February – Evelyn Dunbar

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February, 1938 by Evelyn Dunbar (1906-1960)

Hotel Service — Eric Fischl

Hotel Service, 2023 by Eric Fischl (b. 1948)

Lucrecia Smoking — Lucía Maya

Lucrecia fumando (Lucrecia Smoking), 1990 by Lucía Maya (b. 1953)

 

Mass-market Monday | J.G. Ballard’s Billenium

Billenium, J.G. Ballard. Berkley Medallion Books (1962). No cover designer or artist credited. 159 pages.

ISFDB credits Richard Powers as the cover artist.

Ten years ago I read The Complete Short Stories of J.G. Ballard and wrote about them on this blog. At the end of the (exhausting) project (about 1200 pages and just under 100 stories), I made a shortlist of 23 “essential” J.G. Ballard short stories. I included two of the ten stories from Billenium in that list: the title track “Billenium” and “Chronopolis.” Of the latter, I wrote:

“Chronopolis” offers an interesting central shtick: Clocks and other means of measuring and standardizing time have been banned. But this isn’t what makes the story stick. No, Ballard apparently tips his hand early, revealing why measuring time has been banned—it allows management to control labor:

‘Isn’t it obvious? You can time him, know exactly how long it takes him to do something.’ ‘Well?’ ‘Then you can make him do it faster.’

But our intrepid young protagonist (Conrad, his loaded name is), hardly satisfied with this answer, sneaks off to the city of the past, the titular chronopolis, where he works to restore the timepieces of the past. “Chronopolis” depicts a technologically-regressive world that Ballard will  explore in greater depth with his novel The Drowned World, but the details here are precise and fascinating (if perhaps ultimately unconvincing if we try to apply them as any kind of diagnosis for our own metered age). Ending on a perfect paranoid note, Ballard borrows just a dab of Poe here, synthesizing his influence into something far more original, far more Ballardian. Let’s include it in something I’m calling The Essential Short Stories of J.G. Ballard.

Terrible Disaster — Gabriel Fernández Ledesma

Terrible siniestro (Terrible Disaster), 1928 by Gabriel Fernández Ledesma (1900-1983)

Flora (Detail) — Circle of Giuseppe Arcimboldo

Flora (detail), c. 1590-1600, attributed to the circle of Giuseppe Arcimboldo

 

Untitled (King) — Ho Che Anderson

Untitled (from King), 1993/2005, by Ho Che Anderson (b. 1969)

Hibernation — Remedios Varo

Hibernación (Hibernation), 1942 by Remedios Varo (1908-1963)

 

30 frames from David Lynch’s Eraserhead

From Eraserhead, 1977. Directed by David Lynch with cinematography by Frederick Elmes and Herbert Cardwell. Via Film Grab.

Thank you David Lynch

RIP David Lynch, 1946-2025

We weirdos lost a spiritual uncle today.

Lose isn’t exactly the right word–the work is still there, the tremendous body of works, the films and images that I’ve returned to for so much of my life, films and images my fourteen-year-old son has recently been drawn to himself, wholly independent of me, getting there through his own weird back channels, my son who asked me just the other day if we could watch Eraserhead, and I said, Not yet, although I was the same age as he is now when I watched Eraserhead and let it do something weird to me. Maybe we’ll start with The Elephant Man instead, let it break his heart a little. Keep him away from Fire Walk With Me until he can handle it (you can never really handle it). I saw them all too young. Was way too young when my older cousin showed me Blue Velvet; I think it imprinted on me. Rewatching it (for the fifth? tenth?) time a decade and a half later, I realized I was Kyle M’s Jeffrey Beaumont peering through the closet in horror at the Adult World. Maybe I wasn’t too young. But I’ve loved them all, again and again—Lost Highway, the first one I got to see in a theater, Mulholland Dr. (the best one?), Inland Empire (really the best one). Even Dune, the first one I saw, perplexed as hell. My parents let us watch it again and again on VHS and it always refused to cohere. I think they thought it was like Star Wars, which it both was and very much wasn’t. Even the straight one he made for the normies (especially the one he made for the normies–although I don’t know if they appreciated it). But really, especially, when he Got the Old Gang Back Together for Twin Peaks: The Return—it was such a gift, a gift that seemed to come out of nowhere, unexpected, but I think even then we could recognize what a beautiful gift it was — even if it broke my heart all over again at the end, in the best possible way (“What year is this?” / “Laura!” / HOWL). I think we all knew to say Thank you then; I think we showed our love in return for the artist’s gifts. I’m thankful now, sad, selflishly sad that there won’t be one more gift, one more vision that could never come from another mind. But thankful.

Saint George and the Dragon (Detail) — Martin de Vos

Detail from Saint George and the Dragon (c. 1590-1602) by Martin de Vos (1531/1532 – 1603)

“What Do I Need to Paint a Picture?” — Ithell Colquhoun

“What Do I Need to Paint a Picture?”

by

Ithell Colquhoun

From Surrealist Women: An International Anthology (ed. Penelope Rosemont)


Certainly not a canvas or an easel, because I need first a resistant surface (wall or panel) and a steady support (wall or table or bench). I like the surface on which I paint to be as near that of polished ivory as possible; sometimes this surface is so lovely that it seems a pity to paint it at all. Then I need a number, but not a large number, of opaque pigments and a small amount of medium, I am not going to say what is in the medium, but it smells very nice. Then a still smaller number of transparent pigments, and lastly a surfacing-wax which I put on when the paint is dry and which also smells very nice.

I need a line to work to (Blake’s “bounding outline”); that means a full-sized detailed drawing afterwards traced. Then I put on the opaque colors very smooth and finally the glazes, if any, with the transparent colors. These are only the fixed and the cardinal qualities; what of the mutable? What of inspiration? What can one say of it except that it comes and goes, is helped and hindered, is unbiddable and unpredictable?

As to results, I aim for them to be sculptural: drawing and painting are branches of sculpture. For me, drawing is two-dimensional sculpture, painting is two-dimensional colored sculpture. If I do any sculpture, it is colored.

Mine is a very convenient way of painting, because it needs so many consecutive hours of work that it is almost impossible to do anything else.

The Pentagon’s Pet — Artemio Sepúlveda

La mascota del Pentágono (The Pentagon’s Pet), 1968 by Artemio Sepúlveda (b. 1937)

 

The Order — Carlos Orozco Romero

La manda (The Order), 1942 by Carlos Orozco Romero (1896-1984)

Some pictures I took of Remedios Varo paintings last Sunday at Museo de Arte Moderno in Mexico City

La huida (The Escape), detail, 1955 

We enjoyed a lovely week between Christmas and New Year’s in Mexico City — great food, great people, great art. I especially enjoyed getting to see paintings by Remedios Varo, one of my favorite artists ever, at the Museo de Arte Moderno in Chapultepec Park.

La huida (The Escape) 1955

La huida (The Escape), detail, 1955

Roulette (Caravan), 1955

Roulette (Caravan), detail, 1955

Carta de tarot (Tarot Card), 1957

El flautista (The Flutist), 1955

El vagabundo (The Vagabond), detail, 1957

Paraiso de los gatos, (Cat’s Paradise), detail, 1955

Study for Presencia inquietante (Disquieting Presence), detail,1959

Between Rounds — Thomas Eakins

Between Rounds, 1899 by Thomas Eakins (1844-1916)

Comic as Christmas | From William H. Gass’s Willie Masters’ Lonesome Wife

From William H. Gass’s Willie Masters’ Lonesome Wife, as published as a supplement in a 1967 issue of TriQuarterly.