Weekend links 62

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A plate from Tales of the Amur by Dmitry Nagishkin, a 1975 edition illustrated by Gennady Pavlishin.

• The week in Surrealism: Opera of the surreal gives Dalí an encore: Yo, Dalí, a previously unperformed work by Xavier Benguerel, receives its premier in Madrid. Meanwhile Tate Liverpool’s summer exhibition, René Magritte: The Pleasure Principle, is profiled here. “René Magritte has inspired more book covers than any other visual artist,” says James Hall.

If Rimbaud anticipated the Surrealists by decades, Ashbery is said to have gone beyond them and defied even their rules and logic. Yet though nearly 150 years have intervened since Rimbaud’s first declaration of independence, many readers in our own age, too, still prefer a coherence of imagery, a sameness of tone, a readable sequential message, even, ultimately, what amounts to a prose narrative broken into lines.

Lydia Davis on Rimbaud’s Wise Music.

Umberto Eco’s glimpse into the art of the novel | Return to Wonderland: an essay on Lewis Carroll’s world by Alberto Manguel | Heavy sentences by Joseph Epstein: On How to Write a Sentence and How to Read One, by Stanley Fish.

And then there’s the mystery of what happened to him for those four months in London when we have no trace of him. Rimbaud mentions Scarborough in “Promontory” and talks about “Hotels, the circular façades of the Royal and the Grand in Scarborough or Brooklyn.” Since there’s that missing period in England, people say he must have gone to Scarborough, and have even checked hotel registers for that period, but as far as I know nobody has ever found anything. Someone even checked railway and train schedules in order to pin him to this real place. I seem to remember a French writer admitting that Rimbaud was never in Brooklyn, but kind of wishfully thinking that he might have been. Which is very funny. “Rimbaud in Brooklyn”: there’s a project for someone.

A Refutation of Common Sense, John Ashberry on translating Rimbaud.

Robert Jeffrey posts a video of his nine-year-old self giving Madge a run for her money in 1991. As Boy Culture puts it: “Anyone who feebly clings to the belief that gay can be prayed away should take a look at this and give up already…” Amen.

• The mathematics of Yog-Sothoth: Richard Elwes on Exotic spheres, or why 4-dimensional space is a crazy place.

For I Will Consider My Cat Jeoffry by Christopher Smart (1722–1771).

Lesbian pulp fiction, 1935–1978 and Faber 20th century classics.

As The Crow Flies, a new album from The Advisory Circle.

New World Transparent Specimens by Iori Tomita.

79 versions of Gershon Kingley’s Popcorn.

Minor Man (1981) by The League of Gentlemen.

Polish Book Cover Contest Winners

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50 Watts (formerly A Journey Around My Skull) followed its 2009 Evil Orchid Bookplate Contest with a contest to design a Polish book cover. The results were announced a few hours ago, the winner being the above design by Ben Jones who happens to be from Manchester. The rest of the entries can be seen in this Flickr set. I’m astonished at the variety on display, and also the success of the majority of these pieces as both cover designs and pastiches of an idiosyncratic style. Nice to see so many people using non-digital techniques, Ben Jones included, and there’s an additional pleasure with this challenge in seeing the titles people have chosen to illustrate. Congrats to Will on an inspiring contest.

Elsewhere on { feuilleton }
The book covers archive

Previously on { feuilleton }
The Evil Orchid Bookplate Contest
Polish posters: Freedom on the Fence
The Robing of The Birds
Franciszek Starowieyski, 1930–2009
Czech film posters
Czech book covers

Valenti Angelo’s Salomé

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And still they come… Valenti Angelo (1897–1982) was an American printmaker, author of several books for children and the illustrator of an estimated 250 classic works of fiction including this 1945 edition of Wilde’s Salomé for Heritage Press. Angelo has an engagingly simple style in this and other works, reminding me of David Sheridan’s Tarot designs. The Internet Archive has a copy of his illustrated The Imitation of Christ with drawings reminscent of Eric Gill’s woodcuts.

Elsewhere on { feuilleton }
The illustrators archive
The Oscar Wilde archive
The Salomé archive

Dalí’s Salomé

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Queen Salomé (1937) by Salvador Dalí.

Of all the Surrealists, Salvador Dalí had his fingers in the most cultural pies—designing for film and theatre, writing books (including a novel, Hidden Faces), even performing occasionally, or at least making a public spectacle of himself—so it’s no surprise to find him adding to the stock of 20th-century Salomé interpretations, first in a drawing then for the stage. The stage work was something I hadn’t run across before (not since this current obsession began, anyway), a 1949 production of the Strauss opera at Covent Garden directed by Peter Brook. The now celebrated theatre director was at the outset of his career when he chose Dalí as his designer but the resultant furore shows that Brook’s ability to challenge an audience (or at least, a gaggle of theatre critics) had an early start. The critics savaged the production and the show closed after only six performances. Brook, who was sacked, had this to say:

The critics all decided that Dali and I were only out to annoy them. There, at least, I might claim that they underestimated us; if that have been our intention I think that between us we might have done much worse… (More)

Getty Images has some tantalising photos here, here and here, but I’ve not seen anything in the way of production sketches. The objections seem to have been the usual tiresomely English revulsion against anything too original, too strange or too imaginative (it’s no wonder Leonora Carrington abandoned Britain for Mexico). An article about the production from the BBC’s Music Magazine includes this detail:

In the last scene for Dali and Brooke, [Salomé] was slowly covered over by a sort of green ooze of bile that came from the head of John the Baptist, an effect of luxuriant disgust which we can imagine without too much difficulty, bearing in mind others of Dali’s images.

That piece also mentions a proposed restaging of the opera with Dalí’s designs but I’ve been unable to discover whether this took place. If anyone knows better, please leave a comment.

Elsewhere on { feuilleton }
The Salomé archive

Wild Salomés

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So there’s a poster for Al Pacino’s forthcoming drama-documentary about the Oscar Wilde play but I’ve yet to see any release details. The tagline connects Salomé with The Ballad of Reading Gaol: “We kill the thing we love.”

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Searching around for posters turned up this item for an Italian-French co-production of the Wilde play directed by Claude d’Anna. I’ve not seen this but it can’t be any worse than Ken Russell’s version so it may be worth seeking out.

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Far better poster-wise is this splendid creation by Anselmo Ballester for the Italian release of the 1953 Hollywood film (which isn’t based on the play). Rita Hayworth was too old for the role, and the film is simultaneously lavish and dull in the way that so many sword-and-sandal epics manage to be, but the poster is a gem. This site has many more examples of Ballester’s poster art.

Elsewhere on { feuilleton }
The Oscar Wilde archive
The Salomé archive