{"id":16776,"date":"2015-05-17T02:15:22","date_gmt":"2015-05-17T01:15:22","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=16776"},"modified":"2015-05-17T02:16:15","modified_gmt":"2015-05-17T01:16:15","slug":"weekend-links-259","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/05\/17\/weekend-links-259\/","title":{"rendered":"Weekend links 259"},"content":{"rendered":"

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

The Endlessness (2012) by Emma Bennett<\/a>.<\/em><\/p>\n

\u2022 “Clearly if you\u2019re familiar with The Arcades Project<\/em> by Walter Benjamin you\u2019ve got a leg up on what Rivette and company are up to. […] Like all Rivette works, it\u2019s obsessed with the interrelationship between theater and life\u2014reality and fantasy.” David Ehrenstein<\/a> makes Jacques Rivette\u2019s Out 1<\/em> sound even more intriguing. The 729-minute film is being reissued later this year.<\/p>\n

\u2022 “It\u2019s all your artistic friends. They frighten me\u2026they seem evil, somehow\u2014somehow unhealthy. And when you\u2019re with them, dear, you change\u2026” Steven Cordova<\/a> reviews To the Dark Tower<\/em><\/a> (1946), the debut novel by gay writer Francis King.<\/p>\n

\u2022 “Sex isn\u2019t a subtext in The Bloody Chamber<\/em>, but the text itself. (Carter would explain that she was only making explicit a ‘latent content’ that is ‘violently sexual.’)” Laura Miller<\/a> on Angela Carter’s re-told fairy tales.<\/p>\n

Yet, as a citizen, and especially as an artist, [Chimamanda Ngozi] Adichie refuses to censor herself. \u201cThere is already enough silencing in public discourse,\u201d says Adichie, and this is certainly true when the topic is race, and especially when the conversation is in America. It is our addiction to comfort that demands our silence regarding certain truths. Too often in America, Adichie claimed, \u201cthe goal of public discourse is comfort, not truth.\u201d Comfort, Adichie said, also demands \u201cinternational digestibility,\u201d a reduction of complicated stories to a simple narrative. In the lecture, Adichie also warned of the silencing that is sometimes a product of social media outrage.<\/p>\n

Kay Iguh<\/a> on Chimamanda Ngozi Adichie’s Arthur Miller Freedom to Write Lecture<\/a> at the PEN World Voices Festival<\/em><\/p><\/blockquote>\n

\u2022 New books: The Strangers and Other Writings<\/em> by Robert Aickman<\/a>, and Murderous Passions: The Delirious Cinema of Jes\u00fas Franco<\/em> by Stephen Thrower & Julian Grainger<\/a>.<\/p>\n

\u2022 The world is rediscovering Mad Max and George Miller’s prowess for action cinema so Anne Billson<\/a> posted a transcript of her 1985 interview with the director.<\/p>\n

\u2022 Mixes of the week: Dmytro Fedorenko<\/a> presents artists from Ukrainian record label Kvitnu, and The Ivy-Strangled Path Vol. VII by David Colohan<\/a>.<\/p>\n

\u2022 Assault on Precinct 13<\/em> goes disco: The End (John Anthony’s New Scratch Mix)<\/em><\/a> (1983) by “John Carpenter” (The Splash Band).<\/p>\n

\u2022 John Coltrane<\/a> talked to Frank Kofsky for an hour in November 1966.<\/p>\n

\u2022 Sleazy Cinema: A guide to Peter Christopherson<\/a>‘s music videos.<\/p>\n

\u2022 Six hours of women in electronic music<\/a>.<\/p>\n

\u2022 The weird world of Alfred Kubin<\/a>.<\/p>\n

\u2022 Giallo Magic Orchestra<\/a><\/p>\n

\u2022 Blood<\/a><\/em> (1972) by Annette Peacock | Blood On The Moon<\/a><\/em> (1981) by Chrome | Blood From The Air<\/a><\/em> (1986) by Coil<\/p>\n","protected":false},"excerpt":{"rendered":"

The Endlessness (2012) by Emma Bennett. \u2022 “Clearly if you\u2019re familiar with The Arcades Project by Walter Benjamin you\u2019ve got a leg up on what Rivette and company are up to. […] Like all Rivette works, it\u2019s obsessed with the interrelationship between theater and life\u2014reality and fantasy.” David Ehrenstein makes Jacques Rivette\u2019s Out 1 sound … Continue reading “Weekend links 259”<\/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":[2,42,29,7,5,22,3,44,14],"tags":[1592,3053,4179,2731,2161,7320,3534,2272,7160,7318,7323,7317,2044,7324,4933,7232,7321,680,636,7322,7319,2019,7163,1449,2947,2806,5498,1241],"class_list":["post-16776","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-electronica","category-film","category-gay","category-horror","category-music","category-painting","category-politics","tag-alfred-kubin","tag-angela-carter","tag-anne-billson","tag-annette-peacock","tag-arcades","tag-chimamanda-ngozi-adichie","tag-chrome-group","tag-coil-group","tag-david-colohan","tag-david-ehrenstein","tag-dmytro-fedorenko","tag-emma-bennett","tag-francis-king","tag-frank-kofsky","tag-george-miller","tag-jacques-rivette","tag-jesus-franco","tag-john-carpenter","tag-john-coltrane","tag-julian-grainger","tag-kay-iguh","tag-laura-miller","tag-mad-max","tag-peter-christopherson","tag-robert-aickman","tag-stephen-thrower","tag-steven-cordova","tag-walter-benjamin"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4mA","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/16776","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=16776"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/16776\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=16776"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=16776"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=16776"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}