{"id":9530,"date":"2011-06-12T01:43:39","date_gmt":"2011-06-12T00:43:39","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=9530"},"modified":"2013-02-03T04:00:05","modified_gmt":"2013-02-03T04:00:05","slug":"weekend-links-62","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2011\/06\/12\/weekend-links-62\/","title":{"rendered":"Weekend links 62"},"content":{"rendered":"

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

A plate from Tales of the Amur<\/a> by Dmitry Nagishkin, a 1975 edition illustrated by Gennady Pavlishin.<\/em><\/p>\n

\u2022 The week in Surrealism: Opera of the surreal gives Dal\u00ed an encore<\/a>: Yo, Dal\u00ed<\/em>, a previously unperformed work by Xavier Benguerel, receives its premier in Madrid. Meanwhile Tate Liverpool’s summer exhibition, Ren\u00e9 Magritte: The Pleasure Principle<\/a><\/em>, is profiled here<\/a>. “Ren\u00e9 Magritte has inspired more book covers than any other visual artist,” says James Hall<\/a>.<\/p>\n

If Rimbaud anticipated the Surrealists by decades, Ashbery is said to have gone beyond them and defied even their rules and logic. Yet though nearly 150 years have intervened since Rimbaud\u2019s first declaration of independence, many readers in our own age, too, still prefer a coherence of imagery, a sameness of tone, a readable sequential message, even, ultimately, what amounts to a prose narrative broken into lines.<\/p>\n

Lydia Davis on Rimbaud\u2019s Wise Music<\/a>.<\/em><\/p><\/blockquote>\n

\u2022 Umberto Eco’s glimpse into the art of the novel<\/a> | Return to Wonderland<\/a>: an essay on Lewis Carroll’s world by Alberto Manguel | Heavy sentences<\/a> by Joseph Epstein: On How to Write a Sentence and How to Read One<\/em>, by Stanley Fish.<\/p>\n

And then there\u2019s the mystery of what happened to him for those four months in London when we have no trace of him. Rimbaud mentions Scarborough in \u201cPromontory\u201d and talks about \u201cHotels, the circular fa\u00e7ades of the Royal and the Grand in Scarborough or Brooklyn.\u201d Since there\u2019s that missing period in England, people say he must have gone to Scarborough, and have even checked hotel registers for that period, but as far as I know nobody has ever found anything. Someone even checked railway and train schedules in order to pin him to this real place. I seem to remember a French writer admitting that Rimbaud was never in Brooklyn, but kind of wishfully thinking that he might have been. Which is very funny. \u201cRimbaud in Brooklyn\u201d: there\u2019s a project for someone.<\/p>\n

A Refutation of Common Sense<\/a>, John Ashberry on translating Rimbaud.<\/em><\/p><\/blockquote>\n

\u2022 Robert Jeffrey posts a video<\/a> of his nine-year-old self giving Madge a run for her money in 1991. As Boy Culture<\/a> puts it: “Anyone who feebly clings to the belief that gay can be prayed away should take a look at this and give up already…” Amen.<\/p>\n

\u2022 The mathematics of Yog-Sothoth: Richard Elwes on Exotic spheres, or why 4-dimensional space is a crazy place<\/a>.<\/p>\n

\u2022 For I Will Consider My Cat Jeoffry<\/a> by Christopher Smart (1722\u20131771).<\/p>\n

\u2022 Lesbian pulp fiction, 1935\u20131978<\/a> and Faber 20th century classics<\/a>.<\/p>\n

\u2022 As The Crow Flies<\/em><\/a>, a new album from The Advisory Circle.<\/p>\n

\u2022 New World Transparent Specimens<\/a> by Iori Tomita.<\/p>\n

\u2022 79 versions of Gershon Kingley’s Popcorn<\/em><\/a>.<\/p>\n

\u2022 Minor Man<\/em><\/a> (1981) by The League of Gentlemen.<\/p>\n","protected":false},"excerpt":{"rendered":"

A plate from Tales of the Amur by Dmitry Nagishkin, a 1975 edition illustrated by Gennady Pavlishin. \u2022 The week in Surrealism: Opera of the surreal gives Dal\u00ed an encore: Yo, Dal\u00ed, a previously unperformed work by Xavier Benguerel, receives its premier in Madrid. Meanwhile Tate Liverpool’s summer exhibition, Ren\u00e9 Magritte: The Pleasure Principle, is … Continue reading “Weekend links 62”<\/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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,42,4,29,5,48,3,44,12,13,18,46],"tags":[248,2172,2647,2650,2637,2638,172,2648,2643,2641,114,2649,70,115,2645,270,2646,87,2642,1253,2640,2639,2644],"class_list":["post-9530","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-design","category-electronica","category-gay","category-illustrators","category-music","category-painting","category-photography","category-science","category-surrealism","category-theatre","tag-alberto-manguel","tag-arthur-rimbaud","tag-christopher-smart","tag-danielle-dax","tag-dmitry-nagishkin","tag-gennady-pavlishin","tag-ghost-box","tag-iori-tomita","tag-john-ashberry","tag-joseph-epstein","tag-lewis-carroll","tag-lydia-davis","tag-madrid","tag-magritte","tag-richard-elwes","tag-robert-fripp","tag-robert-jeffrey","tag-salvador-dali","tag-stanley-fish","tag-the-advisory-circle","tag-umberto-eco","tag-xavier-benguerel","tag-yog-sothoth"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2tI","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/9530","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=9530"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/9530\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=9530"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=9530"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=9530"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}