I appear in this flower court. Pictures blossom: they’re my drums. My words are songs. Flowers are the misery I create.
Includes text from “Enjoy!” by Terry Eagleton (a review of The Indivisible Remainder: An Essay on Schelling and Related Matters by Slavoj Žižek; The Abyss of Freedom / Ages of the World by Slavoj Žižek / F.W.J. von Schelling; The Plague of Fantasies by Slavoj Žižek) in the London Review of Books, 27 November 1997; and images from The Making of King Kong by Orville Goldner and George E. Turner, Ballantine Books, 1976; Rosemary’s Baby by Roman Polanski, Paramount Pictures, 1968, based on the novel of the same name by Ira Levin; The Thing by John Carpenter and Bill Lancaster, Universal Pictures, 1982; and Whitechapel Gallery monograph, 2011 (featuring XXXV, 2007) by John Stezaker; music is I Don’t Know If This Is A Matter For Wardrobe Or Hairdressing from We Bake Our Bread Beneath Her Holy Fire by Thumpermonkey (2010).
In 1539 the Knight Templars of Malta, paid tribute to Charles V of Spain, by sending him a Golden Falcon encrusted from beak to claw with rarest jewels – but pirates seized the galley carrying this priceless token and the fate of the Maltese Falcon remains a mystery to this day –
Humphrey BOGART as Dashiell HAMMETT
Sir Lanzilot on the Bridge of Swords
“He did what he thought was right.”
Elisha COOK, Jr.
Space MONKEY as The Demiurge
Wolfram von ESCHENBACH
From a Story by
Chrétien de TROYES
“World of Shit” is from the album Souljacker by Eels (2001).
“I’m blind to all but a tenth of the universe.”
“What do you see?”
“The city… as if it were unborn. Rising into the sky with fingers of metal, limbs without flesh, girders without stone. Signs hanging without support. Wires dipping and swaying without poles. A city unborn. Flesh dissolved in an acid of light. A city of the dead.”
Stage One: An image is clearly a substitute or representation of something real. Stage Two: Distinguishing between image and reality is difficult but possible. Stage Three: There is no difference reality and representation.
Add your own code at your own pace.
The song “What is the Light?” comes from the album The Soft Bulletin by The Flaming Lips (1999).
We’d laugh at him when we were growing up: ape his funny yokel accents, shake our heads at his racism, sneer at his propensity to stack adjectives; it was a way of excusing ourselves our own racism and snobbery, I guess.
That’s the thing: we who are closeted behind the barricades of the western world are not as distant from the attitudes expressed in the stories of H P Lovecraft as we might like. You can say, “I didn’t choose this,” or, “I won’t do this,” but some of those ideas are embedded into the structure of our language, disguised as ‘common sense’ or patriotism. H P Lovecraft reveals what lies beneath the deep-seated and intractable issue of racism: revulsion and a refusal to face the truth.
He’s also one of very few writers to find an original approach to describing the Real; what’s written isn’t always willed by its writer in the absolute sense, and connotation can be as important as denotation to artistic longevity.
Michel Houellebecq – writing before his own talent and notoriety made him famous – makes a good case for H P Lovecraft’s creative importance in H P Lovecraft: Against the World, Against Life (translated into English by Dorna Khazeni in 2005 and republished by Gollancz in 2008): it is fundamentally an existentialist argument – one about how Lovecraft combined lyricism and delirium to reveal a deeper truth about human estrangement:-
“I perceived with horror that I was growing too old for pleasure. Ruthless Time had set its fell claw upon me, and I was 17. Big boys do not play in toy houses and mock gardens, so I was obliged to turn over my world in sorrow to another and younger boy who dwelt across the lot from me. And since that time I have not delved in the earth or laid out paths and roads. There is too much wistful memory in such procedure, for the fleeting joy of childhood may never be recaptured. Adulthood is hell.”
Colonial powers refuse to face the truth about their impact on the world not because they are old but because they are infantile: that’s my position, at least. Umberto Eco does a great job of summarising the issue in his article on Ur-Fascism: what is presented as rational is in fact deeply irrational. Here’s a quotation from one of Lovecraft’s letters I found in Howard Ingham’s review of the film Jug Face (2013):-
“As for the Nazis – of their crudeness there be no dispute, yet in many ways the impartial analyst cannot help feeling a certain sympathy for some phases of their position. They are fighting, in their naive & narrow way, a certain widespread & insidious mood of recent years which certainly spells potential decadence for the western world – & one can’t help respecting that however ugly & even dangerous some of them may appear to be. Hitler is no Mussolini – but I’m damned if the poor chap isn’t profoundly sincere & patriotic, it is to his credit rather than otherwise that he doesn’t subscribe to the windy flatulence of the idealistic ‘liberals’ whose policies lead only to chaos & collapse.”
The basis of racism is fear; I think we need to get deeper into this fundamental truth rather than turn away from it. Unconscious impulses require creative understanding.
The VVitch is a curious artefact. The stylization of its title comes from a Jacobean pamphlet on witchcraft, its costumes (designed by Linda Muir) are thoroughly researched from Stuart Peachey’s Clothes of the Common People in Elizabethan and Early Stuart England (2014) and its cinematography (by Jarin Blaschke) is intended to replicate the formal composition of paintings of the period. That much of the dialogue is lifted from writings and witchcraft trials of the late seventeenth century lends a curiously dislocated tone to the whole affair: one which might connote the unsuitability of the European paradigm to the North American locale if not for the fact that the religious fervour turns out to be correct in every particular. Thus The VVitch‘s connection to the traditions of Fantastika – a body of literature that communicates its themes most resonantly when read literally and which seeks to interrogate the Politics of the Western world by comparison with exotic locales or buried truths – is both disrupted and enlivened by its almost-documentary devotion to historical accuracy: it may well have been at the point that the Western world stopped treating the idea of God as incontrovertible that Western discourse began to distinguish fact from the fantastic. “Hell is empty and all the devils are here,” as a William Shakespeare character says in Act 1, Scene 2 of The Tempest (performed circa 1611; 1623).
As has been mentioned elsewhere [see We Don’t Go Back: A Personal Taxonomy of Folk Horror and Pagan Film #52: The Witch (2015) by Howard Ingham], the Psychology of the way the family reacts to the strain they are under is entirely credible; it is the attachment of a supernatural explanation to realist verisimilitude that makes The VVitch seem conflicted. Three Algonquin tribespeople are glimpsed at the beginning of The VVitch: America’s native population is neither seen nor heard from again. The VVitch, like Joseph Conrad‘s Heart of Darkness (1899; rev 1925) is a text about the unconscious vastation of a belief system that reduced entire continents to Slavery and one half of its own population to the status of chattels:
We finally – ugh, the slings and arrows of everyday life – managed to kick off our mini-campaign of Fearful Symmetries last night. I’d better not say too much for fear of spoilers.
The heavens shall quake, the earth shall move & shudder & the mountains With all their woods, the streams & valleys: wail in dismal fear In the second “night”, the theme of women ruling is discussed but there is an emphasis on how the ability to create constricts them. Humanity is imprisoned by creation, and experience causes great pain…
Vala, or The Four Zoas
William Blake (1797-1807)
Alienist Hauke Greiner (57) and parapsychologist Emily Cheek (34) met Prophet of Albion James William Barnes (?-?) during last night’s session; a survivor, or one might say casualty, of our Bookhounds of London mini-campaign: they were moderately discommoded by finding him addressing the heavens from a box on Speaker’s Corner.
The PCs witnessed the maw of the sky run red, cozened a book scout and dowsed north-north-west from Oxford; Emily found herself upon a throne not of her choosing. Our ignorance of the work of William Blake runs fairly deep but it’s a chance to extemporize, and Innocence brings its own rewards.
Next week: witches. Yes, witches. Loves me some witches.
Some say it started with space, others with the congruence of science and discourse, others still with the allegories of Rosicrucianism, but I consider this the best essay on the genesis of science fiction ever written:
The set-up for the Fearful Symmetries playtest went well. It’s a beast of a document but it turns out to be fairly easy to use: the improvisational approach with plenty of background material suits the way I tend to facilitate games anyway and the guys enjoyed creating their characters.
We’re using the Radcliffe Camera campaign frame from the book; I’ll have to avoid freewheeling with the rules-as-written and I haven’t delved too deeply into the folklore engine as yet, but I find myself easily persuaded by the marriage between William Blake and the Cthulhu Mythos. It helps that Blake’s poetry and Crowley’s system of Magick have so insinuated themselves into the popular imagination: there’s little or no need to get bogged down in prep.
One of us was away this week and another of us is travelling for work the next – but that doesn’t turn out to be too much of a problem either. There’s a touch of Ars Magica to the way Fearful Symmetries suits troupe-style play, magickal rivalries and sudden affiliations. The self-proclaimed “Prophet of Albion” arrives in our game next week… but some of the players don’t know that yet.