Leonora Carrington — Plain Chant. 1949.

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Leonora Carrington — Plain Chant. 1949.
Leonor Fini — Cat Dragon, ink on paper 1977.
New Books Now On Sale: ‘Strickland’ and ‘Cattet & Forzani’
Co-edited by myself and the great John Edmond, these two essay collections are now on sale; one on the films of Peter Strickland, and one on those of Hélène Cattet and Bruno Forzani. Limited edition, so buy quick sticks. Include colour photos from the filmmakers own collections and some of the best film writers we know contributed to these. Purchase details here.
Lenor Fini — Ladies of the Night, 1948
Reviews: The Devil All the Time, The Twilight Saga and Criminal: UK (series 2) on ABC Radio’s Nightlife programme
I made my debut on ABC Radio’s Nightlife programme reviewing The Devil All the Time, Criminal: UK (series 2) and revisit the Twilight Saga, including Catherine Hardwicke’s 2008 original film in the series. Online here!
Dorothea Tanning — A Very Happy Picture. 1947
Toyen — Screams and Smiles, oil on canvas 1959.
Kay Sage 1942.
Chapter: Urban Legend Monsters in MONSTERS: A COMPANION (published by Peter Lang)
Due for release at the end of July 2020, I have a chapter on urban legend monsters that focuses primarily on Kuchisake-onna and Kōji Shiraishi’s Carved: The Slit-Mouthed Woman (2007) in MONSTERS: A COMPANION, edited by Simon Bacon and published by Peter Lang. Available from Amazon here.
Publisher blurb:
Yves Tanguy and Kay Sage.
Leonora Carrington — Solar Megalomania.
Leonor Fini — Portrait de femme aux feuilles d'acanthe, 1946
Leonor Fini — Spirits.
New book (with cover art): THE GIALLO CANVAS - ART, EXCESS AND HORROR CINEMA
The cover art has now been confirmed for my forthcoming book THE GIALLO CANVAS: ART, EXCESS AND HORROR CINEMA, now on pre-order!
Publisher blurb: “Beloved among cult horror devotees for its signature excesses of sex and violence, Italian giallo cinema is marked by switchblades, mysterious killers, whisky bottles and poetically overinflated titles. A growing field of English-language giallo studies has focused on aspects of production, distribution and reception. This volume explores an overlooked yet prevalent element in some of the best known gialli—an obsession with art and artists in creative production, with a particular focus on painting. The author explores the appearance and significance of art objects across the masterworks of such filmmakers as Dario Argento, Lucio Fulci, Sergio Martino, Umberto Lenzi, Michele Soavi, Mario Bava and his son Lamberto.”
To pre-order:
McFarland: https://mcfarlandbooks.com/product/the-giallo-canvas/
Bookshop: https://bookshop.org/books/the-giallo-canvas-art-excess-and-horror-cinema/9781476675398
Book Depository: https://www.bookdepository.com/The-Giallo-Canvas-Alexandra-Heller-Nicholas/9781476675398
Amazon: https://www.amazon.com/Giallo-Canvas-Excess-Horror-Cinema/dp/1476675392
Booktopia (Australia): https://www.booktopia.com.au/the-giallo-canvas-alexandra-heller-nicholas/book/9781476675398.html
Poems by Kay Sage:
AN OBSERVATION
The more I wonder,
the longer I live,
how much water
can stay in a sieve
THE WINDOW
My room has two door
and one window
One door is red and the other is grey.
I cannot open the red door;
the grey door does not interest me.
Having no choice I shall lock them both
and look out of the window.
CHINOISERIE
English, French, Italian,
I can write in all of these,
but, at best, they are translations.
I think in Chinese.
FRAGRANCE
I feel unexpectedly
delicious fragrance
a perfume full of memories
of youth, of spring
which seems to follow my smile
the motion of my hands.
I look in vain
I cannot find it
what can it be?
And then
in a flash, I’ve got it
I know
that’s it
that fragrance
is the memory
of me.
Leonora Carrington — La Joie de Patinage (The Joy of Skating) - 1941
Leonor Fini — Femme assise sur un homme 1942