![\"lux1.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2012\/07\/lux1.jpg\")
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Illustration and design by Karlheinz Dobsky.<\/em><\/p>\n Above and below: samples from Die Lux-Lesebogen-Sammlung<\/em><\/a>, an exhibition of booklets for young people published by Sebastian Lux from 1946\u20131964. All were designed and illustrated by Karlheinz Dobsky.<\/p>\n \u2022 At The American Scholar: “Vladimir Nabokov’s understanding of human nature anticipated the advances in psychology since his day,” says Nabokov biographer Brian Boyd<\/a>, and An Unquenchable Gaiety of Mind: “On visits to Cambridge University late in life, Jorge Luis Borges offered revealing last thoughts about his reading and writing,” says George Watson<\/a>.<\/p>\n \u2022 The British Library releases The Spoken Word<\/em><\/a>: “A rare collection of recordings featuring the American writer William S Burroughs and the British-born artist Brion Gysin.” Related: Interzone \u2013 A William Burroughs Mix<\/em><\/a> by Timewriter.<\/p>\n \u2022 Charting the Outlaws: Christopher Bram (again) talking to Frank Pizzoli<\/a> about his recent study Eminent Outlaws: The Gay Writers Who Changed America<\/em>.<\/p>\n \u2022 The BBC asks “Where are you on the global fat scale<\/a>?” I’ve always been thin but was still surprised to find my BMI at the very bottom of the scale.<\/p>\n The “otherness” of Ballard, his mesmeric glazedness, is always attributed to the two years he spent in a Japanese internment camp in Shanghai (1943\u201345). That experience, I think, should be seen in combination, or in synergy, with the two years he spent dissecting cadavers as a medical student in Cambridge (1949\u201351). Again the dichotomy: as a man he was ebulliently social (and humorous), but as an artist he is fiercely solitary (and humourless). The outcome, in any event, is a genius for the perverse and the obsessional, realised in a prose style of hypnotically varied vowel sounds (its diction enriched by a wide range of technical vocabularies). In the end, the tensile strength of The Drowned World<\/em> derives not from its action but from its poetry.<\/p>\n Martin Amis<\/a> on The Drowned World by JG Ballard.<\/em><\/p><\/blockquote>\n \u2022 The Chickens and the Bulls<\/a>: “The rise and incredible fall of a vicious extortion ring that preyed on prominent gay men in the 1960s.”<\/p>\n \u2022 It’s that Zone again: Jacob Mikanowski<\/a> on Andrei Tarkovsky’s Stalker<\/em> and Geoff Dyer’s Zona<\/em>.<\/p>\n \u2022 Scans of the rare film programme for London screenings of Fritz Lang\u2019s Metropolis<\/em><\/a>.<\/p>\n Illustration and design by Karlheinz Dobsky.<\/em><\/p>\n \u2022 “The web is a Library of Babel that could go the way of the Library of Alexandria.<\/a>”<\/p>\n \u2022 Fila Arcana<\/a>: alchemy- and occult-themed embroidery by Mina Sewell Mancuso.<\/p>\n \u2022 A Very Edgy Alice In A Very Weird Wonderland<\/a>: illustrations by Pat Andrea.<\/p>\n \u2022 Malka Spigel<\/a> reveals a new track from her third solo album.<\/p>\n \u2022 John Martin and the Theatre of Subversion<\/a>.<\/p>\n \u2022 Olafur Eliasson<\/a>: Little Sun<\/em> at Tate Modern.<\/p>\n \u2022 Meanwhile, back in 1972: Mahavishnu Orchestra<\/a> live at the BBC (30 mins), and the complete performance of the MC5<\/a> on Beat Club<\/em> (29 mins).<\/p>\n","protected":false},"excerpt":{"rendered":" Illustration and design by Karlheinz Dobsky. Above and below: samples from Die Lux-Lesebogen-Sammlung, an exhibition of booklets for young people published by Sebastian Lux from 1946\u20131964. All were designed and illustrated by Karlheinz Dobsky. \u2022 At The American Scholar: “Vladimir Nabokov’s understanding of human nature anticipated the advances in psychology since his day,” says Nabokov … Continue reading “Weekend links 117”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,42,28,4,7,5,3,16,44,20,15],"tags":[214,3866,968,3369,3533,385,2822,3867,3869,137,2342,1483,3865,3873,3872,3868,3874,3267,3870,1714,3871,1333,7892,807,1190,7937],"class_list":["post-11735","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-burroughs","category-design","category-film","category-gay","category-music","category-occult","category-painting","category-science-fiction","category-technology","tag-andrei-tarkovsky","tag-brian-boyd","tag-brion-gysin","tag-christopher-bram","tag-frank-pizzoli","tag-fritz-lang","tag-geoff-dyer","tag-george-watson","tag-jacob-mikanowski","tag-jg-ballard","tag-john-martin","tag-jorge-luis-borges","tag-karlheinz-dobsky","tag-mahavishnu-orchestra","tag-malka-spigel","tag-martin-amis","tag-mc5","tag-metropolis-film","tag-mina-sewell-mancuso","tag-olafur-eliasson","tag-pat-andrea","tag-stalker","tag-the-mc5","tag-vladimir-nabokov","tag-william-burroughs","tag-william-s-burroughs"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-33h","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/11735","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=11735"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/11735\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=11735"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=11735"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=11735"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"lux2.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2012\/07\/lux2.jpg\")
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