Unquiet
Things

At Haute Macabre today, I predict that we are collectively going to blow our bank accounts on these tarot-inspired clutches from the Dior S/S 2017 bag collection. 

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I don’t know about you, but every time my hair clogs up a household drain, I blame it on the vague presence of “paranormal activity”.  Curious as to how one might ooze the dark, casual style of a haute, haunted hairball? No? I don’t believe you! See below for an summary of the items used in the ensemble above, and as always, click on the images to see more details about where to buy.

Featured image: Coming For You by Feebrile

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Originally published in on the Coilhouse blog on October 12th, 2010.

Discerning seekers of rare or obscure artists will eventually stumble upon John Coulthart’s Feuilleton at some point in their virtual journeys. An artist himself, and a blogger “of some repute”, his site is a veritable Holy Grail treasure collection of luminous paintings, ornate illustrations & woodcuts, and salty vintage photographs that run the gamut from fin de siecle European art magazines to antique occult bookplates to queer themed eye candy from a bygone era for which to titillate our salacious modern sensibilities. One with an interest in such things could literally lose hours perusing his archives. It is with the striking of a dazed and dreamy midnight hour, head filled with inspiration and amazing discoveries, that one realizes where the time has gone.

John is perhaps best known for his own striking and complex “genre-defying” artistry; working with various styles and media in his singular, chimeric aesthetic, he is a successful graphic designer for a variety of mediums including album covers, book covers comic books and graphic novels.

“As a comic artist John produced the Lord Horror series Reverbstorm with David Britton for Savoy Books, and received the dubious accolade of having an earlier Savoy title, Hard Core Horror 5, declared obscene in a British court of law. … His collection of HP Lovecraft adaptations and illustrations, The Haunter of the Dark and Other Grotesque Visions, was republished in 2006 by Creation Oneiros.

As a book designer and illustrator John continues to work for Savoy Books, and in 2003 designed the acclaimed Thackery T Lambshead Pocket Guide to Eccentric and Discredited Diseases edited by Jeff VanderMeer and Mark Roberts.

John’s work has been showcased via Rapid Eye, Critical Vision, Clive Barker’s A-Z of Horror, EsoTerra, CNN.com and the Channel 4 television series Banned in the UK.”

See below for our Q&A in which John discusses fleeting fascinations, enduring enthusiasms, how the mystical and macabre manifests itself in his projects, and the mercurial nature of design.

Both the mention in your website bio, and the description in your personal blog, Feuilleton, refers to your cataloging of “interests, obsessions and passing enthusiasms.” What might those encompass right now?

JOHN COULTHART : I watched Visconti’s film Ludwig (about King Ludwig II of Bavaria) recently and was following up that viewing with some web research into his eccentric life. I usually disapprove of monarchs, especially our own dismal royals, but Ludwig is a fascinating and ultimately tragic character. A few months ago I ordered a lot of out-of-print books by the French writer and illustrator Philippe Jullian who wrote one of my absolute cult books, Dreamers of Decadence, a major study of Symbolist painting first published in English in 1971. Jullian was also something of an eccentric who wrote a number of biographies and art books, produced many Ronald Searle-like illustrations and also penned a few novels. Both Ludwig II and Jullian were homosexual and queer culture is an abiding fascination, not least because much of it prior to the 1960s remains little-known or discussed.

I find I spend a lot of time at the moment trawling library sites for interesting pictures. Many of the world’s important libraries now have browsable archives which give access to rare books and magazines. The best of the discoveries recently was the magazine archive at Heidelberg University which has scans of the early issues of Jugend and the entire run of Pan, two German periodicals which did much to promulgate the Art Nouveau style.

Blogging has turned out to be useful for the way it makes you realise you were more interested in something than you previously suspected. When that happens it can provide an element which may feed back into your work. An example of this occurred when I started collecting pictures from different sources and eras; I hadn’t noticed before that the peacock as a symbol connects three areas of interest: medieval alchemy (where its feathers represent a process of iridescence), fin de siècle art, and poster art of the psychedelic era which recycled many 19th century motifs. That’s probably a good example of a passing enthusiasm turning into an obsession.

How often do these themes will their way into the projects that you are working on? Or do you try to “live in a bubble” while you are working on a piece? For example both your artwork for Alan Moore’s Dodgem Logic Issue #4 and 2010 Psychedelic Wonderland Calendar (which, by the way, I would love to see somehow expanded into a tarot deck) are possessed of a trippy, hallucinogenic brilliance – was that due in part to a “passing enthusiasm”, or just well, part of the specs for the project?

Well the peacocks were a good example of the enthusiasm affecting the work as I put a lot of peacocks on the Dodgem Logic cover. But generally it depends on the work at hand how much of your own interests feed it. As well as illustrative commissions I’m also employed a lot as a graphic designer and very often the brief for design projects is a strict one with no room required for deviation. In that case you just concentrate on working within the limits.

The calendar came about after I’d spent a summer listening to the British end of the psychedelic music produced in the late 60s. Everyone knows Jefferson Airplane’s White Rabbit is based on the Alice books but so too were a large number of obscure UK songs from around the same time. There’s an enormous amount of Alice-derived illustration out there but I hadn’t seen anyone take quite this approach visually. When a story has been worked over so many times it becomes a challenge to do something distinctive with it, in illustration terms it’s like adapting Shakespeare for the stage. So in this case it was an enthusiasm for the music which became the key to doing something visually. I’m still intending on making the calendar pages into a poster series when I find the time.

The Dodgem Logic cover came along when Alan Moore asked me to do something psychedelic in style for their summer issue. Aside from that vague description I had free reign. Butterflies were the other theme there. If I’d have had more time I maybe would have put some peacock butterflies into the design as well.

There is undoubtedly a vein of the weird and fantastical that runs throughout all of your projects. I am thinking of the Lovecraftian inspired The Haunter of the Dark book in particular, but it seems that great deal of your book cover art falls into the fantasy/horror genre…and then, there is of course, the work that you have done with Alan Moore. Did you start out looking for these types of projects? Or did they just somehow find you? Where does this attraction to the bizarre and lurid stem from? Have you always felt an affinity to the outré and uncanny? Or have your preferences and your style evolved to keep up with what’s required from your art?

I’ve always been interested in the fantastical and grotesque so it’s inevitable this will manifest in the work I produce. It’s never been an indiscriminate interest, however, I always seem to have been very choosy and opinionated. This goes back to an early age. When I was 10 I was reading a lot of Victorian ghost stories in Puffin Books reprints and I quickly became used to a 19th century prose style. A year later I was reading through HG Wells collected short stories and The War of the Worlds. When I started picking up later science fiction novels many of them I found impossible to read on account of what I snootily perceived as poor writing. Arthur C Clarke was fine but many of his “classic” contemporaries I found shockingly bad. It was a relief to find the so-called New Wave sf writers who were trying to do something more with the medium than create futuristic engineering manuals. More than anything I seem to like hybrid works, anything that mixes genres or styles in an interesting or surprising manner. Borders are where new styles emerge and the most stimulating juxtapositions take place. Where these core interests come from I couldn’t possibly say; they’re obviously innate but not something shared by anyone else in my family.

My work often seems to evolve to a certain point then I switch course in a new direction, mostly when I feel I’ve explored one area thoroughly. I spent most of the 1990s doing a lot of very dense, very dark black-and-white line drawing, a lot of which is so extreme in terms of content it became very difficult to push any further. The recent psychedelic-oriented work goes in an opposite direction and it’s one I’m liable to continue for a while since I feel there’s more to be explored in that area. It’s not a case of rejecting one style for another, it’s more that these are equal poles of interest that just happen to be diametrically opposed. This mercurial approach is probably a bad idea when you’re trying to cultivate an audience, people tend to prefer that you do the same thing indefinitely.

Illustration and graphic arts appears to be your primary medium, although I understand you do some writing as well. Are there any areas of artistic expression in which you wish to dabble or to dive?

On the writing front, I have thirty or so films reviews and a couple of essays in ‘Horror!: 333 Films to Scare you to Death’ which Carlton Books are publishing this September. I’ve been writing stories and the beginnings of novels since I was a teenager, and much of that early work was done with greater seriousness than any of the drawing or painting I was doing at the time. The drawing and painting came to the fore when I started to get my work in print but if I didn’t have that additional creative outlet I would have concentrated fully on writing. I’ve gone back to writing fiction as a means of mapping out a new area of personal work which can evolve in several directions, including art and design.

This goes back ten years to when The Haunter of the Dark was published and I felt a line had been drawn (so to speak) under that phase of horror illustration. At the same time I’d finished the Lord Horror comic series I was creating with David Britton and wanted to start something original that was also completely my own. That intention has evolved into a long-term project which now comprises one-and-a-half novels and also an idea for a third book which will combine writing, graphic design and illustration in a manner that I’ve barely begun to consider for the moment. One of the inspirations for this was the Obscure Cities created by artist François Schuiten and writer Benoît Peeters, a multi-media creation which ranges across many books and comic strips (and which, I should note, remains criminally underrated in the English-speaking world). I’ve been crafting an imaginary world of my own where I can do anything I wanted in any medium. For the moment the written fiction is charting the territory, and I don’t want to illustrate this too much–the words are the illustration–but it’s a very open project into which anything I do in the future could easily be integrated. Few people are aware that all the blogging I’ve been doing for the past four years is (among other things) the R&D area of this project, the place where I can follow areas of interest and bookmark things which may feed into something later.

Filmmaking used to be an attraction and I have done a couple of things in that direction, mostly abstract stuff like a 45-minute accompaniment for one of Alan Moore’s readings in 2001. I have a friend who’s directed a feature-length documentary and a number of shorts and I’ve seen how difficult he finds it chasing finance all the time. One of the things I like about creating books is that they’re relatively cheap to produce and you consequently have far more control over the end result.

What are your ideal/dream/pie-in-the sky collaborations? What are some future projects coming up on the horizon that you are excited to be a part of?

One of the reasons I forced myself to address my own work again was because I’d grown tired of collaborations! I’ve been very fortunate to work with the people I have, and collaborations have the value of creating that synergy that William Burroughs and Brion Gysin called “the Third Mind”, something that’s beyond the work either of you might create on your own. But I felt I’d done rather a lot of that and needed to concentrate more fully on my own ideas. Just now I’ll be happy if I can finish the long and ambitious novel I’m writing which has been in progress for the past four years. I have an agent touting the first novel at the moment so I’m obviously keen to see that published.

Coming up there’s a lot of steampunk-related things due to appear. I’ve contributed to The Steampunk Bible, a big glossy guide which Selena Chambers and Jeff VanderMeer have put together for Abrams; I’m currently finishing the design for Steampunk Reloaded, a fiction anthology from Tachyon edited by Ann and Jeff VanderMeer, and I also have some steampunk cover designs on the go. Further down the line there’s another VanderMeer project, The Thackery T. Lambshead Cabinet of Curiosities, which I’ll be helping illustrate. I’m still on board for the guide to the occult arts which Alan Moore and Steve Moore (no relation) have been writing. And in the next month or so I’ll be doing another Alice calendar, based on Through the Looking-Glass this time. This last one I’m looking forward to a great deal.

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It’s difficult to recall now, with which facet of the incredible force of nature that is Karyn Crisis that I first became familiar. Was it her voice? Oscillating passionately between infernal hisses and howls and seraphic coos and incantations, her searing vocals are both unmistakable and unforgettable. Perhaps it was her art: once you’ve seen any of her original oil paintings, boldly and beautifully imbued with magick, empowerment, and ritual, you’re forever haunted by their fiercely transformative energies.  And as intensely spiritual as she is artistically inclined, Karyn is also a Shaman, Seeker, Witch, and Healer who is highly sought-after for classes, workshops, private readings, and public demonstrations.

Does it really matter, then, where I heard of her first? Nah, I’ve racked my brains and I’ve got no answer for that now. The important thing is that the universe, in its infinite wisdom, made me aware of her, and I’ve been fascinated by her many-layered presence in this world ever since. Isn’t it funny, the places that life takes you? Four years ago I was posting her eldritch imagery on my tumblr blog, and now I am beyond pleased to share with you our recent interview, here.

Haute Macabre: Shaman, Seeker, Witch, Healer–in addition to all of these things, you are a musician, an artist, and a writer as well– truly an interdisciplinary artist! Amongst all of these practices, with which do you feel that your true heart lies?

Karyn Crisis: Truly, all those forms of creative expression you mentioned “take turns” occupying various amounts of time and energy in my life. The central part of my life is my connection to the Spirit world. From this point of co-creative “meeting of the minds,” everything else radiates…and often according to plans that are not in my control! Having a “soul agreement” is what dictates the way energy ebbs and flows through my life. In order to be in alignment with this, I listen to the silence, and there…do I see a painting? Hear a song? Sense a workshop in-the -making? Research to be done? I listen and feel and then I follow the suggestion.

I don’t consider myself an artist or musician in the traditional sense. Most artists and musicians I know dedicate and devote much of their time to listening to music of others, researching equipment, practicing their gifts and talents, writing and recording songs…or sketching, sculpting, exploring new media, drawing, and painting. In contrast, I spend absolutely no time doing this “preparatory” part of these arts. I make art and music, but not regularly. I’m a channeler, but I don’t always get to choose which creative avenue I’ll be channeling through.

I constantly feel unprepared for what I’m doing if I think about it…and that’s the key: thinking is the limiting factor: feeling, sensing, and expressing are where the magic lies and unfolds.

With regard to writing, I know you are currently working on your forthcoming book, Italy’s Witches and Medicine Woman— can you tell us a little bit about the book and the journey that led you to write it?

My book was an unexpected project! I suppose it began in 2009 when I lived in Italy for a period and stayed in a little house in the middle of olive fields. There was a spirit in the house who introduced herself to me as an Italian witch, and who began to teach me for two hours a day. I would write down things she told me, mostly about healing techniques, but also some things about Italy’s history and how to work with nature. Later, I would find out the things she told me were true. She became my daily spirit guide, you could say, coming with me when I returned to California. She pushed me to train as a Spiritualist Medium, which I thought at the time was odd. I assumed she’d teach me spells and rituals, which she did, but she seemed very unimpressed by them. I began to train under a licensed Spiritualist Medium associated with Lily Dale by charter, and I quickly learned how to gather evidential information from passed-on relatives, loved-ones, and friends of people still living on earth. This was a way to scientifically “prove” that life continues on after death of the physical body, and this is what my guide wanted.

Then, Goddesses began appearing to me in the same way spirit people like relatives did…and the Goddesses were telling me historical things about Italy that seemed odd to me: mixes of cultures and different types of groups of people doing healing and magic. I wrote it all down, and found out around the time that GOTW began recording that all this was also true. (My Italian husband went to visit his mother at this time in Italy, and they went to visit her family in Caserta. She revealed to him she’s from a lineage there, and she told him some of the things she learned of a magical nature, which incidentally I had been doing because I learned them from my Italian spirit guide). He bought me two books in Benevento that he and I ended up translating together…where I found all that I’d been shown by the Goddesses was historically true!

So this began a journey for me of historical recovery. I realized that we don’t need to feel “cut-off” from our personal lineages and histories when we can still communicate with our ancestors in the spirit world and re-learn our traditions before the church got to them and usurped the symbols and practices. This was just a personal passion at the start. However, it was a passion that got me up early in the day, devoting my early hours to researching…along with my spiritual “think tank group,” you could call them, who magically got materials and people and opportunities to come my way that added significantly to my research.

Then, it was time for me to return to Italy. I’d planned to just go live there for 3 months near Benevento, after meeting up with Carlo Napolitano, an author form Naples of one of the books that I received from Italy. Instead, I contacted a friend near Genoa who invited me to start my journey there because the Inquisition had in fact begun there…and then suddenly doors opened and people began to reach out to me: I interviewed 23 people this time, while I lived among locals in the mountains, took cures from Italian lineage healers on mountaintops (that aren’t even on the map), spent time in medieval villages having “il malocchio” (the evil eye) released from me with oil and water, learned from biodynamic herbalists, met local authors and museum directors and folklore experts and etymologists, got to touch 2,000 year old temples like Diana’s Temple at Nemi (and I buried peoples’ prayers there) as well as pre-pagan structures devoted to Goddesses, and I met with Paolo Portone, a Roman author who’s dedicated 30 years of his life to reclaiming Inquisition documents and writing about the true history of Italy’s witches (and is also the Science director of the new MES: Museum of Ethnohistorical Witchcraft in Triora). Author Carlo Napolitano took me to sacred sites where legend has it the Goddess physically manifested herself and which are nor protected by apotropaic magic, and more. I met with a secret group called “Benandanti,” and I met young witches and old, female and male. I really got to know some of Italy’s history and magic from the inside-out. I lived among locals instead of staying in hotels. I also learned a healing technique there that I’ve begun demonstrating at my book lectures and workshops. The book has become “Volume 1,” which means I’ll have to return to explore regions that I haven’t yet made it to, to be fair to Italy herself. I’ve already got invitations waiting…so I’m trying to get this book completed. In the meanwhile, I have started a newsletter to keep people informed of my progress, and I’m traveling around taking my lectures with video footage and photos to different states. The research focuses on the miraculous curing traditions of peasant women and their world, versus the idea of the “witch” that the church created.

Your last album, Salem’s Wounds, was released in 2015– Can you tell us about the experience of creating that album, and do you have plans to create/release more music?

Davide Tiso wrote the music for Salem’s Wounds and all the songs prior to this album that we experimented with for over 5 years. He’s a prolific composer, but I move much more slowly. During that time, his musical style became more emotional, and my vocal style softened, and my vision (atmosphere I wanted to convey, lyrics, storytelling) became focused on the magic that I learned in Italy and the continued spiritual experiences I was having related to Italy. Basically, all my parts of the album (visual concepts, lyrics, vocals) were channeled while I was jogging alone at 5am in the forest, or at the ocean under the stars, and even during mundane train rides to work. It was a wild time, full of synchronicities, psychic phenomena, and myths come to life! This period was also when my Italian research and recovery of ancient history began, so aspects of this research were woven into the album whose songs were charged with energy from these historical spiritual practices. Yes, there are plans for more, but as to when…see my first answer 

Your artwork is so incredibly powerful, and packs a tremendous emotional wallop–I can look at the faces of the beings you create and I am sure I can feel in my bones their fury and their fear and their wonder and awe. I have to wonder about the experience of painting these pieces and the emotional work that goes into them?

Well thank you so much! It’s really wonderful to know you connect with them in an emotional way. It’s true I make art for my own emotional expression and also for devotional reasons, and I really pour my inner world into them… but I feel like art isn’t truly alive if it’s not finding a way to connect with people…or at least the eyes of others!

Also, as relates to your artistic process, on your blog I read that your paintings are given to you in image form, clairvoyantly, complete and with details and colors–that’s very interesting! Was that just for that particular series on mediumship or is this how it works for you all the time? Can you tell us a little more about how you work with these clairvoyant images?

After I lived in Tuscany, life took another radical shift. My husband rented me a painting studio and gave me time to just paint. I was working on portraiture, painstakingly, and I wasn’t really enjoying it. One afternoon he took me to linch and said “You don’t really look happy painting. What do you want to paint really? What if you really painted what you wanted to ?” Those questions made our lunch an existential one, because I realized it was true at that time I wasn’t feeling I was painting what I wanted.

Until then, my paintings really came with inspiration rather than a decision to paint. For example, I went from not painting for 10 years to painting an entire series of large scale paintings in 2006. I’d just paint when the visions were there when I received inspiration. But when I’d try to make a daily effort to paint, it was different, and the process felt less magical and more technical. That’s not a bad thing at all, I had wanted to improve my technique in the first place so I could paint in a different way, but I was unable to make a lot of technical improvements, and the search for that left me feeling creatively uninspired.

So I thought about what my husband had said and I asked my daily spirit guide to work with me on my paintings, and I devoted them at that moment to expressing shamanism, witchery, and healing and magic. I decided to make each one count-no wasted canvases or efforts.

But I didn’t think I could do this alone, so I asked my guide to help me. We began to work together: the best way I can describe it is I’d receive a “flash” of an image, in my style, but already complete with colors and details. It was as if she was sending me a polaroid snapshot of a painting already finished. I didn’t have to do any re-arranging. Next, I’d have to figure out how to get it on the canvas to look the way it did in the “flash” impression I’d see. I can reference that flash in my mind’s eye at any time. It doesn’t fade until the painting is completed. Many of the things in the paintings I see in the “flashes” are above my technical skill level. So, when we first began to work this way, my guide said “just keep painting, we’ll work out the rest,” referring to her and my other guides who help me paint. I just have to make some physical effort, and then I go into a light trance of sensations, colors, and feelings, and it’s as if the paintings paint themselves. I think all artists of every type feel this to some extent when they are feeling inspired…I do it intentionally each time.

It seems like you throw your entire being, everything that you are, into every project you undertake. Where does this tremendous drive come from? And when you are not creating (I’m assuming you take breaks!) how do you relax and recover?

Life is very short. I’ve already died once. While naturally a hermit, I’ve been pushing myself to explore more, and with exploration comes this drive to share what I’ve discovered. I’m a passionate researcher. But research, for me, is not just about information, it’s about getting to know what’s behind the research through the unfoldment process of experiences. I’ve come to learn my life is all about experiences (rather than to settle down)…and the older I get, the more I have to have a backpack ready-to-go attitude to follow those experiences and journeys..and I move back and forth from mountain paths to city jobs, back in and out…physical world, spirit world, ancient world, modern world. Part of me always prefers to hide away, and part of me is being pushed to explore! Whenever I notice I’m falling out of love with life, I try to fall back in love with it, which is not always easy. Passionate exploration gets me there.

I don’t have a regular social life. My idea of being social, currently, is to pick a city I want to visit and find a way to teach a class or a workshop there . In the past, my way of being social was to go on tour, or present my art in a gallery show. I’m a nomad and I don’t belong anywhere other than inside experiences, and I’m always happy to meet people there, in the experience. Time is important to me: time on earth is a rare commodity, so I want, I demand to spend it doing something that has meaning to me. Relaxing and recovering is important, because I push myself so hard and also because I spend a good amount of time in the spirit world. So, for me, there’s also plenty of quiet time, where I go for walks or into nature or I just find some quiet place to sit outside and do nothing but just receive. I recharge myself with meditations and gemstones. I need to keep myself as a clear channel, so I can hear the quietest whisper of inspiration in the noisiest of environments.

I live largely like a nun, devoting my time to my work and connecting with the spirit world privately and then plugging into interesting jobs, teaching classes publicly. This wasn’t really my choice, but it’s where my life has moved me to with the advent of Gospel Of The Witches and Italian research.

I dont sleep a lot, but I sleep well.

Quiet mornings alone in nature are very important to me, even if the only nature I have accessible is an outdoor breeze and sky view while drinking espresso.

I listen to my body: I know when I’m not taking good care of myself physically, and this affects my mind and my clarity. Depending on what I’m working with or dealing with in spirit world, there may be minerals that go missing from my body and I haveto find ways of replenishing them energetically and physically.

Do you have any upcoming workshops/lectures/appearances/exhibits that you might like our readers to know about?

I just returned from NY, having given “Italy’s Witches and Medicine Women” lecture part II with a demonstration of a healing technique I learned in the south of Italy. I’m currently planning another trip back to NY (Brooklyn and Cornwall) in late September, with my sights set on Portland, Massachusetts, and Oakland too. Please keep an eye on my website and sign up for my newsletter for coming events: www.karyncrisisheals.com.

Find Karyn Crisis: website // instagram // facebook // twitter // blog

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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 in or related to the Death Industry recently.

More reading: Links of the Dead {July 2016}

💀 The One Thing No One Ever Says About Grieving
💀 This Is Why So Many People ‘See The Light’ Near Death
💀 The Lady Anatomist Who Brought Dead Bodies to Light
💀 Want to Cut Your Carbon Footprint? Get Liquefied When You’re Dead
💀 I’m Terrible, Thanks For Asking
💀 9 Secrets of Coroners and Medical Examiners
💀 When photography was new, it was often used to preserve corpses via their images
💀 DIY coffin-building workshop reviving dying art of casket-making
💀 What I Learned Hanging Out with Corpses Around the World
💀 Death Becomes the Wounded (In Conversation with Daphne Deitchman of Little Wounds)
💀 Photographing Victorian Corpses Exposes the Beauty of the Human Body
💀 Life in Death at Tower Hamlets Cemetery
💀 Japan’s “Corpse Hotels”: It’s There That No One Will Stare
💀 A Year Gardening the Grave of a Stranger
💀 The Professionals Who Want to Help You Plan Your Death
💀 ‘Stop the corpses rolling into my garden’: Desperate man’s plea as bodies from cemetery fall into his land

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Biblio-alchemy: The Liquid Library of Annalù Boeretto

The Heavy Metal Symbolism of the Salon Rose+Croix

† The All-Time Best Burns Of New York Times New York Times book critic Michiko Kakutani
† Meet the Woman Teaching ‘Financial Domination’ to the Masses
† Excerpts from Lana Del Rey’s Upcoming Book of Spells
† Sleep paralysis: How a deep-sleep glitch can conjure the boogeyman
† Christina Mrozik: Metamorphosis, Quietus, and In-betweens
† Beam me up, Gucci! New campaign inspired by vintage sci-fi
† 12 eerily beautiful photos from Kat Von D’s all-black flower garden
† Why Story Matters in Video Games
† Junji Ito’s Horror Manga is Getting an Anime
† How To Decorate Your Apartment Like A David Lynch Project
† In Defense of Imaginary Friends
† The American Eclipse of 1878 and the Scientists Who Raced West to See It
† Night-Time At The Roadhouse, An Ever-Growing Playlist With A Twin Peaks Vibe

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I find that I increasingly dread and actively avoid putting these “currently” posts together lately. I’m not sure why that is, exactly. To be quite honest, I love talking about myself and all the stuff I’m into, so it’s not like I’ve all of a sudden gotten weird and self-conscious about it. I operate under the assumption that my friends and acquaintances are a lot like me, in that they are curious about the lives of the people who they care about in some form or another (either on the internet or in real life), so if I want to know all about you, is it so hard for me to believe that you might want to know about me? Nope! For whatever reason, as anxious and uneasy as I feel about other things, sharing without feeling uncomfortable or awkward, or precious about it, has always been a thought process that’s come naturally to me (even when someone might actively try to squash it).

So what’s the problem, then? I suspect my low level dysthymia (undiagnosed, but that’s what my counseling-for-a-career sister tells me, and I guess I can’t really sue her if she’s wrong) really amps up in the summer time; I lose all motivation and energy, I stop taking care of myself and participating in the activities and passions I love, and it’s just a vicious cycle–I haven’t got the energy and life to do the things that give me energy and life.

So, yeah, here I am. My heart isn’t in it, but I’d be cross with myself if I skipped my monthly installment of talking about myself. Also, I will take this opportunity to show you my bangs-growing-out-progress, as well as the sparking new addition to my earthly meat suit: my new nose piercing, which I have fondly dubbed “lil crusty”.

My youngest sister has been checking in with me via email every day. I think she’s realized that for mental health checks, phone calls actually stress me out even more (although Melissa, I hope you know you should always feel free to call, I don’t mean to sound so singularly shitty about it) and so email is the way to go. This daily correspondence has been very helpful; it’s comforting to know that there’s someone out there who realizes I am going through …whatever…and who takes time to say hello every day, and shares with me little links she finds that will interest me, or maybe gives me a piece of advice that she finds helpful in her own life.  Early in the week, when I told her that it was a struggle to even get out of bed,  she urged me,  “…just do SOMETHING to break the cycle. Some activity, to get the momentum going.”

So, I took her advice. I made a list. I did not get to the big stuff. But I ate a goddamn apple, and it was a start.  I shared the imagery on instagram, and it was heartening and encouraging, all of the positive feedback I received, all the kind words and helpful sentiments. I won’t say I was surprised, because I am surrounded by thoughtful, generous, compassionate people. I always appreciate these wonderful souls, but to say I’m surprised by their reaching out to me in kindness? No way. Never surprised. That’s the kind of people they are. You all make me better for knowing you. Thank you. /end cheesiness.

So, that’s a lie. I have some more cheesiness for you. I received some wondrous gifts in the mail this week, from two incredibly special people. I was utterly moved to tears (and finally in a good way this summer!) at their generosity and the sheer amount of talent and astoundingly hard work that went into these treasures.

My sweet friend Lisa, who I began chatting with online during (I think) the final few years of my time up North, is thoughtful and clever, and very, very funny. I remember us poking fun dumb inspirational memes, and coming up with ridiculous ones of our own, and thinking “yep, Lisa is my people for sure.” Lisa is a quilter who creates the coziest, loveliest patchwork pieces and had apparently been working on this quilt for me since 2015! Accompanying this masterpiece was a beautiful note detailing her inspirations for the project, information on the fabrics used (one was from a collection called “spellbound”!), and the pattern, which is called Storm at Sea and interestingly involves sewing the pieces of the fabric directly onto paper templates and then tearing the paper away when it’s all put together. Lisa also included a marvelous poem which she noted had provided the “narrative underpinning” for the piece, The Plantation, by Seamus Haney. I finally read it in its entirety this morning, curled under the quilt in the dim glooms of my parlour, as the rain outside pounded against the windows–while I was warm and dry and feeling very, very loved.

At any point in that wood
Was a centre, birch trunks
Ghosting your bearings,
Improvising charmed rings

Where ever you stopped.
Though you walked a straight line,
It might be circles you traveled
With toadstools and stumps

Always repeating themselves.

Friendgift #2 came from the the inimitable jewel priestess/sorceress-solderer, sisterkin and glittering heart, Flannery Grace Good. I had placed an order for a few treasures from her shop, and she included this extraordinary moonstone spirit moth, in addition to some sage for smudging, a floral hydrosol, various stone talismans, and other things for general good juju.

This package had a bit of an adventure finding its way to me! I’m still not sure what happened, but somehow it got lost in transit, somewhere in the murky postal ether, and floated frustratingly out of reach for a week or so. When it finally arrived, I took a moment to breathe a sigh of relief and then commenced parading around in my shimmering new jewels. Flannery Grace Good, in addition to being a wonderful friend, is truly a master of her craft, and coupled with her imagination, creativity, and intense drive, she creates some of the most beautiful jewelry I have ever seen. If you’ve not peeked in her shop yet, you should certainly take a moment to do so, and say hello. 

Summer reading! If you recall, my mini quest in my overall yearly reading challenge was to read twenty five books in the months of June, July, and August. Last month I managed six, and this month at eleven books read (one of them is not pictured, above) I’ve nearly doubled that, so I think we’re moving along at a good pace.  Six + eleven = seventeen, so by the end of August, I’ll need to have read eight more books to hit my goal of twenty five, and…uh…win? I guess? I never actually got that far in my planning, I guess.

With Junji Ito’s Cat Diary: Yon & Mu, fans are were probably like, “what’s this heartwarming crap about pet cats? I want grotesquerie and repulsion!”…but if that’s your initial reaction, I think you will be pleasantly surprised by this fantastic read, and trust me, you’ll get your Juni Ito grossness, but just…in a different sort of way. I was finished with the book before I realized it, and was sad to see it end! He writes about having to adapt to living with his fiance’s cats over time, and it’s both adorable and creepy, and overall a fantastic addition to his body of work. Thanks for this little surprise, J-Kun!

Actually, everything I read this month was pretty good, with Gilded Needles and Monstress at the top of my list, followed by The Beguiled, The Graveyard Apartment, and Bleed (all three would make excellent beach reads, with Bleed probably being my least favorite of the three)

Junji Ito’s Cat Diary: Yon & Mu
Bleed
Monstress Vol. 2
The Graveyard Apartment
Southern Cross
The Lottery (graphic novel adaptation)
Rachel Rising Vols. five*, six, and seven
The Beguiled
Gilded Needles

And now I’ve got just enough energy left for some one-word movie & teevee reviews…!

6/29 A Dark Song : yes
6/30 The Belko Experiment: yes (except for last 5 minutes)
7/1 From A House On Willow St: ugh
7/3 What We Do In The Shadows (rewatch): ALWAYS
7/4 Kong Skull Island: meh
7/5 Attack On Titan Season 2: fun!
7/6 Lake Bodom: skip
7/17 Split: sure
7/20 Logan: yeah (but for beardy, bespectacled Wolverine reasons)
7/22 The Killing, Episodes 1-6: yes
7/22 Martin: YES
7/23 Creepshow: eh
7/26 Dawn of the Dead (original): fantastic!
7/29 Zeder (thanks Maddie!): yesyesyes

What was your July about? Wondrous things? Terrible things? Middling-meh things? What have you read or watched or seen or done that thrilled you? Or repulsed you? Let’s dish.

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Do you know about my amazing friend, Lau? That’s not her name, per se, but I have a bad habit of referring to people whom I first met on the internet, by their internet moniker–even long after I have actually met them in person. At any rate, a Lau by any other name would be just as amazing, and I want to share something she’s created recently which I know, Know, KNOW will resonate with so many of you.

{P.S. Lau is the fantastic eye + brains + talent responsible for the the design of Unquiet Things!}

“Fix your hearts or die”. I get chills whenever I think of this beautifully devastating sentiment, courtesy David Lynch’s character, Gordon Cole, expressed to badass transgender DEA agent-turned-Chief-of-Staff,  Denise Bryson. After more than two decades of working her way up to a position of authority in a hostile environment which hasn’t always accepted her, it was such a fantastic, empowering moment to see her in that huge office of her own, behind a stately desk, addressing Cole as an equal, and or, if memory serves correctly–as his superior

In their short scene together in the Twin Peaks revival, Cole points out that Denise didn’t have an easy road to her new title.

“When you became Denise,” he reminds her, “I told all of your colleagues, those clown comics, to fix their hearts or die.”

As someone more eloquent than I remarked, “It’s a surprisingly affecting moment, showing not only a former superior addressing his mentee-turned-boss but also seemingly Lynch himself addressing the situation of a marginalized character in his own universe.”

When I heard those now iconic lines uttered, I knew deep in my heart, beyond the shadow of a doubt, that it was to be a passionate notion that would resonate with so many people, and within hours–on twitter, instagram, facebook, blogs, think pieces, etc–it was tenderly, joyously, triumphantly resounding far and wide.

“Fix your hearts or die”. My eyes brim with triumphant tears every time these words echo across my heart. And now, thanks to Lau & RECSPEC, I can wear it emblazoned across my chest. 

The shirt is $25 and 10% of all proceeds go to Casa Ruby, the only Bilingual Multicultural LGBT Organization providing life saving services and programs to Transgender, Gender Queer and Gender Non-conforming Gay, Lesbian and Bisexual people.

Curious as how to style this shirt? I’ve got some ideas for you, below. As always, click on the image for a link to all of the items used. And if you’re looking for a righteous, empowering scent to accompany it, you should take a look at Black Phoenix Alchemy Lab’s “activism” tag, where they offer fragrances to specifically raise funds for the American Civil Liberties Union and National Center for Transgender Equality, as well as, Planned Parenthood and EMILY’S list.

If you would like to support this blog, consider buying the author a coffee?

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A few months ago I wrote about the life-saving effect that the beautiful, profound art which speaks to one’s heart can have on one’s troubled soul.

This idea, and the art I shared, resounded with many people, and so I thought I’d create a small series inspired by the concept, and which will show up here at Unquiet Things periodically throughout the rest of the year.

If you follow my facebook or my instagram, some of the following pieces will be familiar to you–many of them are the kind of thing I look at and immediately think “IT ME.” Imagery that I will share on social media because I’m feeling goofy, or it makes me laugh, and I can relate to it in some ridiculous way. I thought I’d collect them all in one place, for your amusement as well! Have a peek below to see my #currentmood, #squadgoals, and various other dumb sentiments as reflected by a piece of art that caught my eye. Maybe you’ll see yourself in them, too 🙂

And check back over the next few months for some interviews with the artists who create the art I’ve been admiring, as well as some giveaways!

#currentmood

#feelings

#wardrobeinspo

#beachbodygoals

#careergoals

#squadgoals

#saturdaynight

#GPOY / #itme

If you would like to support this blog, consider buying the author a coffee?

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Over at Haute Macabre last week I explored the creations of Ivonne Carley, a papercut artist influenced by the kooky, the spooky, and her Mexican heritage, and who shares her stories through shadow, texture, light or lack thereof…with each small cut.

Good With A Knife: The Papercut Art Of Ivonne Carley

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