Behold the stack of poetry that I have been working through for over a year now! Some of them are more recent acquisitions, some recommendations from friends, a few were purchased on a whim and tucked away for another time. Perhaps to forget about, and then stumble upon sometime in the future, on a rainy afternoon. Or a sunny afternoon during which I will dim the lights and draw the shades and pretend like the intermittent cycles of the dishwasher are the onslaught of a summer sudden storm.
The Moon Is Always Femaleis perhaps best left for another time; months later I am still digesting the potent, revelatory lessons I squirreled away whilst reading it. Piercy, in a voice earthy and strong and brimming with joyful humor, writes of longings, warnings, and dreams–and with a sense of absolute, empowering conviction that made me want to rejoice in laughter and song, scream in triumph. Someone on the internet commented that they thought this collection seemed “dated” (it was published in 1980) and I must disagree with every fiber of my being. It’s an intensely energizing read that I foresee engaging and inspiring women 50 years from now.
Much like my favorite volume of poetry last year, Bluets was initially suggested to me by Pam Grossman, and I am so grateful that she shared the recommendation with me.
I am, however, sad to say that in thumbing through Bluets now I am disappointed to see that I did not mark pages or underline passages; nothing to indicate that there was something that struck me as profound or which gave me pause for reflection that I’d like to revisit and re-read. Though I know marking up books in such a way is frowned upon by some people, I personally have no problem with it. They’re my books aren’t they? I’ll underline and asterisk and highlight as I please! I personally find pristine books highly suspect. Regardless, my unblemished copy of Bluets remains a rare treat. Perhaps the lack of scribbled notes and underlined text is because there was so much in it to love and I could not isolate and elevate any particular passage over the others.
It is written as a series of small vignettes–numbered lists, really–exploring reflections upon the color blue and the connections that Nelson draws between those collected observations and her own experiences.
“1. Suppose I were to tell you that I had fallen in love with a color”, she begins.
From a reader’s perspective, it presents as a collector’s secret diary of sorts, whose pages offer glimpses of morbid heartbreak, pervasive loneliness, pain both artistic and physical, ecstatic grief, and deep sadness, as well as compassion, beauty, and fleeting joy. These confessions are collaged together with all manner of scraps and detritus relating to every blue in the spectrum, consulting numerous writers, artists and thinkers along the way.
156. Why is the sky blue? -A fair enough question, and one I have learned the answer to several times. Yet every time I try to explain it to someone or remember it to myself, it eludes me. Now I like to remember the question alone, as it reminds me that my mind is essentially a sieve, that I am mortal.
157. The part I do remember: that the blue of the sky depends on the darkness of empty space behind it. As one optics journal puts it, “The color of any planetary atmosphere viewed against the black of space and illuminated by a sunlike star will also be blue.” In which case blue is something of an ecstatic accident produced by void and fire.”
I read a review of Bluets wherein Nelson is accused of indulgent navel-gazing, and my response to that is: “…and? So?”. That’s what poets do, isn’t it? A poet, I think, is its own favorite subject, and that’s precisely as it should be. Evan J. Peterson writes “The poet is stereotyped as a different kind of pervert, one who enjoys the depths of his own navel and the taste of his own toes, and furthermore, one who wants everyone to know this about him.” Just so!
A handful of readers have noted that they are able to pick this book up and peruse these pages willy-nilly, in no particular order, but I think you are doing yourself a disservice to treat it like that sort of a read. These writings have a flow, wherein one thought or recollection or recounting of facts leads into the next and though sometimes the connections between them are fragile, tenuous–they still exist. To skip around is to lose the link, and I believe that’s where precisely where the magic, the blue-tinged marrow is found. Not in the bittersweet experiences she shares, and not in the facets or features or characteristics of the color, but in how she links all of these things together.
“238. I want you to know, if you ever read this, there was a time when I would rather have had you by my side than any one of these words; I would rather have had you by my side than all the blue in the world.
239. But now you are talking as if love were a consolation. Simone Weil warned otherwise. “Love is not consolation,” she wrote. “It is light.”
240. All right then, let me try to rephrase. When I was alive, I aimed to be a student not of longing but of light.”
A gathering of death related links that I have encountered in the past month or so. From somber to hilarious, from informative to creepy, here’s a snippet of things that have been reported on or journaled about related to matters of death & dying & mortality.
Sometime last year I became aware of a film which instantaneously piqued my interest…and, as unfortunately happens quite frequently with me, I promptly forgot about it. Later, in trying to recall the title or even what about it I found so compelling, I could only offer, “…well…it was about some sisters…and their dead mom. I think there was a lake.”
Scoff if you like, but I will have you know that was just enough vague information to find the film again. Directed by Sarah Adina Smith, The Midnight Swim is summarized thusly: “When Dr. Amelia Brooks’ three daughters travel home to settle her affairs after she disappears in Spirit Lake, they find themselves drawn to the mysterious body of water.”
The Midnight Swim is told in found footage, faux-documentary style and takes place mostly at the estranged sister’s mother’s lake house in Iowa. I’ve seen it labeled everything from horror to fantasy to sci-fi, but I wouldn’t classify it as any of these, really.
I suppose you could say it is a bit of a character study in the aftermath of a loss. Annie seems to be the oldest and the dependable one, Isa is a bit of a woo woo free-spirit, and June, the youngest, is mostly behind the camera, filming the sister’s homecoming and dealing with their mother’s disappearance (and death, we are to assume) for a documentary–one which I think is mostly in her head. June, as we find out later, is troubled, and suffers from unspecified mental issues.
You could perhaps also say that it is somewhat a mystery, for the mysterious atmosphere is pervasive throughout the film, and an ominous tension begins to build after the sisters, recalling a bit of local folklore, attempt to drunkenly conjure a spirit from the lake–one of the seven sisters who supposedly drowned within many years before, each unsuccessfully trying to save the other. Strange things begin to happen: dead birds turn up inexplicably on the doorstep every morning, time lapse footage of the lake is found on June’s camera with no one admitting to having filmed it, and throughout it all, the shadow of their absent mother looms uneasily and mostly unspoken.
There’s not much in the way of a plot here, nor is there a conventionally satisfying resolution (which is not to say that I did not enjoy it.) What I did enjoy immensely was the sisters’ companionship and camaraderie. They rekindle their connection almost effortlessly, even though it’s obviously been some time since they have all been together, and if you have sisters whom you adore, this is a particular joy to see. Even the uncomfortable moments, the sullen, weighty silences and the heated arguments–there’s such vulnerability and love there. This, to me, is the most enthralling and captivating aspect of the film.
There is a specific scene wherein the sisters and their neighbour (who seemed an unnecessary addition to the film, in my opinion) are playing in their mother’s clothes; dressing up as her and acting out her eccentricities and idiosyncracies. Annie takes a “goodnight, children” scenario a bit too far–no doubt fueled by some traumatising memories and re-living that very situation from when she was a child–and the effect on the sisters is heartbreaking and no doubt triggering for many viewers. I have encountered and probably even instigated this moment with my own sisters in the wake of our complicated grief surrounding our own mother’s death, and no doubt we will re-live this scene again, and again, and again.
What does any of this have to do with wallpaper patterns? To be honest, I don’t rightly know, but they caught my eye throughout the film and it somehow became entangled in my mind with the idea of absent mothers and complicated grief. From the opening sequence, with June staring moodily in her childhood bed against that robin’s egg blue paper with the multicolor florals to that more modern feeling beige with white floral silhouettes–I don’t know, I just feel like it’s all there for a reason.
Thanks to everyone who read my interview with Sonya Vatomsky and who entered our giveaway for one signed and kissed copy of Sonya’s most recent collection, Salt Is For Curing. Our winner is revealed in this wonky, upside down video! That’s what you get when you resort to mystical means of doing something that a random number generator could have done more efficiently.
Ok, just consider that video a teaser! It was fun to make but I’m not certain you could actually see anything. Our winner is…Allison!
Allison please contact me with your address and such, and I will drop your copy of Sonya Vatomsky’s Salt Is For Curing in the mail this weekend.
Thanks again for everyone who read and commented with your favorite scents and beloved rituals. In the meantime, perhaps you were wondering how to outfit yourself for reading these magical, transformative poems? Ok, so maybe that’s just me? That’s ok, I will share my ideas anyway. See below, and if you are curious as to the items used, click through the image for a detailed listing.
A few weekends ago, on a trip up to North Florida on a rainy Saturday morning, we ended up on the side of the highway, sinking into a ditch. A massive white pickup truck (I have dreamed about this truck multiple times since then, and I always see it when I close my eyes now) began to merge into our middle lane without looking or realizing we were there. In avoiding a collision with him, we shifted back to an empty lane on the right, but began to hydroplane on the wet roads. At that point, I closed my eyes and began to brace myself for impact. I don’t know exactly what happened after that, but we were basically all over the road–facing oncoming traffic at one point–and seconds later we ran into a small copse of trees and a swampy ditch in the median between the north and southbound traffic.
I remember looking at the branches scraping at the windshield, noticing our miraculously unspilled coffees and thinking How are we even still alive?
In some parallel universe where my partner keeps a less cool head, this situation could have ended quite differently. The alternate reality us may have ceased to exist that day.
I don’t care to dwell on that overmuch.
Giles by Goblinfruit StudioAlholomesse by Robert Kraiza
My art gallery is ever expanding. I could lie and tell you that I purchased these things as balm for my fractured soul after the above-mentioned incident, but the truth is that I ordered these things before that. I have long admired Carisa Swenson of Goblinfruit Studio’s works–her curious creatures and aberrant animals have been delighting me for years! I decided it was the right time to provide a home for one of them, and so in the top photo we have Giles in his jaunty blue waistcoat keeping company with other various treasures
In the second photo is Alholomesse by Robert Kraiza. I consider myself a person of hushed passions, silent desires, but I’ll admit, gazing upon these wildly ecstatic women whips me into a bit of a maelstrom. I am so thrilled to have these witches dancing on my walls! Well, eventually. We all know how long it will take for this to happen.
It’s summer wardrobe time! And summer wardrobes, as we all know, consist of interesting, dark-themed tee shirts. Right? Well, that’s what mine consist of, anyhow. Much….like the rest of the year, I guess. Hm.
The very excellent Sabbat Magazine’s Maiden Issue, which is full of magics from some of my favorite artists, writers and visionaries. A++ 5 stars would be ensorcelled again.
X’s For Eyes by Laird Barron. This took a chapter or two to catch my attention, but I’m glad that I stuck with it, because X’s For Eyes is a lot of fun. I am about two-thirds of the way through (it’s only about 100 pages or so) and it’s like…a pulp-cosmic-noir adventure with Hank and Dean Venture except less incompetent and more demented.
Giant Days Vol 2. I’ll just come out and say that I will always support anything John Allison has a hand in. His webcomic Bad Machinery (formerly Scary Go Round and Bobbins) is the only webcomic I still read…and it’s the one that I actually started reading many years ago that got me into webcomics in the first place. I even got to interview him once! That was a total dream come true. And once he mentioned my polyvore stuff on his blog, or in the comments of his blog, as inspiration for some of his character’s fashions! Which…that makes me sound totally stalkery, so we’ll move on. Anyway, Giant Days is also a lot of fun, following Esther, Susan, and Daisy through weird, slice-of-life college life adventures.
The Beauty: I haven’t actually started this one yet, but doesn’t this sound intriguing? “Modern society is obsessed with outward beauty. What if there was a way to guarantee you could become more and more beautiful every day? What if it was a sexually transmitted disease? In the world of The Beauty, physical perfection is only one sexual encounter away.”
Listening to Mamiffer’s The World Unseen. I’ve loved this experimental duo since discovering them quite by accident back in 2010 or so. This new effort flickers with loss and light and is described as an “exploration of subconscious and psychic bonds between the past and present” and an “eight-song aural lexicon that vacillates between Arvo Pärt’s delicate minimalist beauty, Thomas Köner’s narcotic pulses of noise, and Richard Pinhas’ sublime textural patterns.”
Watching: The Fly and Angel Heart. Can you believe I had never seen either one of those movies? I enjoyed them both immensely. That was obviously the role Jeff Goldblum was born to play and it was nice to see Mickey Rourke looking like a dream boat before his face became the unfortunate plate of wet cat food that it is now. (Sorry, Mickey Rourke).
Doing: Saw a live taping of NPR’s Ask Me Another, attended a They Might Be Giant’s show, gardening, and knitting all of the things that gave me trouble last year.
What about you all? What have you been up to lately? Seen anything fun? Reading anything interesting? Had any near-death experiences? Fill me in!
Sonya Vatomsky, lovely new friend, and author of Salt Is for Curing, has been interviewed previously by some very smart people who have asked some excellent questions of this ghostly poet of the witchy and intense. I am not one of those people.
In my initial spurt of nosiness about this exquisite creature, I uncovered a handful of informative, well-written and wonderfully interesting interviews with our subject today. And my conclusion is that there’s not much I can ask Sonya Vatomsky about poetry and the writing process that another more intelligent and more articulate person has not already shared with us. And as a matter of fact, I encourage you all to read these previous interviews when you can, because they offer fantastic insight into Sonya’s works.
I am, however going to ask some fun questions, which I have shared below, and we are offering a giveaway consisting of a signed copy of Salt Is For Curing, –so I hope you will continue reading!
I became acquainted with Sonya in early 2016 when I noticed that a user on Instagram calling themselves @coolniceghost started following my account. Normally I don’t pay a lot of attention to new followers on social media but an interesting username always piques my interest. And come on…. COOL + NICE + GHOST! That sounded too good to be true–I wanted to believe this mystery internet person is all of these things!
I discovered, with just a little bit of poking around on the internet, that this indeed all true. @coolniceghost turned out to be a poet named Sonya Vatomsky, (A POET! You know my heart exploded with this knowledge) whom I found on facebook and reached out right away to say hello. And here we are.
Sonya has written two collections, My Heart In Aspic, a book of :”sensory-rich poetry investigating the body, decay/fracture, rich marrow, salted flesh, and breathing in all the dark things”, as well as the more recent Salt Is For Curing, which is described deliciously by author Ariana Reines as “a feast, a grimoire, a fairy tale world, the real world. It’s also too smart for bullshit and too graceful to be mean about the bullshit”.
{Apotheosis / Salt Is For Curing by Sonya Vatomsky}
In my reading of Salt Is For Curing, it took all that I had not to devour this small book of spooky delights in one greedy instant. I feared that to do so, to ingest all of these potent magics at once, would give me a terribly heartsick sort of heartburn and yet leave me with the very worst sort of emptiness, knowing there is no more to be had. I drew it out for as long as I could stand.
Anyway, I do go on, don’t I? We are going to talk about stuff and things and I trust that you will read further and enjoy. After having done so, please leave a comment to be included for the giveaway of one copy of Salt Is For Curing, signed by Sonya Vatomsky. Do you have a favorite collection of poetry? A beloved fragrance? Maybe a strange ritual you’d like to share? Tell us all about it in the comments and a random winner will be divined by esoteric methods exactly one week from today.
Sonya Vatomsky
Mlle Ghoul: The other night I had a dream that I peeled back the onion skin of my toes to uncover chocolate bonbons, which I plucked and ate with relish (I knew they’d grow back). What have you been dreaming about lately? What sort of stock do you put in dreams, if any? Are they signs, guide-posts for you? Or just brain-blips? Do they ever make their way into your poetry?
Sonya Vatomsky: Honestly, I kind of just have a lot of nightmares. I always have. They range from the basic psychopath-on-a-rampage kind to the crueler twists of, say, killing someone while blacked out and then having to explain that you’re a murderer to your parents who, against all mounting evidence, are maintaining your innocence during the trial because they know you, you would never. Because of this, I learned how to wake myself up from dreams when I was very young.When I’m really scared, I reach a sort of lucidity where if I force my eyes open really wide in the dream-state I’ll wake up. Besides the waking up trick, my lucid dreams are pretty useless. There’s a sort of misconception in lucid dreaming tutorials where people equate them with control over your dreams, which is just not accurate. Being self-aware doesn’t automatically make you God.
Speaking of dreams and sleep, you mentioned that you suffer from sleep paralysis. Can you talk a little bit about your experience with that?
Sure! It first happened in my late teens — scared the shit out of me, but I figured it was a freaky one-off nightmare. Then it occurred every few months for several years. I have an “all the toppings” version of sleep paralysis: aural hallucinations, visual hallucinations, and the cherry on top is an overpowering sense that there’s a demon in the room. I first read about sleep paralysis when I was 24 — 6 years ago — and since then it hasn’t happened much. Reading about it was very surreal. I was going through the Wikipedia pages of Japanese horror movies and reading the synopses and clicking links and ended up reading a medical paper on kanashibari. Having this frightening, seemingly-inexplicable, and deeply-personal thing medically explained (and experienced by other people!) was such a relief. In terms of the impact on my daily life, sleep paralysis was far more isolating than terrifying… or, rather, don’t we all have a very visceral fear that our mind has chosen an utterly unique kind of madness? That we’re somehow inherently blocked from ever being understood by another?
In Salt Is For Curing, the thread that ties so much of it together is food, but I get that it’s not really about food. You’ve said, and I am paraphrasing, that at the very root of these themes you write on– women, and bodies, and autonomy, and trauma, and power– it’s you exorcising your demons while “making people think they’re reading a witchy little book of folklore.” Which I think is fantastic and I loved that aspect of it. The role of food in folklore is such an interesting subject, though, and not one that I’ve thought on overmuch until now. I guess what I want to ask is how did you make these connections in relation to your own personal mythology and go about incorporating it into your poetry?
I think food and folklore both fall into my writing through the simple fact of me being Russian. Specifically a Russian immigrant, so my sense of culture has basically been distilled into those two things, partially because they’re such cultural building blocks but also because food and folklore are all you really have awareness of when you’re a child. I was six when I moved.
… but I am also obsessed with food, so we have to come back to that. Would you consider food/cooking a fascination for you, and has that been a constant fixation throughout your life or something that developed around the writing of these particular poems? What do you like to cook for yourself? What do you like to cook and serve to other people?
I’m impatient and busy so I usually cook things that can be done in 30 minutes, ideally with most of that time away from the stove. Baked fish with lemon, rosemary lamb, duck breast, tuna steak, that sort of thing. Also sandwiches. Always sandwiches. My current favorite is some kind of nice bread, gravlax, sliced hardboiled egg, tomato, mayonnaise, and hot sweet mustard. I’ll usually make the same type of dish for other people, because hosting means I’m a) stressed from accepting too much responsibility for the personal happiness of my dinner guest and b) drinking a lot, though I might upgrade my put-it-in-the-oven entree to cornish game hen. I can do piroshky and vareniki and pelmeni and borsch and all of that too but would need a third party to mind the guests because I’m very leave-me-the-fuck-alone in the kitchen.
Sonya Vatomsky
Another thing you mentioned in an interview and I am taking it totally out of context here so that you can expand upon and play with it however you like, is: “I’m interested in myself quite a lot.” I cannot tell you how refreshing that was to read, and how excited, and well, RELIEVED I was to hear someone actually say that. You know, as a writer, I am extremely interested in myself, as well (I’m my favorite subject!)…but that’s not always something people are comfortable expressing, I don’t think. I was hoping that you could talk a little more about this.
My coolness and my writing ability have just never been things I questioned. Which doesn’t mean I assume everyone will adore me (why would it?) or anything; I’m just stressed out by starvation economies. Impostor syndrome is a thing I deal with, as are various insecurities about success, but I don’t conflate feelings about my movement through the world with my intrinsic sense of self, I guess? I think I’m super fucking interesting, and I get chills re-reading my own work, but that ego also frees me up to feel joy at the genius of others. There’s not a finite amount of coolness. I find books all the time that reduce me to Facebook-messaging incoherent “omg… you are disgustingly amazing”s to people and that’s a real pleasure.
Make America Goth Again
Onto lighter things! One of the things we initially bonded over was our huge goth-y tee shirt collection–do you have any favorites right now?
I don’t want to assume you are a fellow perfume enthusiast, but I sort of get the feeling that you might be. What sort of scents do you find yourself drawn to? Do you have a particular beloved fragrance?
Ha! I am definitely a perfume enthusiast. Except I find the alcohol in alcohol-based perfumes really overpowering so I mostly wear oils. My everyday stink is Sugar & Spite’s Brewster (buttercream frosting, candied violets, vanilla cake) with Common Brimstone’s Petite Mort (caraway, cardamom, leather, honey, rose) on top. I also really love BPAL’s Vixen (orange blossom, ginger, patchouli) but I’ve had it forever so it kind of just smells like the summer I was 21 at this point. My gotta-have-it oils are anything that mention campfires, dirt, or cardamom, and lately I’m really enjoying rose as well. Oh! Another always-favorite is Debaucherous Bath, though I purchase more lotions than perfumes from that shop. The Queen Bee (milk, honey, cardamom) is delightful.
I did read your post about perfumes the other day and am thinking of treating myself to Norne or De Profundis (though for those prices maybe I’ll just come over for a weekend and smell you a lot).
I think you and I have something else in common, too–that you don’t really love showering, because you don’t like getting wet. Me too, I hate it! I sort of have to trick myself into the shower, make a ritual of it with fluffy towels, fancy soaps and potions and unguents. This made me start thinking about our own individual, personal rituals. I was wondering if you had any that you might like to share? Whether with regard to getting your hair wet, or writing, or …whatever, really.
Showering is the worst. I exercise every morning and that does make me more inclined to shower, though I soaps and potions help as well. I like to have a creepy soap (gunsmoke, seaweed, rotting wood) and a sweet lotion. An off-putting handsoap is nice, too. Blackbird used to do a really strong, salty licorice one but since they discontinued it I’ve been using Nevermore Body Company’s Sacred Ground (chamomile, oak, black currant, dried leaves).
My other rituals are secret, for now.
You just traveled to Iceland! What did you love about it? Did you find any inspiration there? Anything that you might recommend to a fellow traveler on a whirlwind journey?
Iceland! The best thing we did was go to the Secret Lagoon which, first off, has a Facebook page so how secret is it really? The lagoon is an hour or so outside Reykjavik, and we did a night excursion where we got there around 9 or 10pm — it’s dark and freezing cold and next to the lagoon is this scary-looking cement shack structure and there’s a reddish light coming from somewhere that makes the entire scene look like the first result of when you go to a website of free desktop wallpapers and search for “creepy shit”. It was incredible! You get little floaties and float in the water, which is really warm, and there are these underwater speakers playing fucking Sigur Ros, and you can drink wine and then get a massage. Someone also brought a dog so I was petting this giant fluffer while drinking wine and being up to my waist in a hot lagoon.
Perfect. Then when you’re done soaking you get to have a little meal of cucumbers and tomatoes and black bread and schnapps and softboiled egg and the rotting piss shark thing which, I don’t know, definitely needs a lot of schnapps after it.
Photo credit: Sonya Vatomsky
I am led to believe that you may have some great poetry recommendations. If one loved Salt Is For Curing, for example, what else might you suggest?
I HAVE SO MANY POETRY RECOMMENDATIONS. Recently I have read and loved:
Finally, closing on a more serious note– elsewhere, you referenced a J.G. Ballard quote:
“’I wanted to / rub the human face in its own vomit / and then force it to look in the mirror’—and that’s basically what I’m trying to do. Except with my vomit. In a nice way.” I know that our motivations and inspirations are constantly in flux, so I am wondering if this is still what you are trying to do? Or has this changed?
No, that still sounds about right.
Thanks again, Sonya, for entertaining my curiosity and indulging my nosy nature. And readers, remember to leave a comment below in order to be eligible for our giveaway of one signed copy of Salt Is For Curing.
With dark, classic imagery that hearkens back to some of your favorite science-fantasy Heavy Metal Magazine art, or the pulpy, cosmic horror-tinged style of a particularly lurid used bookstore H.P. Lovecraft paperback — you know, the one with the eyeball we all have on our shelf — Burke’s art feels both deceptively familiar and fabulously strange.
Although raised in a restrictive religious environment where this type of subject matter was off-limits, Burke speaks of a childhood-and-beyond love for the excitement and visceral energy of those 20th century fantasy illustrations, and taps into that sense of passion and intensity for the custom, commissioned works he produces for musicians and bands. Burke, who acknowledges that this older fantasy-style art is oftentimes relegated to the realm of schlock and kitsch, admits that while he brings his own tongue-in-cheek approach to his creations, he also attempts to give them a sense of beauty, grace, and mystery.
“…FANTASY AND DARK SUBJECT MATTER,” BURKE REMARKS, “CAN ACCESS OUR DEEP FEARS AND MOTIVATIONS, AS WELL AS PRESENT A SENSE OF MYSTERY OR UNKNOWN IN A WORLD WHERE THE UNKNOWN SEEMS TO BE EVER-SHRINKING.”
Valley of the Snake (art for Ruby the Hatchet)
Growing up in the Pacific Northwest, Adam Burke spent a great deal of time in the woods. As an adult he has come to find that is still where he prefers to be. A science nerd enthralled with plants, fungus, geology, and ecology, he believes that there is infinite inspiration in nature and natural processes.
This fascination with the myriad wonders of the natural world and the flora and fauna which inhabit within is expressed in the name of his website. According to Burke, Nightjars are birds in the genus Caprimulgus. They are beautiful, but seldom seen, mostly nocturnal birds that have gorgeous markings and a distinct flight pattern. His fascination is also glimpsed in his more personal works: dim-lit, moody landscapes of craggy cliffs and marshy bogs shrouded in mists, populated with woodland creatures and wanderers alike. All are seen through the vaporous veil of a haunting dream, perhaps an entirely different world, or another time.
Burke muses that this otherworldly quality stems from his tendency to be a daydreamer, and perhaps from a bit of a disconnect with the world of humans. Noting that, “I’m a humanist, and I think we’re capable of amazing things. I value my friends and family more than anything in life,” he then went on to say, “I think humankind’s presence in this world is increasingly destructive and meaningless. I use art as a form of escape; to create a place or feeling that I wish existed or where I wish I was.”
A musician himself, Burke reflects that as an adult, he started creating art again when he returned to playing music. After a period of time when his creativity was channeled into some more practical pursuits, his life began to fall apart in “some pretty major ways.” As a result, he found that his creativity, (his “art brain”), was much easier to access, and art and music became his comfort zone.
Red Witch
As to which medium he prefers–visual or sonic– he notes that while painting gives him the platform to explore his deepest interests and impulses, nothing compares to the thrill of playing music with people whom you love, to an audience who’s participating in that electrifying energy.
And so, Burke began playing music and making art for his band, Fellwoods. “I wanted to create nature-inspired fantasy pieces because we drew from ’60s/’70s psychedelic and heavy music, so I taught myself to paint,” Burke reveals. “Other bands saw the art I created for Fellwoods and started asking about commissioned work, so I just kept going with it. Now it’s my living.”
Ghosts of the Anthropocene I
Strix Nebulosa
Pooka
Pilgrims
Lugburz
If you enjoy posts like these or if you have ever enjoyed or been inspired by something I have written, and you would like to support this blog, consider buying the author a coffee?
If Christie Shinn’s name sounds familiar to you, no doubt you are recalling my brief review last month of the bloody, demented Caligula Imperatore Insanum, for which she was the illustrator. Today I am pleased to be taking a look at another one of her offerings, Sepulchre Volume 1. I won’t call this a review, per se, because I don’t want to give away the story or any plot points!
Gorgeously stark and atmospheric, a violent tale of deliberate betrayal, personal tragedy , and vengeance, Sepulchre takes place “In a world of swords, bullets and blood” where our main character, Lady Jaye Hawke, is “betrayed by the one she loved the most, and seeks to avenge that treachery.”
Some time back I had the opportunity and distinct pleasure to view the first few pages and what I saw piqued my interest tremendously–when I tell you it was both a gut punch that rendered me breathless and left an unforgettable vision seared into my retinas, I am not exaggerating. Without a doubt it left me trembling, intrigued and yearning for the rest of the story. The beginning of this tale grips you instantaneously, and I’ll say no more than that.
Lady Jaye Hawke has a story to tell, that we know for certain. However due to tragic and an as-of-yet not entirely explained backstory and circumstances, she is left without a voice to do so. Instead, her narrative unfolds through her actions and expressions. Her emotions, fraught with sorrow and fury, hysteria and despair, are passionately illustrated by Shinn in dramatic blacks, whites, and red, and convey to the reader more than mere words ever could.
This is going to be a tale of revenge, we can see that’s where this is heading, and I am all about enthusiastically meting out punishment to monsters who betray us… but I am hoping there are moments of redemption, as well. It is rare that I fall so completely in love with a character that I know so little about, but I’ve glimpsed enough to see that Lady Jaye Hawke is empathetic and has kindness in her heart, so I want to see this play out in a way that doesn’t leave her brutish or monstrous, herself.
A friend assured me recently that the chaos in my perfume cabinet was not, in fact, a hot mess and a poor reflection of my character–but instead that it was pretty cool and it reminded her of a witch’s workbench. Actually… she only voiced the latter half of that thought, and so I’m choosing to extrapolate the rest of the sentiment because she’s a thoughtful person and that’s probably what she meant.
A witch’s workbench! I loved that. And I love thinking of perfume in that context–after all, the transformative powers of fragrance are myriad and a sort of magic of their own. Fragrance has the ability to transport us to another place or time, be it a memory, a wish for the future, or even a dream. It conjures phantom loves and losses, those whom we adored and those we mourn. It intoxicates, bewitches and holds our admirers rapt, enthralled. It allows us to slip into the skin of that which we would wish to be–the femme fatale, the ingénue, (or, if you’re weirdly specific like me, “Morticia Addams tending a poison garden at midnight in late summer, moments before fearsome thunderstorm”).
Some perfumes though, as least as far as I can tell, just feel like magic. Perhaps they don’t exactly remind you of anything from your past and maybe they don’t make you feel like Audrey Hepburn or Seven of Nine or Siouxsie Sioux or whoever it is that you channel to feel special or beautiful. Perhaps their mere presence on your shelf causes a shimmer in the corner of your vision; a certain slant of light at the right time of day cascades through the faceted glass bottle and creates a kaleidoscopic prism against the wall. Maybe the cool heft of a particular flacon cradled against the warmth of your palm feels grounding and reassuring. Perhaps to simply gaze upon your collection and deeply inhale the exotic aroma of all the fragrances combined is a small ritual on its own.
I have a few scents in this vein that hold their own magic; they smell as though they may induce a trance, or open a portal. Some demand a sacrifice of the wearer, and some bear unexpected gifts. Some smell of soothsaying and powerful prophecy, whereas others might sit quietly on the skin, unnoticed, a charm against unkindness or ill-will. I own all of these and they speak to me in a secret language of their own, a scented murmuration that no doubt only I understand…though I am very happy to share with you a handful of my loves. Make of their mysteries what you will!
Mississippi Medicine from DS & Durga opens with an astringent, peppery cypress, and gives way to a pine-crackling, smoky fire, sweet birch, muddy grass and scorched leaves and dries down to a sweetly herbaceous, woody, resinous scent. This tells the story of waking with strange incense in your hair and the vague dream of descending into the dark, dancing and divining with ancestors, and having been part of rituals older than you can imagine. A scent of potent magics, both sacrificial and healing.
Norne from Slumberhouse smells of black night forests frozen in time; tarry, resinous pines and greenest firs and crisp midnight air, tiniest pinpoints of starlight. Woodsmoke and loam, lichen and fern, and musty mosses creeping, creeping over fallen logs and worn stone paths. Spiders webs tangling high in the branches, dust settling on the strands. Time has slowed and finally stood still in this forest while the world outside advances and evolves and moves along as is the world’s habit whether one interferes or not. This is a still, solemn, forgotten wood, without any birth or growth, and yet undying.
10 Corso Como is all dry, lofty sandalwood, smoky desert resins, and earthy, weirdly off-kilter – almost alien or at least otherworldy- florals. It calls to mind a mysterious, aromatic wooden chest, unearthed by a strange sandstorm. At once both sensual and spiritual, and without a doubt a very, very handsome scent, I find myself frequently craving it and nothing else will do.
Heely’s Sel Marin conjures a dim lit sea save, illuminated by phosphorescent crystals clinging to salt crusted walls. Mossy rocks, worn smooth by time and tides and the wind, which echoes eerily through the subterranean stone chambers. Bits of driftwood and seaweed and perhaps small animal bones littering the damp chamber floor. A sea priestess lain dormant, waiting for a dark ritual to conjure forth from slumber. This is a Dion Fortune novel in a bottle.
Amir from Laura Tonnato is a deeply hypnogogic scent, all dark, narcotic myrrh and nocturnal resins. A midnight philtre, thickened with age and swimming murkily at the bottom of an ancient crystal flacon, tucked away in some moth-eaten velvet robes. This is the scent I imagine one of the visitors wearing during that infamous summer in 1816 at the Villa Diodati with Byron and Polidori.
Serge Lutens’ De Profundis opens with the scent of big, lively chrysanthemums, in the fall -brisk, slightly spicy and musty. Delicate, dewy violets and damp loamy earth follow shortly thereafter, along with a cool metallic chill that calls to mind a brief wind, rising from nowhere, a shadow that suddenly falls across your path. This is the scent of a pensive cemetery stroll in late autumn, crushed funeral wreaths beneath your feet, the veil of the sun struggling through the clouds, the lingering wisps of incense from morning mass.
A new mix for tender dreams and small, gentle things.
{Image: Ebru Sidar}
Track list: Blue Crystal Fire, Arborea | Bugbear, Wickerbird | New Ways, Daughter | Ferring Rife, Wyrdstone | House Of Skin And Bones, Dana Hubanks | Old Growth, The Feral Trees | Love Song to the Stars, Emma Berkey | Wings Of The Dawn, Sierra Hull | All The Colors Of The Dark, Marissa Nadler
Sometime last year I became aware of a film which instantaneously piqued my interest…and, as unfortunately happens quite frequently with me, I promptly forgot about it. Later, in trying to recall the title or even what about it I found so compelling, I could only offer, “…well…it was about some sisters…and their dead mom. I think there was a lake.”
A friend assured me recently that the chaos in my perfume cabinet was not, in fact, a hot mess and a poor reflection of my character–but instead that it was pretty cool and it reminded her of a witch’s workbench. Actually… she only voiced the latter half of that thought, and so I’m choosing to extrapolate the rest of the sentiment because she’s a thoughtful person and that’s probably what she meant.