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Poster art by Bob Peak.<\/em><\/p>\n \u2022 Sidney Lumet’s 1977 film of Peter Shaffer’s Equus<\/em> receives a limited blu-ray release by the BFI<\/a> in August. Richard Burton’s performance has always received a mixed response (I’ve never been in the anti-Burton camp) but the film is serious and well-made. And, as with The Offence<\/em> (1973), there’s the thrill of seeing Lumet turn his attention away from his beloved New York City to examine British lives.<\/p>\n \u2022 “Astronomer claims to have pinpointed date of Vermeer’s View of Delft<\/em><\/a>.” Yes, but how long did it take Vermeer paint the view? Speaking as someone who used to paint a lot, I’d say two or three days at least. Then there’s that awkward thing known as “artistic licence”\u2026<\/p>\n \u2022 “I was taken aback by the antic side of Borges. He was irreverent, funny, insistent on his ways, and brilliantly talkative.” Jay Parini<\/a> on Jorge Luis Borges, and his experience as the writer’s chauffeur in the Scottish Highlands.<\/p>\n \u2022 Strange Islands: Benjamin Welton<\/a> on a favourite cinematic micro-genre I explored here a few years ago<\/a>: the mysterious tropical island that’s a home to fearsome beasts and outsized (often deranged) personalities.<\/p>\n \u2022 Greydogtales<\/a> on The Sapphire Goddess of Nictzin Dyalhis<\/em>, the Weird Tales<\/em> writer with a name like a character from one of his stories.<\/p>\n \u2022 “I came for the giant phalluses and stayed for the joy of being a gay person.” Eight artists on the influence of Tom of Finland<\/a>.<\/p>\n \u2022 Tamsin Cleary<\/a> on Nobuhiko Obayashi\u2019s House<\/em> (1977) which she calls “the world\u2019s most demented haunted house film”. It really is.<\/p>\n \u2022 The Gone Away<\/em><\/a>, a short film by Sean Reynard for the forthcoming album from Belbury Poly.<\/p>\n \u2022 Moorcography<\/a>: the beginnings of an online Michael Moorcock bibliography.<\/p>\n \u2022 “Our sound engineer got a death threat”: Andrew Male<\/a> on Olivia, a lesbian record label.<\/p>\n \u2022 Bajo el Signo de Libra<\/a> explores the art of Aubrey Beardsley.<\/p>\n \u2022 At Dennis Cooper’s: Hans-J\u00fcrgen Syberberg<\/a> Day.<\/p>\n \u2022 The secret drawings of Great Britain\u2019s UFO Desk<\/a>.<\/p>\n \u2022 Wyrd Daze<\/em> Lvl.4 is here.<\/a><\/p>\n \u2022 The Four Horsemen<\/a><\/em> (1971) by Aphrodite’s Child | All The Pretty Little Horses<\/a><\/em> (2004) by Coil | When The Horses Were Shorn Of Their Hooves<\/a><\/em> (2018) by Dylan Carlson<\/p>\n","protected":false},"excerpt":{"rendered":"