The Japanese Sandman, a film by Ed Buhr

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I upgraded my DVD of David Cronenberg’s Naked Lunch to blu-ray recently. The film is one of my favourites in the Cronenberg oeuvre even though its connection to the novel is minimal at best. After watching it again I was thinking (not for the first time) that one way to adapt either Naked Lunch or any of the books in the “Nova Trilogy”—The Soft Machine, The Ticket That Exploded, Nova Express—would be to commission ten or twenty very different film-makers to adapt portions of the novel in whatever manner they chose. The resulting short films could either be run in sequence or cut together to make a meta-film which, if nothing else, would be closer to the disjointed structure of William Burroughs’ early novels than the semi-biographical narrative that Cronenberg delivered .

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Which brings us to The Japanese Sandman, a 12-minute film made by Ed Buhr in 2008 which turned up recently on YouTube. Buhr’s short is a dramatisation of passages from the letters that Burroughs wrote to Allen Ginsberg in 1953, in which Burroughs recounts his experiences in Panama while searching for the yage vine, a plant which yields the hallucinogen known as ayahuasca. Narrator John Fleck is a decent Burroughs mimic (although the real Burroughs pronounced “Panama” with a distinct drawl at the end, more like “Panamawww”), and since Burroughs’ own words provide the text of the piece the film is closer to Burroughs’ books than many other short films. Black-and-white scenes in Panama rooms alternate with a colour sequence where Burroughs recalls a doomed love affair with a boy in the St Louis of the 1930s. It’s gratifying to see someone draw attention to an aspect of Burroughs’ writing that’s often ignored, the persistent thread of melancholy and regret for lost time/lost people which runs through so many of his novels. It’s a side of the fiction that would also have to be accounted for in any longer adaptation of Burroughs’ work.

Elsewhere on { feuilleton }
The William Burroughs archive

The art of Denton Welch, 1915–1948

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Symbolist Figure (1946).

The visual art, that is, not the novels and short stories. Last month I finally got round to reading Denton Welch’s first two novels, Maiden Voyage (1943) and In Youth is Pleasure (1945). Finally, because I’ve known Welch’s name for a long time, mostly via William Burroughs—who dedicated The Place of Dead Roads to him—and John Waters—who often lists In Youth is Pleasure as one of his favourite novels. This was also the book that Burroughs favoured, and he wrote an introduction for a US reprint in 1983. At first glance, Welch would seem a surprising choice for the pair: the protagonist in each book is a thinly fictionalised avatar of the author—he’s even named Denton Welch in the first—an effete upper-middle-class English teenager who hates his school and most of the people he meets, and who spends as much time as possible wandering alone, looking for affordable antiques and any old buildings that may be of interest. The homosexual undercurrents in each book generate persistent tensions which are an obvious attraction for many readers, even though nothing is ever stated overtly and there’s no hand-wringing over unrequited passions. Welch’s boys are most passionate about the things they collect, and their determination to be left alone to pursue their interests when all the adults around them are trying to push them in different directions. Having been a similar school-hating, art-obsessed, introverted teenager, if I’d read In Youth is Pleasure when I was the same age as the beleaguered Orvil Pym it would have made a huge impression.

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Self-portrait With Cat.

Art was the interest that Welch most wanted to pursue but it’s the writing for which he’s remembered. Few people have good things to say about his drawings and paintings but there’s a strange quality to many of them that I like, an atmosphere of menace that lurks beneath the often naive renderings. I was surprised how gloomy and claustrophobic many of them are. The refined sensibilities in the novels lead you to expect something lighter, frivolous even, like the paintings and illustrations of his contemporary, Rex Whistler, or other artists of the Neo-Romantic school of the 1930s. In fact looking at Whistler’s work again, it’s the Whistler style I most expected even though it’s unfair to compare the two. Welch and Whistler shared a taste for pictorial decoration, and a blithe indifference to the avant-garde trends of the day, but Whistler was a formidable talent, the kind of successful illustrator that Welch could only dream of being. (That said, both artists were commissioned by Shell for the company’s poster series showing views of Britain.) Yet lack of ability sometimes takes an artist into places that a professional wouldn’t reach. Whistler would have given us a perfect cat, not the strange creatures with almost human faces that Welch liked to draw. I’m curious to know which, if any, contemporary artists Welch preferred. His diaries are now earmarked for a future reading.

A Voice Through A Cloud: Discovering Denton Welch

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Hadlow Castle, Kent (1937).

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Horse and Moon (1943).

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Continue reading “The art of Denton Welch, 1915–1948”

Weekend links 711

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Les Étrangers (1937) by Wolfgang Paalen.

• “I was picturing Monty Python’s spoof Pasolini cricket film The Third Test Match, a man frantically rubbing his groin with a cricket ball.” Paul Gallagher writing about the time that Kenneth Anger wanted to make a film about cricket.

• The week in deserts: This camera is taking a 1,000-year-long exposure photo of Tucson’s desert landscape; Explore the surface of Mars in spectacular 4K resolution.

• At the Wired YT channel: puzzle-box maker Kagen Sound talks about the creation and operation of his amazing boxes.

• RIP Wayne Kramer, the MC5’s other incendiary guitarist. Here they are kicking out the jams on Beat-Club in 1972.

• National Gallery of Ireland acquires Harry Clarke artwork for national collection.

• At Bajo el Signo de Libra: The (mostly homoerotic) Italy photographed by Herbert List.

• New music: Fragmented by Parallel Worlds, and The Crystal Parade by Cate Brooks.

• At Wormwoodiana: Aquarius, Arcania, Arcturus: Exploring New Age shops.

• At Public Domain Review: Early modern blackwork prints.

Sun In Aquarius (1970) by Pharoah Sanders | Aquarius (1998) by Boards Of Canada | Aquarius (2018) by Beautify Junkyards

Weekend links 703

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Njommelsaska i Lappland (1856) by Carl Svantje Hallbeck.

101 hidden gems: the greatest films you’ve never seen. Not another clickbait listicle of Hollywood fare that you really have seen, this is 101 films from Sight & Sound‘s annual poll of critics and directors, each of which only received a single vote. Cinema from the silent era to the present day, “from every continent but Antarctica”, all presented on a single page, and with accompanying notes from the voters. I’ve only seen four of these so it’s a list to mine for the future.

• 2024 will see the 100th anniversary of the publication of the first Surrealist manifestos, so the following new books are making their presences known before the celebratory rush. At Colossal: extracts from New Surrealism: The Uncanny in Contemporary Painting by Robert Zeller; at AnotherMag: photos by Coco Capítan of Salvador Dalí’s home at Port Lligat.

• “Cocteau was like one of those magicians who, having announced that they are going to reveal the secret of one trick, immediately perform another.” Pierre Caizergues introducing extracts from The Secrets of Beauty, a small book of aphorisms by Jean Cocteau, newly translated into English by Juliet Powys.

• More Michael Powell: “Scorsese says The Red Shoes is in his DNA”: Thelma Schoonmaker on her life and work with Michael Powell and his friend Marty.

Dennis Cooper’s favourite fiction, poetry, non-fiction, film, art, and internet of 2023. Thanks again for the link here!

• At The Daily Heller: Book covers by Iris Alba (1935–1993), art director, illustrator and graphic designer.

• At Smithsonian Magazine: See the newest underwater sculptures residing on the floor of the Caribbean.

• At Wormwoodiana: Douglas A. Anderson goes looking for the fantasy fiction of Raymond Chandler.

• At Public Domain Review: Paige Hirschey on Anna Atkins’ cyanotypes.

Entries for the Northern Lights Photographer of the Year 2023.

• At Bibliothèque Gay: Der Mann in der Photographie, 1954.

Aurora (1971) by Tonto’s Expanding Head Band | Aurora (2005) by Alva Noto + Ryuichi Sakamoto | Aurora Liminalis (2013) by William Basinski + Richard Chartier

The most unusual magazine ever published: Man, Myth and Magic

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Collect the set!

I don’t really need a digital copy of Man, Myth and Magic—I’ve been the fortunate owner for many years of the bound set of original magazines you see above—but I imagine a few readers of this post will welcome a download of all 3144 pages of the 1995 edition. For the impatient I’ll put the link up front: go thou here.

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The world goes Spare: A US copy of issue no. 1 and the first volume of the 24-volume set. Austin Spare’s cover art is known either as The Elemental or The Vampires are Coming.

Man, Myth and Magic exists in several different versions along with a number of spin-off books which mined its texts for information and reused its picture archive. The first edition was the “Illustrated Encyclopedia of the Supernatural” which appeared in the UK each week from 1970 to 1971 as 112 magazine-sized issues, a series that built eventually into a collection of seven volumes. The first issue famously used a detail of a picture by Austin Osman Spare on its cover, giving Spare and his art a prominence unlike anything he received during his lifetime. The same part-work was published a couple of years later in the USA with an accompanying TV ad. Magic and the supernatural was the selling point but the encyclopedia was as much about religion and general anthropology as the occult, with the editorial stance being unsensational, factual and neutral. The seven-volume set was later republished in book form as 24 hardcover volumes, then revised in 1995 as a new set of 21 volumes with a different subtitle, “The Illustrated Encyclopedia of Mythology, Religion and the Unknown”. In the early 1970s you could also find a hardback collection of the first six issues bearing the subtitle “The most unusual book ever published”, a rather unrealistic claim. My mother bought one of these, giving me my first encounter with the encyclopedia itself and many other things besides, not least the Austin Spare drawings in Kenneth Grant’s piece of borderline cosmic horror about Spare and “resurgent atavisms”.

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Richard Cavendish was Editor-in-Chief of all the editions of Man, Myth and Magic, with Brian Innes acting as picture editor and subsequently co-editor for the 1995 edition. Cavendish had been the author of The Black Arts in 1967, a book which I still rate as one of the best general introductions to Western occultism. The Black Arts may have a title designed to grab the attention of Dennis Wheatley readers but it was a serious study that set the tone for the encyclopedia. The editorial board of Man, Myth and Magic was composed of heavyweight academics, together with John Symonds (Aleister Crowley’s literary executor and biographer), while the group of special consultants included Katharine Briggs (folklore), William Gaunt (art) and Francis Huxley (anthropology). Symonds brought Kenneth Grant on board. Grant at this time was the official head of Crowley’s Ordo Templi Orientis, and his presence gave the editorial team access to his large collection of Austin Spare artwork.

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“From Adam and Eve to LSD, from lucky numbers to human sacrifice…” International Times, Jan 28, 1970.

Among the never-to-be-repeated list of contributors were Geoffrey Ashe, Robert Baldick, Robert Graves, Celia Green, Douglas Hill, Christina Hole, Christopher Isherwood, Patrick Moore, Kathleen Raine and JB Rhine. Kenneth Grant and John Symonds weren’t the only contributors who’d known Aleister Crowley, there was also Tom Driberg MP, a man whose promiscuous homosexuality and alleged treachery made him one of the more notorious members of Parliament. The other British politician among the contributors was the comparatively prosaic John Selwyn Gummer, a future government minister and current member of the House of Lords. (I wish I could tell you which article was Gummer’s but he’s listed in the contributor section without a credit. I’d have to hunt through the volumes to find out.) Elsewhere you’ll find entries by both Francis Kings—confusingly listed without their identifying initials—in what may be the only time the pair appeared together in the same publication. Francis H. King, writing here about Japan, was a well-regarded author whose novels included a number of gay romances; Francis X. King was an occultist and author of non-fiction books whose research was packaged under lurid titles such as Sexuality, Magic and Perversion, and Satan and Swastika. The contents of Man, Myth and Magic have long been rendered superfluous by the internet but the contributor list gives the encyclopedia a curiosity value if nothing else. All of the entries are unique pieces of writing which are unavailable outside these pages.

I confess that I hadn’t known that Man, Myth and Magic had been revised and reprinted until I discovered this scanned edition, I’d always thought the encyclopedia was too much of its time to be republished. Richard Cavendish in the editorial preface for the 1995 edition says that some of the articles were amended or expanded to take account of new researches and developments. So they have been, although at first glance the page layout looks very much as it did in the original printing. Closer examination reveals that some of the more dated pictures have been replaced, like the photo of a typical hippy girl in the entry about bells. Dated pictures aside, what you see here is still 95% the original “illustrated encyclopedia of the supernatural”.

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Frontiers of Belief.

The most substantial change in the later reprintings was the absence of the “Frontiers of Belief” section, a series of mostly topical essays which ran each week across the inside back cover and the back of the magazine. Collectors of the volume binders could also purchase an additional binder to store the issue covers and the FoB supplements. Whoever compiled my own volumes failed to do this, but I did once own a partial set of the magazine as separate issues, and still have the FoB articles from those issues. Two of these pieces—a profile of artist Wilfried Sätty and Kenneth Grant on HP Lovecraft—have appeared here in the past. As far as I know none of the FoB pieces have ever been officially reprinted. The very last piece was “Occultism—The Future”, in which a number of writers were asked for their prognostications. The ubiquitous Dennis Wheatley—who, for once, didn’t contribute to the previous pages— delivered a typically ominous warning against involvement in the Black Arts. A more sober final word was provided by Colin Wilson:

In science a new cycle has begun, a revolt against the old rigid reductionism, a recognition that ‘materialism’ leaves half the universe unexplained. Biologists, psychologists, even physicists, are cautiously trying to feel their way into new worlds. They are acknowledging at last that they are dealing with a living universe, a universe full of strange forces. The magic of the past was an intuitive attempt to understand and control these forces: the science of the future will be a fully conscious attempt. Magic will be the science of the future, or should we say that science will be the magic of the future?

Previously on { feuilleton }
Jan Parker’s witches
Typefaces of the occult revival
Dreaming Out of Space: Kenneth Grant on HP Lovecraft
MMM in IT
The Occult Explosion
Wilfried Sätty: Artist of the occult
Owen Wood’s Zodiac