Two examples of 60s fake postmodern smut book cover design.

Two examples of 60s fake postmodern smut book cover design.


Sam Alden in the print Study Group 2.

Sam Alden in the print Study Group 2.


A Rebekka Dunlap postcard from the Brooklyn Zine Fest.

Rebekka Dunlap postcard from the Brooklyn Zine Fest.


Stridulum (Michael Paradise, 1979)


spectacletheater:

As performed by Phillipine creature puppets tonight at midnight!


spectacletheater:

Thai posters for familiar productions.

(I’m not sure where exactly credit is due for the huge folder of these I just stumbled on, but Monster Brains has a pretty comprehensive high-res set up. 


Motion-capturing the uncanny valley.


Extreme post-modernist sci-fi deconstruction from the probably by 1975 quite jaded Malzberg. Cover artist unknown — anyone?

Extreme post-modernist sci-fi deconstruction from the probably by 1975 quite jaded Malzberg. Cover artist unknown — anyone?


Chris Foss cover for the 1st edition (Ace) of the James Tiptree Jr’s 1973 debut, 10,000 Light Years from Home. This is a great collection, by the way, if you can deal with the extreme spaceships-and-aliens sci-fi-ness of it. Tiptree aka Alice Sheldon is a great stylist, unafraid of experimentation, handles interesting subtexts gracefully, and is able to be simultaneously warmly entertaining and actually pretty totally dark, usually via overriding black humor.

Chris Foss cover for the 1st edition (Ace) of the James Tiptree Jr’s 1973 debut, 10,000 Light Years from Home. This is a great collection, by the way, if you can deal with the extreme spaceships-and-aliens sci-fi-ness of it. Tiptree aka Alice Sheldon is a great stylist, unafraid of experimentation, handles interesting subtexts gracefully, and is able to be simultaneously warmly entertaining and actually pretty totally dark, usually via overriding black humor.


70s Bantam Delany covers. Dhalgren cover artist is Dean Ellis, Triton is by Mitchell Hooks.

70s Bantam Delany covers. Dhalgren cover artist is Dean Ellis, Triton is by Mitchell Hooks.


See You in Hell, My Darling (Nikos Nikolaidis, 1999) — Hell is other people. Even darlings. Especially darlings. Three people are always 2 + 1, which over many iterations reduces to an eternal inviolable 1 + 1 + 1. Hell is isolation. Perhaps in an endless loop, a limbo. Are we there yet, or have we always been? Though if you’re lucky, hell may at leas unfold as a sensual nocturnal fugue throughout a perfectly tenebrous house and garden, forms bathed in Nikolaidis’ immaculate lighting and bleary film stocks, lights on water, lights flaring on glass or over skin.


See you in hell, my darling (Nikos Nikolaidis, 1999)


spectacletheater:

Not actually likely to be shown anytime, but here are various ridiculous posters for the over-styled, portentous, utterly absurd Stridulum.


Russell Marois, novelist, 1945 - 1971. 
“The were looking for a loophole through the inertia of the Upper Canadian anger dream.”

You see, what will have to happen in any post-technological society is that it will be dominated by machinery and institutions; the institutions will be barbarian at the core as anything in the pagan role and eventually these institutions, through machinery, will gobble up everything, there will be nothing left on the landscape except gleaming edifices and a few staggering forms seeking an entryway, dominated by the whir of machinery that somehow, ominously, does not quite work but as the culture becomes more hugely impersonal, as the barbaric and terrible machinery acts more and more and more concisely to squeeze all idiosyncrasy, all humanity, all individual voice out of the culture, as all of this is going on the institutions will out of necessity have to pay some some lip service to the tradition from which they emerged; culture lag is the factor here and the institutions will have to simulate flexibility, will simulate humanity, they will act through their devices in such a way as to assure the individuals trapped within them that they remain constant, remain human, and the name of this will be public relations but all of this will be calculated as well, post-technologically speaking, to lower resistance to the takeover.
A failing television producer fantasizes about the sociology professor he could have been in Barry Malzberg’s 1972 Revelations.