Weekend links 382

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Raven (2015), a metal sculpture by Taiichiro Yoshida.

• “Lumia: Thomas Wilfred and the Art of Light [at the Smithsonian American Art Museum] restores Thomas Wilfred (1889–1968) to his rightful place in the history of modern art.”

• At Brown Noise Unit: a fascinating, lengthy interview by Philip Kaberry with Stephen O’Malley of Sunn O))) et al, with particular focus on O’Malley’s work with Japanese musicians.

• Erik Davis talks to scholar, writer, and mythographer William Rowlandson about Jorge Luis Borges, magical trees, Yankee mysticism, and the power of the weird and murky.

• The first issue of the world’s first magazine of fantastic art and literature, Der Orchideengarten (previously), has been reprinted in full with additional English translation.

• At Muddy Colors: the month in covers for September/October which includes my cover for Under the Pendulum Sun by Jeannette Ng (and which is on sale now).

• At 3:AM Magazine: Adam Scovell talks to horror author Ramsey Campbell about the ghost stories of MR James.

Paralysis: Live at Silent Night #8, a new release on (limited) cassette and digital by The House In The Woods.

• At Dangerous Minds: Jozef van Wissem buries the dead in his new video, Virium Illarum.

PKD Files — A podcast about the life and work of Philip K. Dick.

• Russell Cuzner on The Strange World of Nurse With Wound.

Clark Collis on the rise and fall of Fangoria.

• The North Star Grassman And The Ravens (1971) by Sandy Denny | Flight Of The Raven (1979) by Emerald Web | Kill The Great Raven (1979) by Snakefinger

The art of Rafael Romero Calvet, 1885–1925

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Recent picture research turned up another illustrator whose work I hadn’t seen before. Rafael Romero Calvet was Spanish, and the dates above aren’t necessarily accurate (he may have been born in 1884). He did die young, however, and probably too soon to make more of an impact outside the magazines he was working for. The covers here are all from Los Contemporáneos, a Spanish publication that ran from 1909 to 1926. Many of Calvet’s covers—dating from 1909–1910—are grotesque and macabre enough to suit Der Orchideengarten, although that magazine wouldn’t be launched for another ten years.

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There’s more of Calvet’s work at Wikimedia Commons, while this feature at Collectors Weekly has a glimpse of his cover for Baudelaire’s Les Fleurs du Mal.

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Continue reading “The art of Rafael Romero Calvet, 1885–1925”

Weekend links 374

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Le Chasseur by Lupe Vasconcelos who was profiled this week at Unquiet Things, and whose work may also be seen at the Ars Necronomica art show in Providence, RI, until the end of the month.

• “After a morning’s writing, Stevenson would entertain himself with music, particularly the flageolet, which he played so badly ‘people fled from the sound’.” Peter Moore reviewing Robert Louis Stevenson in Samoa by Joseph Farrell.

• Jon Hassell’s 1981 album, Dream Theory in Malaya: Fourth World Volume Two, will be reissued next month.

• Mixes of the week: Secret Thirteen Mix 228 by Arma Agharta, FACT Mix 614 by Do Make Say Think.

Yet, entertaining as all this is, in a macabre key, the dead are hard to think about—and, in many ways, to read about. Unlike animals, which Lévi-Strauss declared were not only good to eat but bon à penser, too, I found that I averted my eyes, so to speak, several times as I was reading this book. Not because of the infinite and irreversible sadness of mortality, or because of the grue, the fetor, the decay, the pervasive morbidity—though Laqueur’s gallows humour about scientific successes in the calcination of corpses can be a bit strong—but because the dead present an enigma that can’t be grasped: they are always there in mind, they come back in dreams, live in memory, and if they don’t, if they’re forgotten as so many millions of them must be, that is even more disturbing, somehow reprehensible. The disappeared are the unquietest ghosts. Simone Weil writes that the Iliad is a poem that shows how “force…turns man into a thing in the most literal sense: it makes a corpse out of him.” But Laqueur is surely right to inquire why that thing, the “disenchanted corpse…bereft, vulnerable, abject”, is a very different kind of thing from the cushion I am sitting on or even my iPad (which keeps giving signs of a mind of its own). I have always liked Mme du Deffand’s comment, when asked if she believed in ghosts. A philosopher and a free thinker, she even so replied: “Non, mais j’en ai peur.” (“No, but I am frightened of them.”)

Marina Warner reviewing The Work of the Dead: A Cultural History of Mortal Remains by Thomas Laqueur

New Worlds magazine at the Internet Archive. Not a complete run but it’s a start.

Brigit Katz on breakthroughs in the scientific search to replicate psilocybin.

• The relaunched (and slightly renamed) Manchester Digital Music Archive.

• At Dennis Cooper’s: Robert Altman Day (restored/expanded).

• RM Rhodes presents the art of Philippe Druillet.

Fragile Self

Dream Lover (1964) by The Paris Sisters | Dream Street (1966) by Henry Mancini | Dream Letter (1969) by Tim Buckley

Weekend links 371

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• My cover design for the Doug Murano-edited story collection, BEHOLD! Oddities, Curiosities and Undefinable Wonders, appeared here last December but a repost is in order since the book has been published this week by Crystal Lake. Back in December I didn’t have a list of the featured authors but I do now: Clive Barker, Neil Gaiman, Ramsey Campbell, Lisa Morton, Brian Kirk, Hal Bodner, Stephanie M. Wytovich, John Langan, Erinn L. Kemper, John FD Taff, Patrick Freivald, Lucy A. Snyder, Brian Hodge, Kristi DeMeester, Christopher Coake, Sarah Read and Richard Thomas. The foreword is by Josh Malerman, and the interior illustrations are by Luke Spooner.

• “How do you memorialize an artist who refused to remain identical to himself? How do you remember one of the great philosopher-artists of memory?” Ben Lerner on the elusive Chris Marker.

Diabolical Fantasia: The Art of Der Orchideengarten, 1919. A welcome reprinting of art from the German magazine of weird fiction compiled by Thomas Negovan. (Previously)

• Coming in September: Conny Plank: The Potential of Noise, a documentary by Reto Caduff and Stephan Plank about the great record producer.

The Roman Roads of Britain mapped by Sasha Trubetskoy in the style of Harry Beck’s London Tube Map.

• At Dennis Cooper’s: Spotlight on…Julia Kristeva Powers of Horror: An Essay on Abjection (1980).

Ian Shank on the trove of erotic Roman art that scandalized Europe’s royals.

• At Haute Macabre: Biblio-alchemy: The Liquid Library of Annalù Boeretto.

• What makes a French film noir? Andrew Male has some suggestions.

David Shariatmadari on how 1967 changed gay life in Britain.

• Mix of the week: Gated Canal Community Radio.

• A Gallery of Moods by Mlle Ghoul.

Loe And Behold (1970) by Sir Lord Baltimore | Behold The Drover Summons (1983) by Popol Vuh | Beholding The Throne Of Might (2014) by The Soft Pink Truth

Jeremy, The Magazine for Modern Young Men, 1969

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Jeremy, vol. 1, no. 1.

To note the 50th anniversary this month of the (partial) decriminalisation of homosexual acts in England and Wales I thought I’d write something about Jeremy magazine, a short-lived publication launched in the UK in 1969. The magazine is notable not for the quality of its contents, which seem slight considering the high cover price of six shillings, but for being the first British magazine aimed at an audience of gay men that wasn’t either porn, a dating mag or a political tract. I had planned to write something about Jeremy at least two years ago when the blog was still a daily thing but detailed information about the magazine’s history is hard to find. This is frustrating but not too surprising. The anniversary of the change in the law has prompted a number of exhibitions and events devoted to Britain’s gay history but little of that history ever seems to travel beyond academic circles unless a notable life story—Quentin Crisp or Alan Turing, say—is involved. As with so many aspects of British culture, the conversation is dominated by America: the main campaigning organisation in the UK, Stonewall, is named after an American riot; the LGBT initialism is an American invention, as is the rainbow flag (the latter, as I’ve said before, being fine as a flag but—with its multiple colours—hopeless as a symbol). More Britons will know the name Harvey Milk than they do Edward Carpenter (1844–1929) or Allan Horsfall (1927–2012) even though Carpenter and Horsfall devoted years of their lives campaigning for gay men to be treated equally under the law in the Britain. Horsfall’s Campaign for Homosexual Equality pioneered the push for gay rights in Britain, the first official meeting taking place in Manchester in 1964. The Sexual Offences Act of 1967 seemed in later years like a poor compromise but when the alternative being offered was celibacy or the risk of a prison sentence it was a start. (Scotland, however, had to wait until 1980 for the same change in the law while in Northern Ireland sex between men was illegal until 1982.) Two years after decriminalisation, not only was Jeremy being launched but OZ magazine devoted a portion of its 23rd issue (September, 1969) to gay material. Jeremy advertised its early issues in OZ and IT (see below).

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Jeremy, vol. 1, no. 2.

Jeremy‘s status as the first gay magazine in Britain might be more acknowledged if its origins weren’t so obscure. The magazine is mentioned in books such as British Queer History (edited by Brian Lewis) and The Culture of Queers by Richard Dyer but never in any detail. Dyer refers to the title as a bisexual magazine which it may have appeared to be from the covers but this is contradicted by the ads. Peter Burton, editor of the later issues, claimed that everyone involved knew that gay men were the primary audience. Using bisexuality as a kind of fig leaf was less a case of cold feet than a means by which the magazine might be smuggled under the radar of those who would otherwise object to its existence. Britain may have been slightly ahead of the US in its tolerance of gay men but the lack of a written constitution meant that publishers, especially those regarded as subversive or disreputable, needed to tread carefully in the 1960s and 70s as OZ and Nasty Tales discovered.

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Jeremy, vol. 1, no. 3.

The precarious legal position means that Jeremy‘s visuals are relatively innocuous, with sporadic nudity but nothing that might be regarded as pornography. The magazine’s features were also relatively innocuous although the novelty of publishing anything overtly gay meant that a piece about entertaining at home would carry a frisson that would be absent in other magazines. Later issues included encounters with minor celebrities including an early interview with David Bowie which has at least preserved the magazine’s name in Bowie histories. Bowie had the opportunity to be open about his sexuality but wisely waited until his profile had risen and he could make a declaration to a larger audience.

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Jeremy, vol. 1, no. 5.

A few more covers and some interior pages follow. As usual, if anyone has further information to contribute then please leave a comment. My thanks to Rex for sending the information about Peter Burton’s editorship of the magazine.

Continue reading “Jeremy, The Magazine for Modern Young Men, 1969”