Weekend links 791

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Cover design by Marian Bantjes for a 2009 series of Nabokov reprints.

• “It is quite unlike the bland featurelessnesses of the current fiction in which dull creative writing students chat to dull creative writing students (there is today a generalised fear of imaginative invention and giving offence).” Jonathan Meades on late style and Vladimir Nabokov’s Transparent Things.

• Cathi Unsworth remembers the late Roger K. Burton, founder of London’s unique exhibition and venue space, The Horse Hospital.

• New music: Interior of an Edifice Under the Sea by Pan American & Kramer; Glass Colored Lilly by Yuki Fujiwara.

• Mixes of the week: DreamScenes – August 2025 at Ambientblog, and Bleep Mix 307 by On-U Sound.

• At the BFI: Michael Brooke chooses 10 great Eastern European science-fiction films.

• At The Wire: David Toop and Ania Psenitsnikova on moving beyond music and dance.

• At Colossal: Weird Buildings celebrates architects who think outside the box.

Verbal #12 includes new fiction by Michael Moorcock, among others.

• At Unquiet Things: Exquisite incantations in clay by Forest Rogers.

• Steven Heller’s font of the month is Experimo.

Dale Cornish’s favourite albums.

Tenth Letter of the Alphabet

Ecstasy Symphony/Transparent Radiation (Flashback) (1987) by Spacemen 3 | Almost Transparent Blue (1996) by David Toop | Transparent (1997) by Reflection

Engulfed Cathedrals

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La cathédrale engloutie by Claude Debussy. From Préludes pour Piano (1910).

La cathédrale engloutie performed by Daniel Barenboim.


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The Submerged Cathedral (1929) by MC Escher.


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La cathédrale engloutie (1950) by Ithell Colquhoun.


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La cathédrale engloutie III (1960) by Ceri Giraldus Richards.


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La cathédrale engloutie (1968) by Luc Simon.


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Snowflakes Are Dancing (aka Clair De Lune) (1974) by Tomita.

• Track 6: The Engulfed Cathedral (Preludes, Book 1, No. 10).


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Escape From New York (Original Motion Picture Soundtrack) (1981) by John Carpenter In Association With Alan Howarth.

• Track 4: Engulfed Cathedral.


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Re:Sort (2003) by Sora.

• Track 4: La Cathédrale Engloutie.


Previously on { feuilleton }
L’après-midi d’un faune
Hokusai record covers
Tomita album covers

Akihiro Yamada’s Lovecraftiana

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Akihiro Yamada is a Japanese illustrator and manga artist best known for his work in the sub-genre of historical fantasy, as well as character design for video games and other media. All of this art is very accomplished—he’s great with lengths of billowing fabric—while giving no hint at all of his earlier detours into cosmic horror. I’ve been familiar for some time with a couple of his covers in the “Cthulhu” series (c. 1988–1993) but hadn’t gone looking for the entire run until now. Doing so turned up another series of books published in the early 2000s by Kurodahan Press, Lairs of the Hidden Gods, with a quartet of covers in which the traditional Japanese print-making theme of the four seasons is given a demonic twist. All of these books are reprints of stories by Lovecraft and other writers, past and present, with the Kurodahan series being introduced by Robert M. Price. The artwork, meanwhile, is very different in style to Yamada’s more recent output, to an extent that you wouldn’t connect these covers with his fantasy illustrations without seeing a credit.

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I’ve long been curious about Japanese representations of the Cthulhu Mythos. Lovecraft’s fiction has obvious attractions for the Japanese imagination but the art used by Japanese publishers doesn’t always travel overseas unless the artists themselves capture the attention of aficionados in other countries. ISFDB is a very useful resource but it’s still lacking when it comes to the listing of foreign editions. There’s more out there to be discovered.

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Continue reading “Akihiro Yamada’s Lovecraftiana”

Weekend links 790

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Set design by Vladimir Pleshakov for the Ballets Russes’ The Firebird (1923).

• The latest book from Swan River Press is A Mystery of Remnant and Other Absences, a collection of fictions by the late B. Catling. Copies include postcards with accompanying texts by Alan Moore and Catling’s friend and regular collaborator, Iain Sinclair.

• New music: The Loneliness Of The Hollow Earth Explorer Vol. 1 by Arrowounds; The Eraserhead: Music Inspired By The Film Of David Lynch by Various Artists.

• Among the new titles at Standard Ebooks, the home of free, high-quality, public-domain texts: The Purple Cloud by MP Shiel.

• A catalogue of lots at another After Dark: Gay Art and Culture online auction. Homoerotic art, photos, historic porn. etc.

• At Colossal: Laser-cut steel forms radiate ornate patterns in Anila Quayyum Agha’s immersive installations.

• Photographs by Man Ray and Max Dupain showing at the Heide Museum of Modern Art, Melbourne.

• Mix of the week: Isolatedmix 134 by Artefakt.

• At Dennis Cooper’s it’s Anna Karina’s Day.

Three Imposters

Purple Haze (1967) by The Jimi Hendrix Experience | Pilots Of Purple Twilight (1981) by Tangerine Dream | Purple Rain (live, 1985) by Prince & The Revolution

Vincenzo Mazzi’s caprices

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More Italian theatrical design. A few years ago I put together a collection of production sketches and paintings for scenes set inside vast prisons, a popular setting in opera and theatre during the Baroque and Romantic periods. Piranesi’s etching series, Carceri d’Invenzione, is the ultimate expression of the form, where the prints exist to show architectural invention and nothing more, but Piranesi wasn’t the first or last artist to concern himself with views like these.

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Caprici di Scene Teatrali (1776) is a collection of fifteen printed plates by Vincenzo Mazzi showing suggestions for theatrical settings, several of which are prison settings. All of the scenes are distinctly Piranesian, especially the title plate which has the name of the artist and his series carved on stones inside the artwork. The prints seem to be the bulk of Mazzi’s surviving designs although a few additional examples turn up when you search around. There’s also at least one Mazzi portrait of an actor which suggests that most of the artist’s output confined itself to the theatre.

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Continue reading “Vincenzo Mazzi’s caprices”