{"id":17448,"date":"2015-11-15T01:02:05","date_gmt":"2015-11-15T01:02:05","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=17448"},"modified":"2025-09-20T16:35:11","modified_gmt":"2025-09-20T15:35:11","slug":"weekend-links-284","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/11\/15\/weekend-links-284\/","title":{"rendered":"Weekend links 284"},"content":{"rendered":"

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

Les Hanel I by Pierre Molinier. There’s more at The Forbidden Photo-Collages of Pierre Molinier<\/a>.<\/em><\/p>\n

\u2022 Western anti-hero Josiah Hedges, better known as Edge, was the creation of\u00a0prolific British author Terry Harknett. The famously violent Edge<\/em> novels, credited to “George G. Gilman”, were ubiquitous on bookstalls in the 1970s. They were Harknett’s most successful works, and are still collectible today; if you’re interested there are 61 of them<\/a> to search for. Amazon Originals have just launched Edge<\/em> as a new TV series<\/a> although anything for a mass audience is unlikely to retain the exploitative qualities of novels that often sound like pulp precursors of Blood Meridian<\/em>.<\/p>\n

Related: Terry Harknett<\/a> discusses the creation of the Edge<\/em> series at Drifter’s Wind; Ben Bridges<\/a> on Harknett’s career, including a look at the writer’s many other Western and thriller novels; Bill Crider<\/a> on Edge<\/em>, Harknett and the British group of Western novelists known as “The Piccadilly Cowboys”.<\/p>\n

\u2022 Boyd McDonald’s queer-eye film guide, Cruising the Movies: A Sexual Guide to Oldies on TV<\/em> (1985), has been republished by Semiotext(e)<\/a> in an expanded edition. Related: True Homosexual Experiences: Boyd McDonald and Straight to Hell<\/em> by William E. Jones<\/a>.<\/p>\n

\u2022 “…a film that plumbs the dark recesses of all our imaginations: dangerous, glorious, absurd, vivid and terrifying by turns.” Charlotte Higgins<\/a> on her favourite film, The Red Shoes<\/em> (1948).<\/p>\n

\u2022 Art Forms from the Abyss<\/em><\/a>, a new collection of illustrations by Ernst Haeckel for the report of the HMS Challenger expedition (1872\u201376). Related: Silentplankton.com<\/a><\/p>\n

\u2022 “The biggest kick I ever get is to find myself pursuing some group of images without knowing why,” says M. John Harrison<\/a> in conversation with Tim Franklin.<\/p>\n

\u2022 “Plots didn\u2019t interest him much. They were just pegs on which to hang characters and language.” Barry Day<\/a> on Raymond Chandler.<\/p>\n

\u2022 “Zden\u011bk Li\u0161ka’s music thrived in unrealities,” says David Herter<\/a> in a lengthy appraisal of the great Czech film composer.<\/p>\n

\u2022 At Dirge Magazine: S. Elizabeth<\/a> delights in the dark decor of Dellamorte & Co<\/a>.<\/p>\n

\u2022 Nabokov scholar Brian Boyd<\/a> selects his ten favourite Nabokov books.<\/p>\n

\u2022 Mix of the week: The Ivy-Strangled Path Vol. XIII by David Colohan<\/a>.<\/p>\n

\u2022 Take me to the cosmic vagina: inside Tibet’s secret tantric temple<\/a>.<\/p>\n

\u2022\u00a0Pour Un Pianiste<\/a><\/em> (1974) by Mich\u00e8le Bokanowski | 13’05”<\/a><\/em> (1976) by\u00a0Mich\u00e8le Bokanowski | Tabou<\/a><\/em> (1992) by Mich\u00e8le Bokanowski<\/p>\n","protected":false},"excerpt":{"rendered":"

Les Hanel I by Pierre Molinier. There’s more at The Forbidden Photo-Collages of Pierre Molinier. \u2022 Western anti-hero Josiah Hedges, better known as Edge, was the creation of\u00a0prolific British author Terry Harknett. The famously violent Edge novels, credited to “George G. Gilman”, were ubiquitous on bookstalls in the 1970s. They were Harknett’s most successful works, … Continue reading “Weekend links 284”<\/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":[8,2,42,1029,56,4,7,5,3,12,31,20,13,18,19],"tags":[7779,7775,7776,7777,3866,6954,7160,7778,7780,7740,355,1723,7774,2291,354,612,7772,1498,1852,7773,7781,807,3204,5099],"class_list":["post-17448","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-books","category-collage","category-dance","category-design","category-film","category-gay","category-music","category-photography","category-religion","category-science-fiction","category-science","category-surrealism","category-television","tag-barry-day","tag-ben-bridges","tag-bill-crider","tag-boyd-mcdonald","tag-brian-boyd","tag-charlotte-higgins","tag-david-colohan","tag-david-herter","tag-dellamorte-co","tag-dirge-magazine","tag-emeric-pressburger","tag-ernst-haeckel","tag-george-g-gilman","tag-m-john-harrison","tag-michael-powell","tag-michele-bokanowski","tag-pierre-molinier","tag-raymond-chandler","tag-s-elizabeth","tag-terry-harknett","tag-tim-franklin","tag-vladimir-nabokov","tag-william-e-jones","tag-zdenek-liska"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4xq","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/17448","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=17448"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/17448\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=17448"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=17448"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=17448"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}