I recently published a review of the latest, 7 million print run-issue of Charlie Hebdo over at The Comics Journal. I have a second article, which delves further into the contentious and complicated issues surrounding the massacre, the cartoons and journalism of the magazine, and a bit of everything else, so stay tuned.
I dagens udgave af Information kan man læse min anmeldelse af ugens med spænding ventede nummer af Charlie Hebdo med den bemærkelsesværdige forside ovenfor. Jeg skrev teksten til en meget stram deadline, så bær over med den lidt stakåndede præsentation, den manglende reflektion og en lidt brutal redigering. Jeg håber at skrive noget mere dybdegående snart.
Today witnessed a mockery of the values of human dignity and community, fundamental concepts in all the major religions, not least Islam. It has already been repeated much today, but this really does feel like an attack on us all, and not just in the West, but much more broadly.
My thoughts are with the families and loved ones of the victims, while my hopes are with our societies to handle this outrage in the right way. There must be a robust response to the perpetrators and, more broadly, the mindset that motivated them, but ultimately the solution is more democracy and more freedom of expression for everyone, not less. Insha’Allah.
“Distant mountains floated in the sky as enchanted cities, and often the whole world would dissolve into a gold, silver, and scarlet land of Dunsanian dreams and adventurous expectancy under the magic of the low midnight sun, On cloudy days we had considerable trouble in flying owning to the tendency of snowy earth and sky to merge into one mystical opalescent void with no visible horizon to mark the junction of the two.”
My vacation reading has included a selection of Lovecraft stories. I hadn’t read anything by him since my teens/early twenties, when I devoured everything I could get hold of. And I’m now embarrassed to admit that I had subscribed to the commonly held idea that the world building was the thing and that he wasn’t a particularly good writer of prose.
Upon rereading a good chunk of the latter, I am now ready to jettison that view entirely. There’s a marvelous rythm to his writing, almost as if its written in poetic metre, and although he consistently flaunts conventions about repetition, layering of adjectives, and what might be considered hyperbole, his baroque language is so beautifully wrought, so assertive in its own aesthetic logic, that I now cannot see how one might separate it from his fictional cosmography. His language is the at times monolithic, at times evanescent architecture by which his world achieves its logic.
“The sailor Larsen was first to spy the jagged line of witch-like cones and pinnacles ahead, and his shouts sent everyone to the windows of the great cabined plane. Despite our speed, they were very slow in gaining prominence; hence we knew that they must be infinitely far off, and visible only because of their abnormal height. Little by little, however, they rose grimly into the western sky; allowing us to distinguish various bare, bleak, blackish summits, and to catch the curious sense of fantasy which they inspired as seen in the reddish antarctic light against the provocative background of iridescent ice-dust clouds. In the whole spectacle there was a persistent, pervasive hint of stupendous secrecy and potential revelation. It was as if these stark, nightmare spires marked the pylons of a frightful gateway into forbidden spheres of dream, and complex gulfs of remote time, space, and ultra-dimensionality. I could not help feeling that they were evil things—mountains of madness whose farther slopes looked out over some accursed ultimate abyss. That seething, half-luminous cloud background held ineffable suggestions of a vague, ethereal beyondness far more than terrestrially spatial, and gave appalling reminders of the utter remoteness, separateness, desolation, and aeon-long death of this untrodden and unfathomed austral world.”
Both quotes are from At the Mountains of Madness (1931). Image by Gutalin.
Have a good year!
Have a lovely season! Perhaps next year, I’ll try to revive this joint a little bit. Be ensured that I appreciate the patience of whoever might still occasionally be checking in.
I dennes uges bogtillæg til dagbladet Information kan man læse min anmeldelse af Søren Glosimodt Mosdals tegneserie Fimbulvinter, om Erik den Røde, Leif den Lykkelige og overgangen fra den gamle til den nye orden i vikingetidens Grønland. Et bjergtagende billeddigt, men også noget af en torso, der lader de løse ender flagre. Anmeldelsen kan læses her.
This review is was originally published in Danish at Rackham in 2004 and is reprinted here as a supplement to the short essay Yvan Alagbé’s comics that I’ve just published over at The Comics Journal.
The French-Belgian publishing structure Éditions Frémok, or FRMK for short, has now been in the game for ten years, initially separately, as Belgian Frémok and French Amok, and since 2002 together. They have managed one of the most consistent and challenging publishing programs in avant-garde comics. They have unerringly emphasized the boundary-breaking, the experimental, and often fine arts-oriented comics by some of the most innovative creators in Europe, people such as Thierry van Hasselt, Olivier Marboeuf, Dennis & Olivier Deprez, Stefano Ricci, Silvestre, Kamel Khélif, Vincent Fortemps, Michael Matthys, Dominique Goblet, Martin tom Dieck, Nabile Farès, Aristophane, and the Dane Søren Mosdal.
Their publications are unequivocally high art and as such expose themselves to criticism on two flanks. One is the risk of pretentiousness and postulated profundity, the other is the inevitable comparisons with other forms of visual art, comparisons which tend to put this kind of sequential painting to a disadvantage. Unsurprisingly, FRMK’s publication history is one of precarious and not always successfully negotiating these difficulties, but the fact that they persist is entirely to their credit. It is refreshing to see somebody uncompromisingly asserting their belief in the potential of the medium to fathom the wide expressive range that has traditionally been the domain of other media. Continue reading ‘Soul on Fire’