{"id":20019,"date":"2020-08-29T20:12:38","date_gmt":"2020-08-29T19:12:38","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=20019"},"modified":"2020-08-29T20:12:38","modified_gmt":"2020-08-29T19:12:38","slug":"weekend-links-532","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2020\/08\/29\/weekend-links-532\/","title":{"rendered":"Weekend links 532"},"content":{"rendered":"

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

An alchemical illustration from Theatrum Chemicum Britannicum<\/a> (1652) by Elias Ashmole.<\/em><\/p>\n

\u2022 “Originally the idea was to do four parallel\u00a0feuilleton<\/em>\u00a0stories, linked at the beginning of each episode by still shots connecting with the other episodes, rather like the old serials.” Jacques Rivette<\/a> mentions a familiar word during a 1974 discussion with Carlos Clarens and Edgardo Cozarinsky about Out 1<\/em> and C\u00e9line and Julie Go Boating<\/em>. I watched all 775 minutes of Out 1<\/em> last year, followed by a re-viewing of C\u00e9line and Julie<\/em>, so this was good to read. Elsewhere: “The dizzying C\u00e9line and Julie Go Boating<\/em> is apt viewing for a chaotic present,” says Phillipa Snow<\/a>.<\/p>\n

\u2022 Away<\/em> is a wordless feature-length animated film in which a boy is pursued by a lumbering monster after parachuting from a crashing aircraft. It was directed, written, edited, animated and scored by Gints Zilbalodis. Christopher Machell reviewed the film here<\/a>. Watch the trailer<\/a>.<\/p>\n

\u2022 Jean Lorrain’s novel of Decadent dandyism, Monsieur Bougrelon<\/em>, receives a new English translation by Brian Stableford for Side Real Press<\/a>. (The Spurl translation by Eva Richter was reviewed here<\/a> a few years ago.) The new edition includes illustrations by Etienne Drian (1885\u20131961).<\/p>\n

\u2022 El Topo<\/em> again, among other things: Mike Soto<\/a> on the anti-Western genre set in America\u2019s surreal borderlands. Cormac McCarthy is a surprising absence from Soto’s lists despite almost all of his later work being concerned with the border region.<\/p>\n

\u2022 “Whatever their pursuits, they were extremists who created literature that wasn\u2019t so much great as it was relentless. Even now they make passive reading impossible.” Chris R. Morgan<\/a> on Swift, Sade and the art of upsetting people.<\/p>\n

\u2022 The best batch yet? Sean Kitching<\/a> talks to Gary Lucas and Eric Drew Feldman about the recording of Captain Beefheart’s Doc At The Radar Station<\/em>.<\/p>\n

\u2022 Malkovich, Malkovich, Malkovich\u2026 Photographer Sandro Miller<\/a> persuaded John Malkovich to recreate 41 famous photographic portraits.<\/p>\n

\u2022 An extract from Rated SavX<\/em><\/a> in which Edwin Pouncey\/Savage Pencil<\/a> talks with Timothy d\u2019Arch Smith about his artistic evolution.<\/p>\n

\u2022 At Dennis Cooper’s: Pat O’Neill<\/a> Day.<\/p>\n

\u2022 Siavash Amini<\/a>‘s favourite music.<\/p>\n

\u2022 Get Away<\/a><\/em> (1970) by Ry Cooder | Running Away<\/a><\/em> (2002) by Radar | Fly Me Away<\/a><\/em> (2005) by Goldfrapp<\/p>\n","protected":false},"excerpt":{"rendered":"

An alchemical illustration from Theatrum Chemicum Britannicum (1652) by Elias Ashmole. \u2022 “Originally the idea was to do four parallel\u00a0feuilleton\u00a0stories, linked at the beginning of each episode by still shots connecting with the other episodes, rather like the old serials.” Jacques Rivette mentions a familiar word during a 1974 discussion with Carlos Clarens and Edgardo … Continue reading “Weekend links 532”<\/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":"New blog post: Weekend links 532","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":[49,52,2,42,21,7,3,16,12],"tags":[559,10873,2086,10868,10876,10872,96,10869,3446,10867,10879,10874,8537,10878,10871,5154,7232,157,10881,10877,4840,10875,10870,9102,1748,10880,1427,8015,10882,10866,4591],"class_list":["post-20019","post","type-post","status-publish","format-standard","hentry","category-abstract-cinema","category-animation","category-art","category-books","category-fantasy","category-film","category-music","category-occult","category-photography","tag-alchemy","tag-brian-stableford","tag-captain-beefheart","tag-carlos-clarens","tag-chris-r-morgan","tag-christopher-machell","tag-cormac-mccarthy","tag-edgardo-cozarinsky","tag-edwin-pouncey","tag-elias-ashmole","tag-eric-drew-feldman","tag-etienne-drian","tag-eva-richter","tag-gary-lucas","tag-gints-zilbalodis","tag-goldfrapp","tag-jacques-rivette","tag-jean-lorrain","tag-john-malkovich","tag-jonathan-swift","tag-marquis-de-sade","tag-mike-soto","tag-phillipa-snow","tag-radar-group","tag-ry-cooder","tag-sandro-miller","tag-savage-pencil","tag-sean-kitching","tag-siavash-amini","tag-side-real-press","tag-timothy-darch-smith"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-5cT","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20019","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=20019"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20019\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=20019"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=20019"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=20019"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}