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ssity to think the disconnection and impasse of the present moment as a figure at least potentially of consciousness in this case our choice or decision of aesthetic figuration becomes a crucial mode of knowledge bibliography althusser louis for marx trans ben brewster harmondsworth penguin 1969 fm althusser louis and étienne balibar reading capital 1968 trans ben brewster london and new york verso 2009 rc fisher mark 2013a an extract from mark fisher s ghostsof my life the quietus fisher mark break it down mark fisher on dj rashad s doublecup electronic beats 22 october 2013b land nick fanged noumena collected writings 1987 2007 intro ray brassier and robin mackay falmouth urbanomic 2013 reynolds simon retromania london faber faber 2011 reynolds simon 2013 introduction to the hardcore continuum the wire rose gillian dialectic of nihilism post structuralism and law oxford basil blackwell 1984 williams alex back to the future technopolitics and the legacy of the ccru berlin 1 february 2013 1 in gillian rose s summary hegel s text invites us to witness the education of natural consciousness presented as a series of confrontations set in more or less recognizable historical settings between two opposed individual consciousnesses between opposed forces residing within a single consciousness and between opposed forces belonging to the same communal consciousness 6 posted by benjamin at 04 34 1 comment labels accelerationism capitalism footwork time location bognor regis west sussex uk saturday 9 november 2013 full spectrum offence savoy s neo weird the weird fugitive fictions hybrid genres institute of english studies senate house university of london 8 november 2013 the old weird could be seen to be characterized by a notably dubious not to say toxic politics h p lovecraft s racism is an obvious case the polyglot abyss of the horror at red hook 1925 demonstrating the synthesis of racial panic and cosmic horror we could also mention that arthur machen when asked by the editors of authors take sides for his views on the spanish civil war in 1937 was one of five authors who supported franco writing arthur machen begs to inform you that he is and always has been entirely for franco algernon blackwood in his short story adventures of a private secretary 1906 has the character of an old jew with an air of obsequious insolence this is one of the milder slurs called marx 1 penguin s decision to reprint the story in a volume of blackwood s selected tales in 1943 defies reasoned comment beyond personal politics i think we can also hazard a literary politics of the old weird that often rests on a sense of racial or political anxiety or threat the new weird in obvious contrast has a politics that is often much more to the left beyond the obvious example of china miéville i would like to note a more general tendency to a cultural politics of loving the alien the weird is not seen as simply some terrible threat but only a threat when perceived as such from within social constraints the monstrous or weird is to be celebrated for its expansion of consciousness and erosion of the bourgeois ego the latter exemplified often by lovecraft s uptight heroes 2 grant morrison s short story lovecraft in heaven exemplifies this turn by rewriting the old weird into the new weird 3 lovecraft is dying of cancer and morrison considers the self replicating monstrosity of cancer as the physical embodiment of both lovecraft s creatures and his fear of the feminine the cuntworld as morrison puts it 4 lovecraft s positivist rationalism makes him unable to embrace the chaotic and fractal in conversation with his fictional creation professor george angell lovecraft states i have come here to confirm my belief that the world of reason still holds dominion over the primeval depths of the human imagination angell replies that lovecraft is quite naïve and that in fact reason is the flimsy mask on the face of chaos lovecraft s rejoinder is then our whole world is a nightmare only if you fear it is angell s reply angell starts to breakdown verbally and physically saying we must embrace them integrate them 5 the story ends with lovecraft being opened like a door not into hell as lovecraft supposes but into heaven 6 this is the deleuzoguattarian weird in their preference for lovecraft s dunsanian trips to his cosmic horror 7 or the levinasian weird of alterity and its integration world of horror what i want to consider here is a form of the new weird that embraces or integrates the toxic politics of certain strains of the old weird this is the work of manchester based publishers savoy and most notably their creation lord horror horror is a fictionalised reworking of wartime broadcaster for the nazi s william joyce nicknamed lord haw haw and executed for treason in 1946 the works deliberately rather than unconsciously toy with anti semitism racism and in the figure of la squab paedophilic desire for the fille fatale to be clear from the start i am not celebrating or endorsing this turn or self conscious return to the politically toxic these works disturb me profoundly which is why i want to consider them as an outlier of contemporary weird fiction the world of savoy and the world of lord horror is a multi media platform lord horror has appeared in novels lord horror 1989 motherfuckers the auschwitz of oz 1996 baptised in the blood of millions 2001 invictus horror 2013 graphic novels or comics lord horror series 1 7 1989 1990 reverbstorm 8 14 1994 2000 2012 music film and criticism horror panegyric 2008 he also has sidekicks in the form of meng ecker the adventures of meng ecker 1997 and spin off characters such as la squab daughter of meng la squab 2012 8 the result is a universe or mythos somewhere between lovecraft and the comic book worlds of publishers like dc or marvel this dispersion gives a paradoxical consistency to lord horror as like one of his models michael moorcock s jerry cornelius he moves between times and formats for reasons of brevity and economy today i want to focus on his appearance within the graphic novel reverbstorm reverbstorm was a continuation of the first 7 lord horror comics and it appeared in 8 issues from 1994 2000 in 2012 these issues were collected together in one graphic novel with an added final issue david britton is the writer with the main artist being john coulthart and additional art provided by kris guidio while michael butterworth is the editor the earlier lord horror comics written by michael butterworth and drawn by kris guidio had initially been more postmodern in their playing with comic conventions and comic characters the tone shifts dramatically in reverbstorm now drawn primarily by john coulthart the density of the art the decline in the words and the movement to a thoroughgoing engagement with modernist aesthetics produces something slightly less immediately confrontational but certainly more strange the shift began with john coulthart s work for lord horror 5 a series of full page images of an imaginary auschwitz with empty white text squares coulthart describes this as a unique conjunction of holocaust architecture and weird fiction 9 in fact coulthart drew on and reworked an earlier image from his the call of cthulhu adaptation of r lyeh to figure this imaginary camp obviously this is a shocking violation of the refusal of representation of the holocaust and even more provocatively this violation melds the camps with the pulp world of weird fiction it also opens to an architectural or spatial vision of the weird which i now want to explore spatial dialectics just as the distinction between the latent and manifest contents of the dream had ceased to be valid so had any division between the real and the super real in the external world phantoms slid imperceptibly from nightmare to reality and back again the terrestrial and psychic landscapes were now indistinguishable as they had been at hiroshima and auschwitz golgotha and gomorrah j g ballard the drowned world 1962 10 the world of horror is now disconnected directly from the world of william joyce that of the 1920s 30s and the war displaced into a future setting of torenbürgen the unreal city or what coulthart calls lord horror s vicious dreamscape of fascist atrocity 11 lord horror is living with jessie matthews modelled on the english dancer singer and actress of the 1920s and 30s matthews is a rock star credited with reintroducing reverb into popular music while lord horror defends her against anti semitic slurs and joins her on stage to sing horror is joined by his brother james joyce horror still broadcasts a mixture of rock and roll with cut ups of william joyce on his radio show amerikkka s war in the ether on radio reich rund funk as michael paraskos notes in his review for the spectator it is difficult to outline a clear narrative thread 12 his suggestion that the images represent benjamin s wreckage of history quoted at the beginning of reverbstorm is astute for coulthart reverbstorm throws these numerous influences out like a dark prism flashing broken images of refracted black light 13 i want to suggest this image practice inhabits something like what fredric jameson calls a spatial dialectics 14 in reverbstorm temporality has collapsed or been collapsed and instead we have the spatial play of fragments which are pace eliot not shored against my ruins 15 these fragments are the ruin organised within the frame they are brought into contact to generate the weird effect for lovecraft modernism was conceived of under the sign of horror when we encounter r lyeh in the call of cthulhu without knowing what futurism is like johansen achieved something very close to it when he spoke of the city for instead of describing any definite structure or building he dwells only on broad impressions of vast angles and stone surfaces surfaces too great to belong to any thing right or proper for this earth and impious with horrible images and hieroglyphs 16 torenbürgen is horrific but also a space of modernism a butchered modernism this is eliotic modernism with the anti semitism amplified and embodied to read or view this non narrative space is to engage with a difficult act of extracting meaning and reference while also attending to the clash and emptying of meaning integrate that i have drawn a contrast between the dubious politics of the old weird and the politics of acceptance and integration of the monstrous of the new weird while i have suggested savoy s lord horror is an outlier to the new weird paradigm i d also like to end by noting that it does produce a work of integration in this case as i ve previously argued what we are called to integrate is fascinating british fascism the politics of william joyce the pre and post war politics of oswald mosley and the anti semitism and racism that runs through certain strands of modernism 17 this is integration in the mode of disintegration in which fascism nazism and racism are coded through and as the weird also activating the dubious politics of the weird as well obviously we can note at least two problems with this strategy the first is the problem perry anderson identified with post structuralism the randomization of history rather than generating the tension or contradiction of a dialectic this spatial arrangement of images and signifiers merely serves to mix up and even neutralise the charge of the toxic materials it plays with the result is not so much a force field but rather a slackening of tension the second inverse problem is that this integration and neutralization servers a jouissance a pained enjoyment that reactivates the toxic core as aesthetic option far from challenging the fascination of fascism this weird fascism integrates the toxic core as attractive possibility in some ways the point is that we can t simply immunise ourselves against these problems or possibilities the final issue of the graphic novel concerns in its text the disintegration of lord horror as his insides push out through his skin this terminal collapse involves reprising the key image elements under the pressure that refuses to integrate the tension of this dis integrative moment remains and i should say never fails to disturb me so i m not simply recommending a return to the malignant politics of some of the old weird writers instead i m interested in how this malignant politics feeds the horror element of the weird and how savoy s return to this malignant politics puts the contemporary weird under pressure this i think is the tension of our moment 1 algernon blackwood selected tales of algernon blackwood west drayton penguin 1943 pp 22 50 2 this model is in fact figured in lovecraft s own fiction in his story the whisperer in darkness 1931 one character who has had his brain transferred into a metal cylinder by the fungi from yuggoth claims what i had thought morbid and shameful and ignominious is in reality awesome and mind expanding and even glorious my previous estimate being merely a phase of man s eternal tendency to hate and fear and shrink from the utterly different 193 3 grant morrison lovecraft in heaven in the starry wisdom ed d m mitchell london creation books 1994 pp 13 18 4 ibid p 16 5 ibid p 18 6 ibid p 18 7 gilles deleuze and félix guattari a thousand plateaus trans brian massumi london athlone 1988 p 240 8 for a complete listing of lord horror s appearances see the lord horror timeline in keith seward horror panegyric manchester savoy 2008 pp 119 125 9 john coulthart drawing the dark in the haunter of the dark and other grotesque visions intro alan moore london oneiros books 2006 10 j g ballard the drowned world 1962 harmondsworth penguin 1965 p 72 11 ibid 12 michael paraskos review of reverbstorm the spectator 9 march 2013 http www spectator co uk books 8857521 murder rape and racism 13 coulthart drawing the dark 14 fredric jameson valences of the dialectic london and new york verso 2009 pp 66 70 15 on the collapse of time and other coordinates of plot structure in lord horror see keith seward horror panegyric manchester savoy 2008 pp 23 29 16 h p lovecraft the call of cthulhu in the call of cthulhu and other weird stories ed and intro s t joshi london penguin 1999 pp 165 6 17 benjamin noys fascinating british fascism david britton s lord horror rethinking history 6 3 winter 2002 305 318 and fascinating british fascism lord horror to meng ecker afterword in david britton fuck off and die illustrated by k guidio manchester savoy books 2005 posted by benjamin at 05 26 2 comments labels savoy weird older posts home subscribe to posts atom about me benjamin view my complete profile my blog list and what will be left of them a gringo in the bolivarian republic a war of position ads without products an und für sich anthropological materialism ballardian bat bean beam a weblog on memory and technology ben roberts black metal theory boredom is always counter revolutionary 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