acid Death Picnic (2013) by Cavern Of Anti-Matter