{"id":14814,"date":"2014-01-26T01:47:13","date_gmt":"2014-01-26T01:47:13","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=14814"},"modified":"2014-01-26T01:47:13","modified_gmt":"2014-01-26T01:47:13","slug":"weekend-links-196","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/01\/26\/weekend-links-196\/","title":{"rendered":"Weekend links 196"},"content":{"rendered":"

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Cochemare (1810) by Jean Pierre Simon. One of 100,000 high-resolution images now available from Wellcome Images<\/a>.<\/em><\/p>\n

\u2022 Ted Morgan’s Literary Outlaw: The Life and Times of William S. Burroughs<\/em><\/a> (1990) was a solid biography blighted by a bizarrely bad-tempered and judgemental attitude towards many of Burroughs’ friends and colleagues. Morgan says Burroughs disliked the book<\/a> (he also says his subject died in 1993, not 1997…) so I’m looking forward to the new biography by Barry Miles, Call Me Burroughs: A Life<\/em><\/a>. There’s a curious detail in Jeremy Lybarger’s piece about August Derleth, HP Lovecraft’s publisher and lifetime champion, causing a fuss after the Chicago Review<\/em> published extracts from Naked Lunch<\/em> in 1958. Burroughs enjoyed Lovecraft’s fiction but it’s unlikely that Lovecraft would have been anything other than appalled by Burroughs’s work. Barry Miles will be holding a Q&A session at the ICA<\/a>, London, next month following a screening of Howard Brookner’s restored documentary, Burroughs: The Movie<\/em>.<\/p>\n

\u2022 Mix of the week: Secret Thirteen Mix 105 by Sturqen<\/a>. At 3quarksdaily Dave Maier<\/a> writes in praise of drones (the musical variety), and links to three mixes.<\/p>\n

\u2022 Interviews: Haakon Nelson talks to Harold Budd<\/a>,\u00a0Joseph Burnett talks to William Basinski<\/a>, John Stezaker talks to Nicolas Roeg<\/a>.<\/p>\n

Derek responded to an invitation to address [AIDS] hysteria by lining the gallery with a set of tarred and feathered mattresses loaded with the traces of queer love-making and then framing them against wallpaper made from Xeroxed, blood-spattered front pages. In the middle of all this he then constructed a makeshift barbed-wire cage that imprisoned and protected a pair of apparently naked lovers \u2013 usually a pair of handsome, sleeping boys, but for one afternoon at least Tilda Swinton dropped by, just to make the point that the boys didn’t have an exclusive stake in or artistic rights to this crisis. Between the walls and the cage, the air of the gallery was thick with tension and hatred \u2013 sometimes literally so, as visitors to the gallery objected vociferously to what they were seeing.<\/p>\n

Neil Bartlett<\/a> on celebrating Derek Jarman 20 years after his death.<\/em><\/p><\/blockquote>\n

\u2022 William Friedkin’s Wages of Fear<\/em> remake, Sorcerer<\/em> (1977), receives an overdue reissue<\/a> on DVD\/Blu-ray in April.<\/p>\n

\u2022 James Knowlson<\/a> asks “What lies beneath Samuel Beckett’s half-buried woman in Happy Days<\/em>?”<\/p>\n

\u2022 The UK\u2019s web filtering seems to be blocking common sense says Jane Fae<\/a>.<\/p>\n

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A devil buggering a man (19th century).<\/em><\/p>\n

\u2022 The poetry of Hart Crane<\/a>, from the American epic to personal belonging.<\/p>\n

\u2022 The Sonny Sharrock Quartet<\/a> play Stupid Fuck<\/em>, live 1988.<\/p>\n

\u2022 Pinterest nightmares<\/a><\/p>\n

\u2022 Borogoves<\/a><\/p>\n

\u2022 Lutinemusic: Espera<\/a><\/em> | Died Of Love<\/a><\/em> | All I Have Is Gold<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Cochemare (1810) by Jean Pierre Simon. One of 100,000 high-resolution images now available from Wellcome Images. \u2022 Ted Morgan’s Literary Outlaw: The Life and Times of William S. Burroughs (1990) was a solid biography blighted by a bizarrely bad-tempered and judgemental attitude towards many of Burroughs’ friends and colleagues. Morgan says Burroughs disliked the book … Continue reading “Weekend links 196”<\/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":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,42,29,7,5,22,3,14,46],"tags":[2962,5674,2482,511,5677,802,5682,678,1687,5680,5681,5673,5675,5679,3951,5683,4168,306,410,3768,5676,1456,1081,5678,1190,3225],"class_list":["post-14814","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-electronica","category-film","category-gay","category-horror","category-music","category-politics","category-theatre","tag-august-derleth","tag-barry-miles","tag-dave-maier","tag-derek-jarman","tag-haakon-nelson","tag-harold-budd","tag-hart-crane","tag-howard-brookner","tag-hp-lovecraft","tag-james-knowlson","tag-jane-fae","tag-jean-pierre-simon","tag-jeremy-lybarger","tag-john-stezaker","tag-joseph-burnett","tag-lutinemusic","tag-neil-bartlett","tag-nicolas-roeg","tag-samuel-beckett","tag-sonny-sharrock","tag-sturqen","tag-ted-morgan","tag-tilda-swinton","tag-william-basinski","tag-william-burroughs","tag-william-friedkin"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3QW","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14814","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=14814"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14814\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=14814"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=14814"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=14814"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}