{"id":19361,"date":"2019-10-27T01:04:23","date_gmt":"2019-10-27T01:04:23","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=19361"},"modified":"2025-09-30T20:35:15","modified_gmt":"2025-09-30T19:35:15","slug":"weekend-links-488","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2019\/10\/27\/weekend-links-488\/","title":{"rendered":"Weekend links 488"},"content":{"rendered":"

\"ziegler\"<\/a><\/p>\n

Poster by Zden\u011bk Ziegler<\/a> for Marketa Lazarov\u00e1 (1966), a film by Franti\u0161ek Vl\u00e1\u010dil.<\/em><\/p>\n

\u2022 I’ve spent the past couple of weeks watching a number of films by B\u00e9la Tarr, including his 432-minute masterwork, S\u00e1t\u00e1ntang\u00f3<\/em> (1994). The latter was based on a novel by L\u00e1szl\u00f3 Krasznahorkai, an author who not only worked with Tarr on the screenplay but helped with several of his other features. So this piece by David Schurman Wallace<\/a>, about a more recent Krasznahorkai novel, Baron Wenckheim\u2019s Homecoming<\/em>, arrives at just the right moment.<\/p>\n

\u2022 The Paris Review<\/em> unlocked its Art of Fiction interview with Italo Calvino<\/a>. William Weaver and Daniel Pettigrew ask the questions. And at the same site: Ivan Brunetti on the deceptive simplicity of Charles Schulz’s Peanuts<\/em><\/a>.<\/p>\n

\u2022 Halloween approaches so Sudip Bose<\/a> suggests 10 pieces of orchestral music to set the mood. I made a similar list of my own<\/a> in 2011. Related: Adam Scovell<\/a> on 10 lesser-known folk horror films.<\/p>\n

I thought, “When I grow up, I’m going to be in a group making this kind of music.” Slowly and Shirley, I did grow up and found myself in a group but they weren’t making that kind of music. It was a hole of longing in my guts that I needed to fix.<\/p>\n

Andy Partridge<\/a>, aka Sir John Johns, on his love of psychedelic music and the remixed reissue of the Dukes Of Stratosphear catalogue<\/a><\/em><\/p><\/blockquote>\n

\u2022 Faye Lessler<\/a> on how the Internet Archive is digitizing LPs to preserve generations of audio.<\/p>\n

\u2022 Photographing the Dark: Allison C. Meier<\/a> on Nadar’s descent into the Paris Catacombs.<\/p>\n

\u2022 At Wormwoodiana: Go Back at Once<\/em>, Robert Aickman<\/a>‘s unpublished second novel.<\/p>\n

\u2022 Queen of the Flies: Mica Levi<\/a> talks to Charlie Bridgen about her soundtrack music.<\/p>\n

\u2022 At Dangerous Minds: Sex, Nazis, and classical music: Ken Russell’s Lisztomania<\/em><\/a>.<\/p>\n

\u2022 The first new Ghost Box recording artist of 2020 will be…Paul Weller<\/a>.<\/p>\n

\u2022 Mix of the week: There’s No Going Back by The Ephemeral Man<\/a>.<\/p>\n

\u2022 The Dead Travel Fast: The Gothic Ballad of Lenore<\/em><\/a> in paint.<\/p>\n

\u2022 Catacombs\/Cum Mortuis In Lingua Mortua<\/a><\/em> (1980) by Mussorgsky (George Solti\/Chicago SO) | Fade In Hong Kong<\/a><\/em> (1981) by Video Liszt | La Ballade De Lenore<\/a><\/em> (1986) by Shub-Niggurath<\/p>\n","protected":false},"excerpt":{"rendered":"

Poster by Zden\u011bk Ziegler for Marketa Lazarov\u00e1 (1966), a film by Franti\u0161ek Vl\u00e1\u010dil. \u2022 I’ve spent the past couple of weeks watching a number of films by B\u00e9la Tarr, including his 432-minute masterwork, S\u00e1t\u00e1ntang\u00f3 (1994). The latter was based on a novel by L\u00e1szl\u00f3 Krasznahorkai, an author who not only worked with Tarr on the … Continue reading “Weekend links 488”<\/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":[2,42,9,4,29,7,22,3,44,12,15],"tags":[7444,10289,1145,10281,10286,10291,10284,10282,10288,10280,10293,172,1854,407,10285,595,3681,7607,7836,10290,1396,10292,2947,10295,10287,1146,5321,3797,10294,10283,10279],"class_list":["post-19361","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-comics","category-design","category-electronica","category-film","category-horror","category-music","category-painting","category-photography","category-technology","tag-adam-scovell","tag-allison-c-meier","tag-andy-partridge","tag-bela-tarr","tag-charles-schulz","tag-charlie-bridgen","tag-daniel-pettigrew","tag-david-schurman-wallace","tag-faye-lessler","tag-frantisek-vlacil","tag-george-solti","tag-ghost-box","tag-internet-archive","tag-italo-calvino","tag-ivan-brunetti","tag-ken-russell","tag-laszlo-krasznahorkai","tag-mica-levi","tag-modest-mussorgsky","tag-nadar","tag-paris-review","tag-paul-weller","tag-robert-aickman","tag-shub-niggurath-group","tag-sudip-bose","tag-the-dukes-of-stratosphear","tag-the-ephemeral-man","tag-the-paris-review","tag-video-liszt","tag-william-weaver","tag-zdenek-ziegler"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-52h","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/19361","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=19361"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/19361\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=19361"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=19361"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=19361"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}