{books} – Page 285 – { feuilleton }

Weekend links 174

Dress (2012) by Nao Ikuma.

• Two of my Cthulhu artworks can currently be seen in the Ars Necronomica exhibition at the Cohen Gallery, Brown University, Providence, RI. The exhibition is part of NecronomiCon, and runs to September 13th. In related news, my steampunk illustration has been nominated in the Visual category of this year’s Airship Awards. Winners will be announced at Steamcon V in October.

• “…the story of how a small cabal of British jazz obsessives conducting a besotted affair with the style arcana of Europe and America somehow became an army of scooter-borne rock fans…” Ian Penman looks back at the culture of Mod for the LRB.

• “What is it about the writer in the First World that wants the Third World writer to be nakedly political, a blunt instrument bludgeoning his world’s ills?” Gina Apostol on Borges, Politics, and the Postcolonial.

If someone had designed a work regime perfectly suited to maintaining the power of finance capital, it’s hard to see how they could have done a better job. Real, productive workers are relentlessly squeezed and exploited. The remainder are divided between a terrorised stratum of the, universally reviled, unemployed and a larger stratum who are basically paid to do nothing, in positions designed to make them identify with the perspectives and sensibilities of the ruling class (managers, administrators, etc) – and particularly its financial avatars – but, at the same time, foster a simmering resentment against anyone whose work has clear and undeniable social value. Clearly, the system was never consciously designed. It emerged from almost a century of trial and error. But it is the only explanation for why, despite our technological capacities, we are not all working 3–4 hour days.

On the Phenomenon of Bullshit Jobs by David Graeber

• Ron Rosenbaum talks to Al Pacino about all the usual stuff, and reveals some detail about the actor’s obsessive interest in Oscar Wilde’s Salomé.

• More queer history: The Brixton Fairies and the South London Gay Community Centre, Brixton 1974–6.

• At Dangerous Minds: Anthony Burgess and the Top Secret Code in A Clockwork Orange

• Every day for 100 days, Jessica Svendsen redesigned a Josef Müller-Brockmann poster.

• LondonTypographica: Mapping the typographic landscape of London.

• Mix of the week: Secret Thirteen Mix 083 by Demdike Stare.

• At Strange Flowers: Alfred Kubin the writer.

• Derek Jarman’s sketchbooks.

• Rick Poynor on Collage Now.

• Thomas Leer: Private Plane (1978) | Tight As A Drum (1981) | Heartbeat (1985)

Les Terres du Ciel

Frederic Thompson’s amusement ride attempted to give exposition visitors in 1901 the experience of a journey to the Moon; Camille Flammarion’s Les Terres du Ciel (1884) is a pictorial voyage around the solar system which includes the Moon among its ports of call. Subtitled Voyage Astronomique sur les Autres Mondes et Description des Conditions Actuelles de la Vie sur les Diverses Planètes du Système Solaire Flammarion’s study presented the science of the time but complemented this with a strange selection of illustrations ranging from serious attempts to show the surface of the other planets together with scenes of outright fantasy. Serious or not, the engraved plates are pretty good. A few of these illustrations turn up in books on the history of astronomy so—once again—I’m pleased to find their source. Flammarion’s book may be browsed here or downloaded here.

Continue reading “Les Terres du Ciel”

Weekend links 173

Icarus (1974–75) by Lili Ország.

• The Cabaret Voltaire albums released on the Virgin label in the 1980s have suffered the same shoddy treatment on CD as other Virgin reissues, a situation to be rectified in November with an extensive revisiting of the CV back catalogue. The long-overdue reappraisal will also include the release of Earthshaker, a collection of previously unavailable recordings from the Virgin period.

• It’s that book again: Design Observer has the preface from Lolita — The Story of a Cover Girl: Vladimir Nabokov’s novel in art and design, a book by John Bertram and Yuri Leving. At The Millions John Bertram talks to designer John Gall about the problems Lolita poses for cover designers.

• Jerry Lewis’s The Day the Clown Cried (1972) has acquired legendary status over the years for the apparent tastelessness of its subject matter—a clown in Auschwitz—and the fact that its director/star has never allowed the film to be seen in public. This week some footage arrived on YouTube.

• Candy Bullets And Moon (1967), a one-off psychedelic collaboration between Don Preston and Meredith Monk.

• What’s the collective term for many bookshops? Whatever it is, there’s a lot of them in this Pinterest collection.

• At Dangerous Minds: Artist Gail Potocki’s exploration of Alice in Wonderland and the passing of time.

• Anne Billson on the late Karen Black and why horror movies deserve our respect.

• Tobias Carroll on the Surreal life and fiction of Leonora Carrington.

• More details emerge about The Wicker Man – The Final Cut.

• Issue 35 of Arthur Magazine is now available for order.

• Graphics, drawings and collages by Jan Švankmajer.

• Every film poster designed by Saul Bass.

• Cabaret Voltaire: Just Fascination (1983) | Sensoria (1984) | I Want You (1985)

A Trip to the Moon, 1901

On the Airship Luna, visiting the Queer City of the Moon, and the wonderful Palace of the Man in the Moon.

An artist’s rendering of Frederic Thompson’s amusement ride created for the Pan-American Exposition of 1901 which is no doubt more impressive than was the earthbound reality. Thompson’s ride pre-dates Georges Méliès’ Le Voyage dans la Lune by a year, and while both lunar excursions owe something to HG Wells, whose The First Men in the Moon was published in 1901, the Wikipedia description of Thompson’s ride sounds very similar to the Méliès film:

The first version of the ride involved a simulated trip for thirty passengers from the fairgrounds to the Moon aboard the airship-ornithopter Luna, with visions displayed of Niagara Falls, the North American continent and the Earth’s disc. The passengers then left the craft to walk around a cavernous papier-mâché lunar surface peopled by costumed characters playing Selenites, and there visiting the palace of the Man in the Moon with its dancing “moon maidens”, before finally leaving the attraction through a Mooncalf’s mouth.

Thompson’s attraction was later relocated to Coney Island where it gave its name to the Luna Park created there, a name subsequently passed on to all the other Luna Parks worldwide. The illustration is from One Hundred Views of the Pan-American Exposition, Buffalo and Niagara Falls (1901) which includes some views of the other attractions and exhibits. This exposition was on a smaller scale than some of those that came before and after, and includes a couple of features that appear plagiarised from earlier shows, notably “Roltair’s House Upside Down” which might have been inspired by the Upside-Down Manor at the Exposition Universelle in Paris the year before. I appear to have exhausted the Paris exposition as a subject but the fascination with these events persists, especially when they turn up oddities such as these. Browse the rest of the book here or download it here.

Previously on { feuilleton }
• Le Voyage dans la Lune
• A Trip to Mars
• Lunation: Art on the Moon
• Somnium by Steve Moore
• Mushrooms on the Moon
• Filippo Morghen’s Voyage to the Moon

Elric 1: Le trône de rubis

The closest I ever got to illustrating Michael Moorcock’s Elric character was the sleeve for The Chronicle of the Black Sword in 1985, a Hawkwind concept album based on the first couple of Elric books. That design favoured a decorative approach over anything illustrative, however. At the time I felt too intimidated by the renderings of Elric’s first illustrator, James Cawthorn, and subsequent depictions by book cover artists such as Michael Whelan, to attempt my own version of the character. These days I pay little attention to heroic fantasy of any kind but I do look out for new depictions of Moorcock’s anti-hero. Earlier this year the French bande dessinée publisher, Glénat, released the first album in a planned series of five comic-strip adaptations of the Elric books. Many creditable Elric comics have appeared since the 1970s, not least the Cawthorn version of Stormbringer, one of the earliest and best, and Philippe Druillet’s own somewhat eccentric production. Mike Moorcock very generously sent me a copy of the Glénat volume this week, and I’d say this is now the one to beat.

Writer Julien Blondel has adapted the books with the art duties being taken by Didier Poli and Robin Recht. Jean Bastide is the colourist. I’ve always preferred the French and Belgian approach to comic art over the American style so I’m naturally biased towards a book such as this. That said, the art is marvellous, and so many of the details feel just right. Moorcock portrays the Melnibonéans as decadent and cruel, something that Poli and Recht portray with scenes of naked slaves being bled, butchered, and even used as human torches for the blithe amusement of their masters. The general atmosphere in the opening pages is like something from Flaubert’s Salammbô with its combination of antique depravity and the massing of great armies prior to battle. They don’t slouch with the monstrosities, either, there’s a spot of Lovecraftian weirdness when Elric is rescued by Straasha, the Sea King. I look forward to seeing how they deal with Arioch (who puts in an appearance at the end) and the other Chaos Lords. The dialogue is all in French, of course, but if you know the books it’s easy to follow even with French as limited as mine.

The Glénat site has a few more page samples. Moorcock has been watching these books being adapated and re-adapted for decades, and he says this is among the very best. For anyone with more than a passing interest in the brooding albino prince it’s well worth seeking out.

Previously on { feuilleton }
• Salammbô illustrated
• Jim Cawthorn, 1929–2008