He Say, He Sigh, He Sow #43

Me dijo que su libro se llamaba el Libro de Arena, porque ni el libro ni la arena tienen ni principio ni fin. — Jorge Luis Borges, “El Libro de Arena” (1975).

   He told me that his book was called the Book of Sand, because neither book nor sand has beginning or end. — Borges, “The Book of Sand“.

Sphere Hear

οὐσίαν θεοῦ σφαιροειδῆ, μηδὲν ὅμοιον ἔχουσαν ἀνθρώπωι· ὅλον δὲ ὁρᾶν καὶ ὅλον ἀκούειν, μὴ μέντοι ἀναπνεῖν· σύμπαντά τε εἶναι νοῦν καὶ φρόνησιν καὶ ἀίδιον. — Διογένης Λαέρτιος, Βίοι καὶ γνῶμαι τῶν ἐν φιλοσοφίᾳ εὐδοκιμησάντων.

    “The substance of God is spherical, in no way resembling man. He is all eye and all ear, but does not breathe; he is the totality of mind and thought, and is eternal.” — Xenophanes’ concept of God in Diogenes Laërtius’ Lives of Eminent Philosophers (c. 280-320 AD), Book IX, chapter 2 (translated by R.D. Hicks, 1925).

Vibe Alibe

“The recent election of Syriza in Greece offers a vibrant glimmer of hope for the future of social and economic democracy in Europe.” — from a letter to The Guardian by Judith Butler, Slavoj Žižek, Jacqueline Rose, et al.

The Sound of Silex

Some of the most beautiful patterns in nature arise from the interaction of three very simple things: sand and water, sand and air. Sculptrix Sabulorum, a side-project of the Exeter band Slow Exploding Gulls, are an attempt to do with sound what nature does with sand: turn simple ingredients into beautiful patterns. Here are extracts from an interview and review in the Plymouth fanzine EarHax:

Hector Anderton: OK. The obvious first. Sculptrix Sabulorum. What does it mean and why did you choose it?

Joe Corvin: It’s Latin and literally means “Sculptress of the Sands”. We chose it, well, because we thought it looked and sounded good. Good but mysterious.

Hector Anderton: And who is the sculptress? The sea?

Joe Corvin: Well, the sculptress is Mother Nature, in the fullest sense, but she uses the sea. The wind. Gravity. Simple things, but put them together with sand and interesting things happen.

Cath Orne: Which we wanted to explore, but we didn’t think S.E.G. [Slow Exploding Gulls] was the way to explore them.

Cover of Silica by Slow Exploding Gulls

Hector Anderton: But hadn’t you done that in Silica?

Joe Corvin: We’d started to, but Silica hadn’t exhausted the theme. Of sand, I mean. It’s something I’d always been interested in, but with S.E.G. we tend to go with the organic side of the sea, with sea life.

Hector Anderton: Whereas sand is inorganic?

Joe Corvin: Exactly. Silica was a bit of a departure for us, in that respect. It was as though we were walking down a corridor and we opened a door in passing and thought, yeah, that room looks interesting.

Sand Band: Sculptrix Sabulorum

Sand Band: Sculptrix Sabulorum

Cath Orne: So we’ll come back and have a proper look later.

Joe Corvin: Yeah. Under a new name. Which we’ve done. Hence, Sculptrix Sabulorum.

Extract © EarHax (1992)


Skulsonik, Sculptrix Sabulorum (Umbra Mundi 1995)

Macca to Madonna: “Listen to the music playing in your head.” In fact, we never do anything else. We don’t experience the world: we experience a sensory simulacrum of the world. Light or sound-waves or chemicals floating in the air stimulate the nerves in our eyes or ears or nose and the brain turns the resultant stream of electrical pulses into sight or sound or smell.

Skulsonik (1995)

Sculptrix Sabulorum: Skulsonik (1995)

But it does more than that: it covers up the cracks. Raw nerve-stuff is not smooth and polished sensation. We have blind-spots, but the brain edits them out. Only a small part of our visual field is actually in clear focus, but we think otherwise. If we could see raw nerve-stuff, it would be a blurry, fuzzy mess.

The same is true of hearing. And Skulsonik is an attempt to record raw nerve-stuff: to capture not sound out there, but sound in here – the music playing in your head. Sculptrix Sabulorum have set out to answer a simple question: “What does music really sound like?” Or rather: what does music cerebrally sound like? What does it sound like in your head?

Extract © EarHax (1995)


Previously pre-posted (please peruse):

Mental Marine Music – Slow Exploding Gulls

Pestilent, Pustulent and Pox-Pocked

I’m sorry, but let’s face facts: you cannot consider yourself a keyly committed core component of the counter-cultural community unless you own at least three copies — a reading copy, a prominent-shelf-of-the-bookcase copy and a wrap-carefully-in-brown-paper-put-away-in-a-cupboard-and-never-touch-or-look-at-again copy — of each of these toxic’n’tenebrose titles:

Can the Cannibal? Aspects of Angst, Abjection and Anthropophagy in the Music of Suzi Quatro, 1974-1986 (University of Nebraska Press 2004).

Doubled Slaughter: Barbarism, Brutalism and Bestial Bloodlust in the Music of Simon and Garfunkel, 1965-2010 (Serpent’s Tail 2007)

Re-Light My Führer: Nausea, Noxiousness and Neo-Nazism in the Music of Take That, 1988-2007 (U.N.P. 2013)

Base Citizens Raping: Revulsion, Repulsion and Rabidity in the Music of the Bay City Rollers, 1972-2002 (U.N.P. 2014)

Underground, Jehovahground: Ferality, Fetidity and Fundamentalist Phantasmality in the Music of the Wombles, August 1974-January 1975 (forthcoming)

All are by Dr Miriam B. Stimbers, of course. And what can I say about them? Simply this: these books hold an uncompromising mirror up before the pestilent, pustulent and pox-pocked features of so-called Western so-called society and say: “Look. That’s you, that is.” Dr Stimbers’ ruthlessly radical research and sizzlingly psychoanalytic scholarship will overturn your preconceptions so hard that, in some cases, they won’t appear to change at all.

Keeping It Gweel

Gweel & Other Alterities, Simon Whitechapel (Ideophasis Press, 2011)

This review is a useless waste of time. I can tell you very little about Gweel. It’s a book, if that helps. It’s made of paper. It has pages. Lots of little words on the pages.

What I can’t do is classify Gweel into a genre, not because none of them fit, but because the concept of a genre doesn’t seem to apply to Gweel. It stands alone, without classification. Calling Gweel “experimental” or “avant garde” would be like stamping a barcode on a moon rock.

It may have been written for an audience of one: author Simon Whitechapel. If we make the very reasonable assumption that he owns a copy of his own book, he may have attained 100% market saturation. However, there could be a valuable peripheral market: people who want to read a book that is very different from anything they’ve read before.

It is a collection of short pieces of writing, similar in tone but not in form, exploring “dread, death, and doom.” “Kopfwurmkundalini” and “Beating the Meat” resemble horror stories, and manage to be frightening yet strangely fantastic. The first one is about a man – paralysed in a motorbike accident, able to communicate only by eye-blinks – and his induction into a strange new reality. It contains a rather thrilling story-within-a-story called “MS Found in a Steel Bottle”, about two men journeying to the bottom of the ocean in a bathysphere. “Kopfwurmkundalini”’s final pages are written in a made-up language, but the author has encluded a glossary so that you can finish the story.

Those two/three stories make up about half of Gweel’s length. The remainder mostly consists of shorter work that seems to be more about creating an atmosphere or evoking an emotion. “Night Shift” is about a prison for planets (Venus, we learn, is serving a 10^3.2 year sentence for sex-trafficking), and a theme of prisons and planets runs through a fair few of the other stories here, although usually in a less surreal context. “Acariasis” is a vignette about a convict who sees a dust-mite crawling on his cell wall, and imagines it’s a grain of sand from Mars. The image is vivid and the piece has a powerful effect. “Primessence” is The Shawshank Redemption on peyote (and math). A prisoner believes that because his cell is a prime number, he will soon be snatched from it by some mathematical daemon (the story ends with the prisoner’s fate unknown). “The Whisper” is a ghost story of sorts, short and achingly sad.

No doubt my impression of Gweel differs from the one the author intended. But maybe his intention was that I have that different impression than him. Maybe Gweel reveals different secrets to each reader.

I can’t analyse it much, but Gweel struck me as an experience like Fellini’s Amarcord… lots of little story-threads, none of them terribly meaningful on their own. Experienced together, however, those threads will weave themselves into a tapestry in the hall of your mind, a tapestry that’s entirely unique… and your own.

Original review


Jesús say: I… S….. R… U… B… B… I… S…. H…. B… O… O… K…. | W… H… A…. N… K… C…. H… A… P… L…. E…. I… S…. H… I… J… O…. D… E…. P… U…. T… A…..

Previously pre-posted:

It’s The Gweel Thing…

He Say, He Sigh, He Sow #14

39: This appears to be the first uninteresting number, which of course makes it an especially interesting number, because it is the smallest number to have the property of being uninteresting. It is therefore also the first number to be simultaneously interesting and uninteresting.” — David Wells, The Penguin Dictionary of Curious and Interesting Numbers (1986), entry for “39”, pg. 120

Lit Is It

You know, I’m getting worried at my inability to have unmediated experiences. Everything reminds me of something in literature. It reminds me of this passage in Brideshead Revisited (1945):

“Oh, don’t talk in that damned bounderish way. Why must you see everything second-hand? Why must this be a play? Why must my conscience be a Pre-Raphaelite picture?”

“It’s a way I have.”

“I hate it.” (Op. cit.)

Ear Will An Thee

(This is a guest-review by Norman Foreman, B.A.)

Yr Wylan Ddu, Simon Whitechapel (Papyrocentric Press, ?)

If, like me, you froth at the mouth and roll on the floor biting the carpet when you hear the phrase “Pre-order now”, then relief is at hand. You might have thought that “pre-ordering now” was as logical as “ordering pre-now”. You were wrong. Here is a book that really can be pre-ordered now, because it doesn’t exist yet. If it ever does exist, it will cease to be pre-orderable now. In the meantime, you’re pre-ordering it whether you know it or not. In fact, the less you know, the more you’re pre-ordering it. All life-forms in the Universe, actual and otherwise, are pre-ordering it at this very moment, from the humblest virus to the mightiest hive-mind.

Front cover of yr wylan ddu by slow exploding gulls

Yr Wylan Ddu (2003) by Slow Exploding Gulls

There’s no escape, in other words. And no more review, you might think, given that the book doesn’t exist yet. True, but I can review the title. It’s Welsh, it means “The Black Gull”, and it’s pronounced something like “Ear Will An Thee”. It was also originally the title of an album in 2003 by the Exeter electronistas Slow Exploding Gulls. Whether S.E.G. will object to the appropriation remains to be seen. If they do, it can be pointed out that Dirgelwch Yr Wylan Ddu, or Secret of the Black Gull, was the title of a children’s book by Idwal Jones (1890-1964) published in 1978.

Front cover of Dirgelwch Yr Wylan Ddu by Idwal Jones

Idwal Jones’ Secret of the Black Gull (1978)

There is nothing corresponding to “of” in the original title of that book, but then Welsh grammar doesn’t work like that. Yr Wylan Ddu contains some good examples of how it does work. It’s an active, almost clockwork or organic, phrase compared to its static English equivalent. In isolation, the Welsh words for “the”, “black” and “gull” would be y, du, and gwylan, pronounced something like “ee”, “dee” and “goo-ill-an” in southern Welsh. But put them together and they mutate in more ways than one: Yr Wylan Ddu (adjectives generally follow the noun in Welsh). The similarity between gwylan and “gull” isn’t a coincidence: the English word is borrowed from Celtic.

However, it is unlikely that Yr Wylan Ddu will actually be written in Welsh or any other Celtic language. First, Whitechapel doubtless feels that this would reduce his already small audience. Second, he doesn’t speak Welsh. Or write it. So the book will probably follow past trends and be written in English. It’s also safe to predict that it will refer to at least one black gull. So: pre-order now. And please carry on doing so until further notice.