Matthew Dear: Her Fantasy

From the upcoming release ‘Beams,’ out August 27th.
Release info:

via @llaauu, Co-founder of @RecspecHQ / Late night hunter. ATX · Follow her.


May 30: “The Song of Joan of Arc,” By Christine de Pisan

J’entens des mauvais, car des bons
Y a maint, je n’en fais pas doubte,
Mais parler n’osent, j’en respons,
A qui moult il desplaist sans doubte
Que leur prince ainsi on deboute.
Si n’auront pas ceulx deservie
La punition où se boute
Paris, où maint perdront la vie.1

To only the evil ones do I refer
for there are good as well, I don’t doubt.
Please take my word for it they are upset
at how there (sic) own prince is kept out.
But they dare not speak for fear
and deserve not to suffer the strife,
that will come to the rest of Paris
costing many a person their life.

Stanza 56

 1 French from original fifteenth century manuscript referenced as Berne 205 and contained in: Pisan, Christine de, Ditié de Jeanne d’Arc, ed. A. J. Kennedy and K. Varty, Oxford: Society for the Study of Medieval Languages and Literature, 1977.



Leo Dillon (1933-2012)

Leo & Diane Dillon, 2000 | Photo by Beth Gwinn

from LOCUS:

Artist Leo Dillon, 79, died May 26, 2012.

Dillon is best known for his professional and personal partnership with wife Diane Dillon (née Sorber) — they are the only artist team to jointly win a Hugo for Best Professional Artist (1971). They have worked extensively in various fields of commercial art, creating album covers, holiday cards, movie posters, advertising, and children’s books. They also illustrated numerous SF novels, notably many covers for Ace Books in the ’60s, including many of the Ace Specials, and are also known for their iconic cover and interior illustrations of Harlan Ellison’s Dangerous Visions anthology. Their work in the SF field became less frequent after 1972.

Leo Dillon was born March 2, 1933 in Brooklyn NY. He attended the Parsons School of Design in New York, where he met Diane, also a student there. They both graduated in 1956, and were married the following year.

The duo won Caldecott Medals for Why Mosquitoes Buzz in People’s Ears (1976) and Ashanti to Zulu (1977), and their work was collected inThe Art of Leo and Diane Dillon (1981). They were named Spectrum Grand Masters in 1977, were inducted into the Society of Illustrators Hall of Fame in 1997, and received a joint World Fantasy life achievement award in 2008.

For more details, see his entry in the Science Fiction Encyclopedia.

†  †  †

I carried around a lot of books through High School, but this oversized, thin-spined book was a constant.

I kept the Dillons close at hand because their work was the best weapon I had in my epic battles with my Art Major instructor, a bitter and brittle woman who hated my guts. She sneered at the crap I dragged into the Art Room, the comic books and anime photo-novels and the issues of Epic Illustrated—it was all crap. Well, OK, fair enough; most of it was crap. But the ideas behind the crap weren’t stained forever with the guilt of original sin, or something. (I often got into philosophical/visual arguments I hadn’t a chance of winning.) But I could always rely on the Dillons, man; if all else failed, I could peel open my copy of AoL&DD and jab at something—an element, a shadow, a configuration of color, the whole theory, the point I was trying to make, visually—and it would always shut the bitch up. Never failed. The Dillons were invincible. 

— The Creep in the Art Department


Many of these images came from The Art of Leo and Diane Dillon


Back to the Pit (we know you can do it)

John Hurt on the set of Alien.


WHAT’S Pulp?! Sunday 5/27/12


A swashbuckling novel of adventure and piracy

A scorching story of the Deep South

Robert E. Howard Describes Conan

Vincent D’Onofrio, Renée Zellweger. Dir: Dan Ireland. The Whole Wide World, 1996 imdb

Covers via


“Hack the Cover,” by Craig Mod

Cardon Webb’s Series Design for Oliver Sacks

“This is an essay for book lovers and designers curious about where the cover has been, where it’s going, and what the ethos of covers means for digital book design. It’s for those of us dissatisfied with thoughtlessly transferring print assets to digital and closing our eyes.

“The cover as we know it really is — gasp — ‘dead.’ But it’s dead because the way we touch digital books is different than the way we touch physical books. And once you acknowledge that, useful corollaries emerge.”

— from HACK THE COVER by Craig Mod

As stated above: book lovers and designers, read this essay. The resident psychopath, The Creep in the Art Department, is not in complete conjunction w/ all of Mr Mod’s processes and conclusions, but he gives this piece a tremor-challenged thumbs up. And if you really, really like Mr Mod’s passionate and informed essay, you can zap it to your kindle, boom. Technology is a wonderful thing! Sometimes.


SpaceX Docks at International Space Station

Watch it live on Ustream. Photo via


Things I Like Tonight

A tumblr, ghostsiren

…that does the spectral pagan ethereal babe in the woods thing SO much better than say, the Creep in the Art Department.

The new Cult album, CHOICE OF WEAPON, which you can listen to in its entirety

The fact that Descent finally arrived at B&N, and is now also available at  Kobo

“Read the Fifty Shades trilogy today and find out what all the hype is about!”

The books I am reading:

The Erickson has to go slow, like wine. But the Tidhar is like a knife.

These Dreams of You by Steve Erickson

Osama by Lavie Tidhar

and the North Sea

Thanks WE.


Shusei Nagaoka, “Androla in Labyrinth,” 1984 (50 Watts)

And other Visions of space and the future in Japan in the 70s and 80s @ 50 Watts


No Man: “Hob”

Audio: Constructed from soundtrack noises from both versions of

“Quatermass and the Pit.”

Visuals: Manipulated versions of images by Virginia Black Nearerdark from her Facebook page Art Cant;

via @johncoulthart


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