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We've found where the divide is thin and chosen the other side
The afternoon's mail brought my contributor's copy of Not One of Us #85, containing my poem "The Avalon Procedure." It is the Arthurian one, in debt to and argument with Bryher. It belongs to the outsider issue which kicks off the 'zine's fortieth year of alienation, characteristically incarnated by the short fiction and poetry of Steve Toase, Devan Barlow, Lauren Hruska, and Gwynne Garfinkle among others. The threshold shadow of the cover art by John and Flo Stanton is an excellent advertisement, or harbinger. Pick up a copy or contribute to the strangeness yourself. I remain so glad it sneaked into our reality.
"These clocks are like Time herself. Magnificent edifices, but secretly fragile. In need of constant attention . . . Forgive me. My pet subject, Time." I didn't realize until I opened the jewel case that Sigil (2023) was dedicated to the memory of Murray Melvin: it was his last recording for Big Finish, released posthumously. It starts like a classic M. R. James with a series of weird and hauntological misfortunes attending a three-thousand-year-old bronze bird ever since its ill-omened excavation in the Victorian era and then it twists much more cosmic, with a pure sting of Sapphire & Steel. I can't tell if it was designed as a farewell, but it makes a tantalizing final communiqué from Bilis Manger, a gorgeous, wickedly silken and knowing performance from Melvin whose voice caresses a stone circle because it's "an ancient timepiece" and can put a harvest-withering contempt into a statement like "I've never owned a scatter cushion in my life." There's a sort of promotional interview at the end of the CD, but it poignantly does not include Melvin. The last we hear of him is in this definitive character, so much time echoing backward and forward in his voice that was then eighty-nine human years old and still made you think there could be younger barrows, meadows, stars. "What could murder a murder of crows?"
I had no idea about this historical reenactment at Prospect Hill, but I am happy to read of its turnout in the new snow. I have not gotten the sestercentennial onto my mental calendar. I am still not convinced of this decade at all.
"These clocks are like Time herself. Magnificent edifices, but secretly fragile. In need of constant attention . . . Forgive me. My pet subject, Time." I didn't realize until I opened the jewel case that Sigil (2023) was dedicated to the memory of Murray Melvin: it was his last recording for Big Finish, released posthumously. It starts like a classic M. R. James with a series of weird and hauntological misfortunes attending a three-thousand-year-old bronze bird ever since its ill-omened excavation in the Victorian era and then it twists much more cosmic, with a pure sting of Sapphire & Steel. I can't tell if it was designed as a farewell, but it makes a tantalizing final communiqué from Bilis Manger, a gorgeous, wickedly silken and knowing performance from Melvin whose voice caresses a stone circle because it's "an ancient timepiece" and can put a harvest-withering contempt into a statement like "I've never owned a scatter cushion in my life." There's a sort of promotional interview at the end of the CD, but it poignantly does not include Melvin. The last we hear of him is in this definitive character, so much time echoing backward and forward in his voice that was then eighty-nine human years old and still made you think there could be younger barrows, meadows, stars. "What could murder a murder of crows?"
I had no idea about this historical reenactment at Prospect Hill, but I am happy to read of its turnout in the new snow. I have not gotten the sestercentennial onto my mental calendar. I am still not convinced of this decade at all.
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Somehow I never realized Not One of Us was forty years old?! (Issue 1 is on eBay.)