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Art by Twins of Evil for the forthcoming blu-ray from Arrow Academy.<\/em><\/p>\n \u2022 Images<\/em> (1972), the film that Robert Altman made between McCabe and Mrs Miller<\/em> and The Long Goodbye<\/em>, is the closest the director came to outright horror. A disturbing portrait of mental breakdown, with Susannah York in the lead role, and photography by Vilmos Zsigmond, the film has for years been so difficult to see as to be almost invisible. Arrow Academy<\/a> will remedy this situation in March next year with a new blu-ray restoration. Related: Geoff Andrew<\/a> on where to begin with Robert Altman.<\/p>\n \u2022 “[Johnson] is a paltry, utterly conventional, upwardly mobile, morally squalid parvenu who yearns to be taken for what he isn’t.” Jonathan Meades<\/a>‘ vitriol is in a class of its own, here being deployed in a review of Nincompoopolis: The Follies of Boris Johnson<\/em> by Douglas Murphy.<\/p>\n \u2022 “These films, all preserved in the BFI National Archive, are known as Orphan Works. When the rights-holder for a film cannot be found, that film is classified as an Orphan Work.” 170 orphaned films have been added to the BFI’s YouTube channel<\/a>.<\/p>\n Don\u2019t romanticize science fiction. One of the questions I have been asked so many times I\u2019ve forgotten what my stock answer to it is, ‘Since science fiction is a marginal form of writing, do you think it makes it easier to deal with marginal people?’ Which\u2014no! Why should it be any easier? Dealing with the marginal is always a matter of dealing with the marginal. If anything, science fiction as a marginal genre is more<\/em> rigid, far more rigid than literature. There are more examples of gay writing in literature than there are in science fiction.<\/p>\n Samuel Delany<\/a> in a lengthy two-part interview with Adam Fitzgerald<\/em><\/p><\/blockquote>\n \u2022 One of the books I was illustrating this year was The Demons of King Solomon<\/em><\/a>, a horror anthology edited by Aaron French. The collection is out now; I’ll post the illustrations here in the next month or so.<\/p>\n \u2022 Mixes of the week: Routledge Dexter Satellite Systems by Moon Wiring Club<\/a>, No Way Through The Woods: A Conjurer’s Hexmas by SeraphicManta<\/a>, and FACT mix 632 by Priests<\/a>.<\/p>\n \u2022 Also at the BFI: Adam Scovell<\/a> on a film adaptation of MR James that predates Jonathan Miller’s Whistle and I’ll Come To You<\/em> (1968) by 12 years.<\/p>\n \u2022 At Weird Fiction Review: Jon Padgett<\/a> on absurd degenerations and totalitarian decrepitude in The Town Manager<\/em> by Thomas Ligotti.<\/p>\n \u2022 At Larkfall<\/a>: Electricity & Imagination: Karl von Eckartshausen and Romantic Synaesthesia.<\/p>\n \u2022 It’s the end of December so the London Review of Books<\/em> has Alan Bennett’s diary<\/a> for the past year.<\/p>\n \u2022 Aquarium Drunkard<\/a>‘s review of the year’s best music.<\/p>\n \u2022 At Dennis Cooper’s: Lotte Reiniger Day<\/a>.<\/p>\n \u2022 Robin Rimbaud<\/a> is In Wild Air.<\/p>\n \u2022\u00a0Dream Sequence (Images II)<\/em><\/a> (1976) by George Crumb | Images<\/a><\/em> (1977) by Sun Ra | Mirror Images<\/a><\/em> (1978) by Van Der Graaf<\/p>\n","protected":false},"excerpt":{"rendered":"