{"id":11765,"date":"2012-07-22T02:17:04","date_gmt":"2012-07-22T01:17:04","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=11765"},"modified":"2025-09-21T18:57:20","modified_gmt":"2025-09-21T17:57:20","slug":"weekend-links-118","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2012\/07\/22\/weekend-links-118\/","title":{"rendered":"Weekend links 118"},"content":{"rendered":"

\"owczarek.jpg\"<\/a><\/p>\n

The Garden of Urban Delights (2010) by Marcin Owczarek<\/a>.<\/em><\/p>\n

His protagonists are misfits: alienated, implicitly gay, longing for love, frequently hard to be around, always fixated on small pleasures that compensate for an essential feeling of not belonging. […] His patroness Edith Sitwell termed him \u201cthat rare being, a born writer.\u201d William Burroughs dedicated The Place of Dead Roads<\/em> to him, declaring Welch \u201ccertainly the writer who most directly influenced my work.\u201d John Waters has called In Youth is Pleasure<\/em> \u201cso precious, so beyond gay, so deliciously subversive, [it] is enough to make illiteracy a worse social crime than hunger.\u201d<\/p><\/blockquote>\n

Sadie Stein on Denton Welch<\/a>, a writer I’m embarrassed about still not having read. Edith Sitwell and William Burroughs had a famously disputatious correspondence in the pages of the TLS<\/em> over The Naked Lunch<\/em>. An appreciation of Welch’s work was one of the few things they had in common.<\/p>\n

\u2022 Don\u2019t mention guitars: Robert Hampson<\/a> on acousmatic music, the curse of Loop and the rebirth of Main.<\/p>\n

\u2022 No Straight Lines: A Collection Of Queer Comics part one<\/a>, part two<\/a>, part three<\/a>. A history by Justin Hall.<\/p>\n

\u2022 Pieces Of Gold<\/em> by The Aikiu<\/a>: shots from gay porn videos repurposed via some smart editing.<\/p>\n

\u2022 RIP \u0130lhan Mimaro\u011flu<\/a>, electroacoustic composer. Ubuweb<\/a> has a selection of his recordings.<\/p>\n

“A good ground rule for writing in any genre is: start with a form, then undermine its confidence in itself,” he says. “Ask what it’s afraid of, what it’s trying to hide \u2013 then write that.” For Harrison, the most satisfying writers are “at odds with their cultural context. They’re trying to fit in and failing, or they’re trying to remove themselves and failing. The attempt to resolve the conflict is an angle \u2013 a frame or a context \u2013 in itself.”<\/p>\n

The Guardian’s A Life in Writing profiles M. John Harrison<\/a>. His new novel, Empty Space<\/a>, was published on Thursday. There’s also this recent video interview<\/a> with Arc magazine.
\n<\/em><\/p><\/blockquote>\n

\u2022 Stephen Usery interviews editor Russ Kick<\/a> about The Graphic Canon: Volume One<\/em>.<\/p>\n

\u2022 At home with Prince Zaleski<\/a>, the “most decadent and imperial detective in fiction\u201d.<\/p>\n

\u2022 A Visit with Magritte: photographs by Duane Michals<\/a>.<\/p>\n

\u2022 Loitering airships could dispense drones on demand<\/a>.<\/p>\n

\u2022 Creating a Forever Object: Ian Schon’s Pen Project<\/a>.<\/p>\n

\u2022 A Tumblr for the late, lamented Arthur Magazine<\/a><\/em>.<\/p>\n

\u2022 “Few cities can boast a railway line for the dead<\/a>.”<\/p>\n

\u2022 The Lost Tapes<\/em> by Can<\/a>: An Oral History.<\/p>\n

\u2022 Space Reflex<\/em><\/a> (1963) by Dick Hyman & Mary Mayo | Space Is Deep<\/a><\/em> (1972) by Hawkwind | Space Is The Place<\/a><\/em> (1973) by Sun Ra | Space Moment<\/em><\/a> (1995) by Stereolab | Space Pong<\/em><\/a> (2006) by T++<\/p>\n","protected":false},"excerpt":{"rendered":"

The Garden of Urban Delights (2010) by Marcin Owczarek. His protagonists are misfits: alienated, implicitly gay, longing for love, frequently hard to be around, always fixated on small pleasures that compensate for an essential feeling of not belonging. […] His patroness Edith Sitwell termed him \u201cthat rare being, a born writer.\u201d William Burroughs dedicated The … Continue reading “Weekend links 118”<\/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":[2,42,1029,9,29,7,5,43,3,20,18,15],"tags":[3864,1164,2271,3886,3891,3889,3884,222,3890,1911,1812,3887,2291,2926,3883,3892,115,2927,173,3885,3888,2407,579,3893,3894,119,1190],"class_list":["post-11765","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-collage","category-comics","category-electronica","category-film","category-gay","category-magazines","category-music","category-science-fiction","category-surrealism","category-technology","tag-airships","tag-arthur-magazine","tag-can-group","tag-denton-welch","tag-dick-hyman","tag-duane-michals","tag-edith-sitwell","tag-hawkwind","tag-ian-schon","tag-ilhan-mimaroglu","tag-john-waters","tag-justin-hall","tag-m-john-harrison","tag-main-group","tag-marcin-owczarek","tag-mary-mayo","tag-magritte","tag-robert-hampson","tag-russ-kick","tag-sadie-stein","tag-stephen-usery","tag-stereolab","tag-sun-ra","tag-t","tag-the-aikiu","tag-ubuweb","tag-william-burroughs"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-33L","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/11765","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=11765"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/11765\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=11765"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=11765"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=11765"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}