Weekend links 43

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From the video for I See, So I See So by Broadcast.

RIP Trish Keenan of Broadcast. Tributes here and here. The Broadcast/Focus Group collaboration …investigate Witch Cults of the Radio Age was The Wire‘s album of the year for 2009. Joseph Stannard interviewed Trish Keenan and James Cargill in October of that year.

Who Knows What Tomorrow Might Bring, a new pay-what-you-please Arthur mixtape. Also at Arthur, Sunday Lectures by Freeman House here, here, here and here.

• Cormac McCarthy’s description of American pioneers in Suttree (1979) kept coming to mind during the past week:

Where hunters and woodcutters once slept in their boots by the dying light of their thousand fires and went on, old teutonic forebears with eyes incandesced by the visionary light of a massive rapacity, wave on wave of the violent and the insane, their brains stoked with spoorless analogues of all that was, lean aryans with their abrogate semitic chapbook reenacting the dramas and parables therein and mindless and pale with a longing that nothing save dark’s total restitution could appease.

Born This Way: “A photo/essay project for gay viewers (male and female) to submit pictures from their childhood (roughly ages 4 to 14), with snapshots that capture them, innocently, showing the beginnings of their innate LGBT selves. It’s nature, not nurture!”

Mischievous street art characters. Chris Marker wouldn’t want us to forget Monsieur Chat. Speaking of Chris Marker, there’s Plato’s Cave as Kino: Owl’s Legacy Excerpt & Becoming Imperceptible.

With the point of a knife Dr. LeBaron took from the little round box a small quantity of a dark, greenish-colored gum, which, as it was passed from one to another for inspection, gave off an agreeable, aromatic odor. Then, as he was engaged in filling two capsules from the box, he explained:

“As le docteur read from ze book of Monsieur Richet, ze favoreet méthode in ze Orient ees to take ze Haschisch by ze smoke in ze Persian pipe—ze hookah, ze nargileh. But zey also take eet in ze great varieté. Ze principal kind zat come to ze market of Europe, ees zat I show you—ze Haschisch, an’ ve take eet like ze dose of quinine,” said he, as he handed a well-filled capsule to both Smith and Arnold.

Throwing back his head, Smith bolted his dose without ceremony, and Arnold immediately followed his example.

Haschisch: A Novel (1886) by Thorold King. Related: Haschisch Hallucinations (1905) by HE Gowers.

• Dan Hill’s personal report from the drowned world of Brisbane. Related: Hayley Campbell recalls swimming in the city’s hazardous floodwaters when she was a wild child. Also: Canoeing in McDonald’s.

Cabinet Card Backmarks, florid advertisements from Victorian cabinet photos. Callum James made a post on the subject in 2008 and has a Flickr set showing his discoveries.

• The Brothers Quay made a public information film about AIDS in 1996. (Now deleted from YouTube…boo!)

The secret stories of book inscriptions. Related: The Book Inscriptions Project.

• Ani, Turkey: City of 1001 Churches, all of them abandoned and ruined.

Vulgar Army: Octopus in Propaganda and Political Cartoons.

• Designer John Gall makes collages in his spare time.

Phantasmaphile at Tumblr.

Witch Cults and I See, So I See So, both by Broadcast & The Focus Group.

Le Baiser de Narcisse

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We have the French gay culture site Bibliothèque Gay to thank for posting illustrations by Ernest Brisset from Jacques d’Adelswärd-Fersen’s rare volume of homoerotic fiction, Le baiser de Narcisse (The Kiss of Narcissus). The book was originally published in 1907 but it was a new edition in 1912 which came embellished with Brisset’s Classical drawings and decorations. If these lack a degree of eros it should be noted that the text would have been condemned as outright pornography in the Britain of 1912, a paean to youthful male beauty which lingers over details of a boy’s “polished hips” and his “round and firm sex like a fruit”. As is usual with homoerotics of this period, the Classical setting and allusion to Greek myth provides the vaguest excuse for the subtext even though prudes of the time weren’t remotely fooled by this, as Oscar Wilde discovered.

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Among other works by Fersen there’s a decadent roman à clef, Lord Lyllian: Black Masses (1905), which I’ve been intent on reading since it was translated into English a couple of years ago. Here Fersen provides us with yet another fictional extrapolation of Oscar Wilde who the author gifts with some of his own scandalous history. Fersen had been driven from France following a public outrage involving the “Black Masses” of the novel’s title, and the alleged debauching of Parisian schoolboys.

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Nino Cesarini by Paul Höcker (1904).

Fersen settled in Capri with his partner Nino Cesarini where they spent some years reinforcing the reputation of that island (not for nothing is Noël Coward’s camp and catty character in Boom! named “the Witch of Capri”), and proselytising for the Uranian cause with a literary journal, Akademos, modelled on Adolf Brand’s Der Eigene. Fersen’s later life is reminiscent of that of Elisar von Kupffer, a wealthy contemporary who created a secluded homoerotic paradise of his own, the Sanctuarium Artis Elisarion. Unlike Kupffer, however, Fersen ended his days prematurely in a haze of opium and cocaine. As for Ernest Brisset, if anyone finds other work of his online, please leave a comment.

Elsewhere on { feuilleton }
The gay artists archive

Previously on { feuilleton }
Reflections of Narcissus
Narcissus

Philippe Jullian, connoisseur of the exotic

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Monsieur Jullian as seen on the back cover of Dreamers of Decadence (1971).

Here at last is the long-promised (and long!) piece about the life and work of Philippe Jullian (1919–1977), a French writer and illustrator who’s become something of a cult figure of mine in recent years. Why the fascination? First and foremost because at the end of the 1960s he wrote Esthètes et Magiciens, or Dreamers of Decadence as it’s known to English readers, a book which effectively launched the Symbolist art revival and which remains the best introduction to Symbolist art and the aesthetic hothouse that was the 1890s. If I had to choose five favourite books Dreamers of Decadence would always be on the list. This point of obsession, and Philip Core’s account of the writer, made me curious about the rest of Jullian’s career.

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An illustration from Wilson & Jullian’s For Whom the Cloche Tolls (1953). “Tata has called these his Krafft-Ebbing (sic) pictures of his friend Kuno, whatever that means.”

Philip Core was friends with Philippe Jullian, and Core’s essential Camp: The Lie that Tells the Truth (1984) has Jullian as one of its dedicatees. It’s to Core’s appraisal that we have to turn for details of the man’s life. There is an autobiography, La Brocante (1975), but, like a number of other Jullian works, this doesn’t seem to have been translated and my French is dismally pauvre. Core’s piece begins:

Philippe Jullian, born to the intellectual family of Bordeaux Protestants which produced the well-known French historian, Camille Jullian, was a last and lasting example of pre-war camp. His career began as an artist in Paris with a reputation for drag-acts parodying English spinsters. Snobbery, a talent for sensitive daydreaming, and a consuming passion for antiques, obscure art and social history, made a very different figure out of the thin and dreamy young man. Jullian suffered terribly during the Second World War; he managed to survive by visiting some disapproving cousins dressed as a maiden aunt, whom they were happy to feed. However, he made a mark in the world of Violet Trefusis, Natalie Barney and Vita Sackville-West by illustrating their books with his wiry and delicate doodles; this led to a social connection in England, where he produced many book jackets and covers for Vogue throughout the 1950s.

Having only seen Jullian in his besuited and bespectacled guise it’s difficult to imagine him dragged up, but the cross-dressing interest is apparent in his humorous collaboration with Angus Wilson and in a later novel, Flight into Egypt. As for the wiry and delicate doodles, they’re very much of their time, in style often resembling a less-assured Ronald Searle. One early commission in 1945 was for the first of what would become a celebrated series of artist labels for Château Mouton Rothschild. Later cover illustrations included a run for Penguin Books some of which can be found at Flickr.

Philip Core continues the story:

Elegant in the austerely tweedy way the French imagine to be English, Jullian exploited his very considerable talents as a writer, producing a series of camp novels throughout the 1950s (Scraps, Milord) which deal frankly but amusingly with the vicissitudes of handsome young men and face-lifted ladies, grey-haired antique dealers and criminals. One of the first to reconsider Symbolist painting, Jullian reached an enormous public in the 1960s with his gorgeous book, Dreamers of Decadence – where an encyclopaedic knowledge of the genre and its accompanying literature helped to create the boom in fin de siècle revivalism among dealers and museums.

An acerbic wit accompanied this vast worldly success; always docile to duchesses, Jullian could easily remark to a hostess who offered him a chocolate and cream pudding called Nègre en chemise, “I prefer them without.” Less kindly, to a gay friend who objected to Jullian’s poodles accompanying them into a country food shop by saying “Think where their noses have been”, he could also retort “Yes, that’s what I think whenever I see you kiss your mother.”

Continue reading “Philippe Jullian, connoisseur of the exotic”

Weekend links 36

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Mervyn Peake’s Caterpillar from Alice’s Adventures in Wonderland finds itself used to promote High Society, an exhibition at the Wellcome Collection devoted to the long history of human drug-taking. There’s more about the exhibition here and also an accompanying book by Mike Jay from Thames & Hudson. Related: The Most Dangerous Drug:

A group of British drug experts gathered by the Independent Scientific Committee on Drugs (ISCD) rated alcohol higher than most or all of the other drugs for health damage, mortality, impairment of mental functioning, accidental injury, economic cost, loss of relationships, and negative impact on community.

• Unless the magazine Man, Myth & Magic was advertised on TV in 1970 (and I suspect it would have been) Austin Osman Spare’s work has never been seen on British television, certainly not in any detail or with a credit to the artist. This week the BBC finally paid him some attention with a brief spot on The Culture Show as a result of the Fallen Visionary exhibition which is still running (until November 14) in London. Alan Moore, Fulgur‘s Robert Ansell and others attempt to summarise Spare’s career in seven minutes.

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Neil Fujita designs: Mingus Ah Um (1959) and The Godfather (1969).

• RIP graphic designer Neil Fujita. Related:

“By taking the “G” and extending it to the “D,” I created a house for “God.” The way the word was designed was part of the logo and so was the type design. So when Paramount Pictures does a film version or Random House, which bought out the book from Putnam, does another Godfather book, I still get a design credit. In fact, before the first Godfather film opened in New York I saw a huge billboard going up in Times Square with my design on it. I actually got them to stop work on it until we were able to come to an agreement.” Waxing Chromatic: An Interview with S. Neil Fujita

French SF illustration. Related: Where did science fiction come from? A primer on the pulps, a feature by Jess Nevins with some of the craziest covers you’ll see this month.

• Gay-bashers in 1970s San Francisco had to beware the wrath of the Lavender Panthers.

• More Marian Bantjes as she discusses her work in an audio interview.

Music from Saharan cellphones.

Origami Beauty Shots.

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Better Git It In Your Soul (1959) by Charles Mingus.

Haschisch Hallucinations by HE Gowers

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The Spirit of “Haschisch” by Sidney Sime.

Once upon a time, the discussion of drugs in British society wasn’t characterised by hysteria, paranoia and the repetition of falsehoods, but could encompass an open-minded curiosity. This is easier to do, of course, when the narcotics in question haven’t been subject to prohibition; it also helps if some of those narcotics have medicinal uses, as was frequently the case. The following article by HE Gowers, with illustrations by Sidney Sime, was published in The Strand Magazine for December 1905, a periodical famous for giving the world the adventures of the cocaine-using Sherlock Holmes. Also in issue 180 was an extract from Arthur Conan Doyle’s Sir Nigel (a turgid historical drama which the author bizarrely considered to be his masterpiece), The Adventure of the Snowing Globe by illustrator Warwick Goble, and Empire of the Ants, a chilling tale by HG Wells.

I was reminded of the Gowers piece earlier this week when Golden Age Comic Book Stories posted a selection of Sidney Sime’s Lord Dunsany illustrations. As well as working as a book illustrator, Sime was a regular contributor to magazines like Pall Mall and The Idler, and I’m fortunate to have a number of those otherwise unreprinted works in a scarce small-press collection which appeared in the 1970s. Sime’s illustrations here are taken from that volume which also included the partial text of the Gowers piece. With some searching around I was able to find the rest of the article and stitch the whole thing together. What’s nice about this essay is that the writing is for once as interesting as the illustrations; with Victorian and Edwardian magazines this isn’t always the case. Sime spent much of his life drawing unusual scenes but here he has a tough job to match the outré descriptions of what we’d have to class as episodes of Edwardian psychedelia. With the exception of Maurice Richardson’s Engelbrecht stories, this kind of outright weirdness wouldn’t be found in a British magazine for another sixty years.

*   *   *

HASCHISCH HALLUCINATIONS by HE Gowers

Illustrations by SH Sime

IN the eleventh century lived a fanatical Syrian sect who, under the intoxicating influence of haschisch, a native preparation of a plant called Indian hemp, committed many secret murders and fought recklessly against the Crusaders.

To-day many natives of Eastern lands fortify themselves with some form or the other—haschisch, bhang, gunjah, or churrus—of this drug. It has been repeatedly used in modern European medical practice, without, however, very consistent or satisfactory results.

A small dose of Indian hemp produces a feeling of cheerfulness and gives an increase of appetite; an overdose gives rise to strange errors of perception as to time and place, the patient’s heart-beats are much accelerated, intense thirst is generated, and often hallucinations of a most strange nature follow.

Mr. Bayard Taylor, in “Lands of the Saracen,” gives a graphic description of the effects produced on his travelling companion, Mr. Carter Harrison, and himself by a teaspoonful of paste made from a mixture of the dried leaves of cannabis indica (Indian hemp), sugar, and spices. About four hours after the haschisch was taken Mr. Harrison suddenly shrieked with laughter, and exclaimed excitedly:—

“Oh, ye gods! I am a locomotive!”

And then for over two hours he continued to pace to and fro the room in measured strides, exhaling his breath in violent jets, and when he spoke dividing his words into syllables, each of which he brought out with a jerk, at the same time turning his hands at his sides, as if they were the cranks of imaginary wheels.

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“He was moving over the desert in a barque of mother-of-pearl.

Mr Taylor’s hallucination was of a far more varied nature. He fancied himself at the foot of the pyramid of Cheops. He wished to ascend it, and was immediately at the top. Looking down, it seemed to be built out of plugs of Cavendish tobacco. Then other and stranger illusions followed. He was moving over the desert in a barque of mother-of-pearl, studded with jewels of surpassing size and lustre, and soon reached a waterless land of green and flowery lawns, where honey was drawn up in dripping pitchers. Later, when the drug began to make itself more powerfully felt, the visions were more grotesque and of less agreeable nature. His body seemed twisted into various shapes, and yet he had to laugh; his mouth and throat were as dry as if made of brass; his tongue seemed a bar of rusty iron. The excited blood rushed through his frame with a sound like the roaring of mighty waters; it was projected into his eyes so that he could not see, and beat thickly in his ears. His heart seemed bursting. He tore open his vest and tried to count the pulsations; but there were two hearts beating, one at the rate of one thousand beats per minute, the other with a slow, dull motion. Finally, he slept for thirty hours.

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“All the menageries of monstrous dreams, trotted, jumped, flew or glided through the room.”

Another great traveller in the East, according to Théophile Gautier, says that after a large dose of haschisch, two images of each object were reflected on each retina and produced a perfect symmetry. Then all kinds of Pantagruelic dreams passed through his fancy. Goatsuckers, storks, striped geese, unicorns, griffins, nightmares, all the menageries of monstrous dreams, trotted, jumped, flew or glided through the room. He saw horns terminating in foliage; webbed hands; whimsical beings, with the feet of his armchair for legs and dial-plates for eyeballs; enormous noses, dancing the cachuca while mounted on chicken legs. He imagined he was the parakeet of the Queen of Sheba, and imitated, to the best of his ability, the voice and cries of that bird. Then, with inconceivable rapidity he sketched these gruesome creatures on the backs of letters, cards or any handy piece of paper. He found, when the effects of the drug were past, that one of his frantically-drawn sketches bore the inscription: “An animal of the Future.” It represented a living locomotive with a swan’s neck terminating in the jaws of a serpent, whence issued jets of smoke, with two monstrous jaws composed of wheels and pulleys; each pair of jaws had a pair of wings, and on the tail of this fearsome creature was seated the Mercury of the ancients.

“Take care; you’re spilling me!” emphatically exclaimed another experimenter, Mr. S.A. Jones, a few hours after taking ten grains of haschisch.

“What’s the matter, old man?” asked the friend who was with him in his bedroom.

“Stupid, you’ll spill me! Can’t you see I’m an inkstand, and that you’ll have the ink all over the white counterpane?”

And for an hour, in the person of an inkstand, he opened and shut his brass cover—it had a hinge—shook himself, and both saw and felt the ink splash against his glass sides.

One of the most common effects of haschisch, previously mentioned, is to make everything appear a great way off, and a few seconds seem so many hours, or even weeks. Among the many strange illusions experienced by Mr. Shirley Hibbard, these distorted ideas of time and distance play a prominent part. He says that his room became larger and larger, and the skulls of animals that ornamented his study walls became colossal, and seemed monsters of the oolitic age. He seemed to have been staring at them for years, but after looking at his watch and finding that he had been under the influence of the drug but twenty minutes, the illusion was temporarily dispelled… Then suddenly the watch began to expand, and ticked like the pulsations of a world. He seized a pencil with the intention of taking notes, but his limbs became convulsed, his toes shrank within his slippers, his fingers became the long legs of a convulsed spider, and the pencil dropped with a thunder-like crash. He looked out of the window and beheld a sublime spectacle. The horizon was infinitely removed; the sunset had marked it out with myriads of fiery circles, revolving, mingling together, expanding, and then changing into an aurora which shot up into the zenith and fell down in sparks and splashes among some trees, which became brilliantly illuminated. The landscape continued to expand. The trees shot higher and higher until their mingled branches o’erspread the gradually-darkening sky. With a mighty effort of will, he managed to look at the watch again, and discovered that only twenty-five minutes had passed.

He screamed: “Twenty-five minutes, twenty-five days, twenty-five months, twenty-five years, twenty-five centuries, twenty-five aeons. Now I know it all. I have discovered the elixir of life; I shall live for ever.”

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“The cup seemed a huge tankard, beautifully chased all over with dragons.”

As his heart was beating very fast he tried to count his pulse. The throbs were like the heaving of mountains; as he counted “One, two, three,” they became “One, two, three centuries,” and he shrieked at the thought of having lived from all eternity and of going to live to all eternity in a palace of coloured stalactites, supported by shafts of emerald resting on a sea of gold… A servant brought him a cup of coffee. He says the cup seemed a huge tankard, beautifully chased all over with dragons that extended all round the world. The girl appeared to stand for an hour smiling and hesitating where to place the cup, as the table was strewn with papers. He then removed a few papers, and heaved a sigh that dissipated the dragons and made odours fall in showers of rain; the servant put down the cup with a crash that made every bone in his body vibrate as if struck by ten thousand hammers. The maid stood aghast, and her rosy face expanded to the size of a balloon, and away she went like lightning while he stood applauding in the midst of thousands of fairy lamps, which he noticed were glow-worms. He drank the coffee, which caused sensations of insupportable heat, and found that forty minutes had gone by since he took the haschisch. He then went to bed—a difficult undertaking, as his legs seemed so very long. On undressing, his clothes flew away into space. As he got into bed it extended, and his body covered the whole earth. Then followed a sense of indescribable pain all over his body; his skin seemed to move to and fro upon his flesh, his head swelled to an awful size, and, finally, his body parted in two from head to foot… Unlike most persons Mr. Hibberd felt in his usual good health the next morning.

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“He distinctly saw within himself the drug he had chewed.”

As will have been noticed from the last experience the intoxicating effect of haschisch is not continual; but, like madness, has its short lucid intervals. The doctor whose sensations are described below says that his attack was easily divisible into three stages, each increasing in strength and weirdness, and that there was a brief period of comparative sanity between each.

He distinctly saw within himself the drug he had chewed: it looked like an emerald, from which thousands of sparks were emitted. His eyelashes grew rapidly, and when about two feet long twisted themselves like golden threads around little ivory wheels, which whirled rapidly. Half animals and half plants his friends appeared; and a pensive ibis standing on one leg addressed a discourse on music in Italian, which the haschisch delivered in Spanish. Later, after a clear interval, his hearing was wonderfully developed. He could hear the sound of colour—green, red, blue, and yellow sounds struck his ear with perfect distinctness. For fear of razing the walls and bursting like a bomb he dared not speak. More than five hundred clocks (in reality, one) chimed the hour. He swam in an ocean of sound, wherein beautiful passages from the operas floated like islets of light. He felt as a sponge in the midst of the sea; every instant waves of happiness washed over him, entering and departing through his pores, for he had become permeable, and even to the smallest capillary vessel his whole being was filled with the colour of the fantastic medium in which he was plunged… According to his calculations this stage must have lasted three hundred years, for the sensations succeeded each other so rapidly and potently that the real appreciation of time was impossible. When the attack was over he found that it had lasted just a quarter of an hour! •

The Strand Magazine, 1905.

Elsewhere on { feuilleton }
The illustrators archive

Previously on { feuilleton }
Demon rum leads to heroin
Sidney Sime and Lord Dunsany
HP Lovecraft’s favourite artists
German opium smokers, 1900