Weird Studies

In this episode, Phil and JF explore the vast palatial halls of Susanna Clarke's novel Piranesi. Set in an otherworld consisting of endless galleries filled with enigmatic statues, Piranesi is the story of a man who lives alone -- or nearly alone -- in a dream labyrinth. As usual, our discussion leads to unexpected places every bit as strange as Clarke's setting, from Borge's infinite library and Lovecraft's alien cities to Renaissance Europe, where the art of memory was synonymous with wisdom and magic. SHOW NOTES Susanna Clarke, Piranesi Joshua Clover, 1989: Dylan Didn't Have This to Sing About , The Matrix (BFI Modern Classics John Crowley, Little, Big Christopher Priest, The Prestige (+Christopher Nolan's screen adaptation) Susanna Clarke, Jonathan Strange & Mr. Norrell JF Martel, "The Real as Sacrament" (forthcoming?) Frances Yates, The Art of Memory Mary Carruthers, The Book of Memory: A Study of Memory in Medieval Culture Plato, Phaedrus Henri Bergson, Matter and Memory Jorge Luis Borges, "The Lib

Weird Studies has so far devoted just one show to Philip K. Dick, and that was way back in April 2018, with episode 10, "Adrift in the Multiverse." Last fall, as another foray into Dickland began to feel urgent, Phil and JF talked about which of his books they should tackle. The answer that seemed obvious was VALIS, the semi/pseudo-autobiographical masterpiece that constitutes PKD's most explicit attempt to make sense of the theophanic experiences that altererd his life in 1974. But then Phil suggested The Owl in Daylight, a novel on which PKD worked feverishly in the last years of his life but left unwritten. And sure enough, reviewing and analyzing a book that doesn't exist proved to be the best way of getting to the heart of Dick's incomparable oeuvre. SHOW NOTES Gwen Lee, What if Our World is Their Heaven? The Final Conversations of Philip K. Dick The Selected Letters of Philip K. Dick, volume 6 Philip K. Dick, The Exegesis Anonymous, Meditations on the Tarot Secondary qualities, philosophical conc

Ishmael Reed's 1972 novel Mumbo Jumbo is a conspiracy thriller, a postmodern experiment, a revolutionary tract, a celebration, and a magical working. It is a novel that, over and above prophetically describing the world we live in, creates a whole new world and invites us to move in. For Phil and JF, Mumbo Jumbo exemplifies art's creative power to generate new possibilities for life. It is also the perfect occasion for pinpointing the difference between the kind of magical thinking that fuels virulent conspiricism, and the more profound magical thinking which alone can save us from it. **Image: **Albrecht Dürer, Two Pairs of Hands with Book REFERENCES Ishmael Reed, Mumbo Jumbo Harold Bloom, The Western Canon For more on Colin Wilson's concept of lunar religion, see The Occult Weird Studies, episode 36: "On Hyperstition" William S. Burroughs, Naked Lunch Carl Van Vechten, American writer Robert Anton Wilson and Robert Shea, Illuminatus! MC5, "Kick Out the Jams" Karl Pfeiffer (dir.), Hellier, webseries

Weird Studies will launch its fourth season on January 6th, 2021. But to celebtrate the end of very strange year, we thought we'd release a conversation which until now was available only to our top-tier Patreon backers. Therein we discuss the philosophical underpinnings of "Puhoy," memorable episode of the brilliant animated series Adventure Time. This was JF's introduction to a show that Phil has often recommended for its novel treatment of complex ideas and downright weirdness. Watch "Puhoy" on YouTube: Part 1 Part 2 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Before Coraline, before American Gods, in the early days of the Sandman series, Neil Gaiman collaborated with Dave McKean on some truly groundbreaking graphic novels: Violent Cases (1987), Signal to Noise (1989), and the work discussed in this Weird Studies episode. The Tragical Comedy or Comical Tragedy of Mr Punch (1994) is the story of a boy whose initiation into the dark realities of life, death, and family plays out in the shadow of the (in)famous Punch & Judy puppet show. Unlike some of Gaiman's more overtly marvellous offerings, Mr Punch is a subtle fantasy whose weirdness hides in the gaps and folds of lost time. It is in Dave McKean's brilliant art that the magic shines through, letting us know that the narrative is only part of a vaster, hidden thing. In this episode, Phil and JF discuss the themes, ideas, and mysteries of an unparalleled piece of comics art. REFERENCES Watch Aaron Poole's 9-minute short film "Oracle" Neil Gaiman and Dave McKean, _The Tragical Comedy or Comical Tragedy of M

It would be wrong to describe Arthur Machen's Hieroglyphics: A Note Upon Ecstasy in Literature (1902) as a work of nonfiction, since the book features a narrative frame that is as moody and irreal as the best tales penned by this luminary of weird fiction. But if the eccentric recluse at the centre Hieroglyphics is a fictional philosopher, he is one who, in Phil and JF's opinion, rivals most aesthetic thinkers in the history of philosophy. The significance of this text lies in its willingness to disclose a function of art that few before Machen had dared to touch, namely its capacity to generate ecstasy by confronting us with the mystery that beats the heart of existence. In this episode, your hosts discuss a work which, in their opinion, comes as close to scripture as the nonexistent field of Weird Studies is likely to get. REFERENCES Arthur Machen, Hieroglyphics: A Note Upon Ecstasy in Literature Thomas Ligotti, Songs of a Dead Dreamer Weird Studies, Episode 3 on the White People J.F. Martel, Reclaim

The German polymath E. T. A. Hoffmann is one of the founding figures of what we now call weird literature. In this episode, JF and Phil discuss one of his most memorable tales, "Der Sandmann." Originally published in 1816, it is the story of a young German student whose fate is sealed by a terrifying encounter with the eponymous figure during his youth. The story packs several tropes that would later become staples of the weird: the protean monster, the double, the automaton... Your hosts discuss how Hoffmann uses these tropes without letting any of them coalesce into a stable thing in the reader's mind, thereby effecting a slowbuild of ambiguity upon ambiguity that culminates in a true paroxysm of dread. The argument is made that Freud does essentially the same thing in his famous essay "The Uncanny," wherein Hoffmann's story plays an important role. REFERENCES E. T. A. Hoffmann, The Sandman Horace Walpole, The Castle of Otranto Edgar Allan Poe, American writer Sunn o))), American metal band La Monte Y

Since its release in 1973, Robin Hardy's The Wicker Man has exerted a profound influence on the development of horror cinema, a rich vein of folk music, and the modern pagan revival more generally. Anthony Shaffer's ingenious screenplay gives us a thrilling yarn that is also a meditation on the nature of religious belief and practice. Just in time for Halloween, Phil and JF discuss the philosophical ideas that undergird this folk horror classic, focusing on the perennial role of sacrifice in religious thought. REFERENCES Robin Hardy (director), The Wicker Man Stanley Kubrick (director), The Shining Terence Fisher (director), The Devil Rides Out Piers Haggard (director), Blood on Satan’s Claw John Boorman (director), Deliverance Rob Young, Electric Eden Gerald Gardner, English wiccan Margaret Murray, English anthropologist Cecil Sharp, English ethnomusicologist Phil Ford, "Taboo: Time and Belief in Exotica" Friedrich Nietzsche, Untimely Meditations Learn more about your ad choices. Visit podca

This second instalment in our series on the major trumps of the traditional tarot deck features the Empress. As Aleister Crowley writes in The Book of Thoth, this card is probably the most difficult to decipher, since it is inherently "omniform," changing shapes continuously. In a sense, the Empress is variation itself. Her card becomes the occasion for a conversation about the less knowable side of reality, the one that tradition associates with the Yin, nature, potential, and -- controversially -- the feminine. This in turn leads to a discussion of white versus black magic, and how the two may not always be as diametrically opposed as we might believe. REFERENCES P.D. Ouspensky, The Symbolism of the Tarot Anonymous, Meditations on the Tarot: A Journey into Christian Hermeticism Weird Studies episode 82 on the I Ching Patrick Harper, The Secret Tradition of the Soul Aleister Crowley, The Book of Thoth Simon Magus, religious figure Henri Gamache, The Mystery of the Long Lost 8th, 9th, and 10th Books of

David Lynch's Lost Highway was released in 1997, five years after Twin Peaks: Fire Walk With Me elicited a fusillade of boos and hisses at Cannes. The Twin Peaks prequel's poor reception allegedly sent its American auteur spiralling into something of an existential crisis, and Lost Highway has often been interpreted as a response to -- or result of -- that crisis. Certainly, the film is among Lynch's darkest, boldest, and most enigmatic. But of course, we do the film an injustice by reducing it to the psychological state of its director. Indeed, one of the contentions of this episode is that all artistic interpretation constitutes a kind of injustice. But as you will hear, that doesn't stop Phil and JF from interpreting the hell out of the film. Just or unjust, fair or unfair, interpretation may well be necessary in aesthetic matters. It may be the means by which we grow through the experience of art, the way by which art makes us something new, strange, and other. Perhaps the trick is to remember that no mod

The Book of Changes, or I Ching, is more than an ancient text. It's a metaphysical guide, a fun game, and -- to your hosts at least -- a lifelong, steadfast friend. The I Ching has come up more than once on the show, and now is the time for JF and Phil to face it head on, discussing the role it has played in their lives while delving into some of its mysteries. REFERENCES I Ching, Wilhelm-Baynes translation I Ching, Stephen Karcher translation Game of Thrones, HBO series George R. R. Martin, A Song of Ice and Fire George R. R. Martin, “Sandkings” in: Ann and Jeff VanderMeer, The Weird: A Compendium of Strange and Dark Stories H. P. Lovecraft, American writer Graham Harman, Weird Realism: Lovecraft and Philosophy Aleister Crowley, “777” Eduardo Viveiros de Castro, Cannibal Metaphysics Joel Biroco, Calling Crane in the Shade (website) Philip K. Dick, American novelist Lionel Snell, a.k.a. Ramsey Dukes, British occultist Richard Rutt, _Zhouyi: A New Translation with Commentary _ Mervyn Peake, Gormengha

The British writer M. John Harrison is responsible for some of the most significant incursions of the Weird into the literary imagination of the last several decades. His 1992 novel The Course of the Heart is a masterful exercise in erasing whatever boundary you care to mention, from the one between reality and mind to the one between love and horror. Recounting the lives of three friends as they play out the fateful aftermath of a magical operation that went horribly wrong, Harrison's novel gives Phil and JF the chance to talk contemporary literature, metaphysics, Gnosticism, zones (see episodes 13 & 14), myth, transcendence, history, and arachnology. Together, they weave a fragile web of ideas centered on that imperceptible something that forever trembles at the edge of our perception, beckoning us to step into its world, and out of ours. REFERENCES M. John Harrison, The Course of the Heart M. John Harrison, "The Great God Pan" Arthur Machen, The Great God Pan Philip K. Dick, Ubik Philip K. Dick, The Th

Your hosts' exploration of mysticism and vision in pop music continues with two powerful pieces of popular music: Radiohead's "Pyramid Song" from the 2001 album Amnesiac, and Fran Landesman and Tommy Wolf's "Ballad of the Sad Young Men," from the 1959 Broadway musical The Nervous Set. Synchronicity rears its head as the dialogue reveals how these two gems, selected by JF and Phil with no expectation that they might form a set, begin to glow when placed side by side, amplifying and focussing each other's eldritch light. This episode touches on Neoplatonic myths of spiritual ascent, African-American spirituals, Plato's realm of Forms, Gnosticism, dream visitations by the dearly departed, the travails of the Beat generation, the objectivity of hope, the implosion of America, and that particularly modern condition of the soul which Phil calls the "Philosopher's Blues." REFERENCES Radiohead, "Pyramid Song" Fran Landesman and Tommy Wolf, "The Ballad of the Sad Young Men" Edgar Allan Poe, "The Pit and the Pend

In this episode of Weird Studies, an improvised analysis of two pop songs -- Nina Simone's version of James Shelton's "Lilac Wine" and Ghostface Killah's visionary "Underwater" -- becomes the occasion for a deep dive to the weird wellspring of artistic creation. In trying to understand these songs and why they love them so much, your hosts touch on themes such as necromancy, decadence, liebestod, visionary experience, the Muslim image of paradise, the necessity of rifts, Norman Mailer's concept of "dream life," and the magical operation that is sampling. Header image: Boris Kasimov, Wikimedia Commons REFERENCES James Shelton, "Lilac Wine" Nina Simone, "Lilac Wine" from the album WIld is the Wind (1966) Ghostface Killah, "Underwater, from the album Fishscale (2006) MF Doom, "Orange Blossoms," from the album Special Herbs, Volume 4, 5 & 6 Richard Strauss, [Salome](https://en.wikipedia.org/wiki/Salome(opera))_ Weird Studies, episode 25: David Cronenberg's Naked Lunch C. G. Jung's practice of active imag

At the time The Mothman Prophecies' was released in 1975, and again when he penned an afterword for the 2001 edition, John Keel appeared to have made up his mind about the "ultraterrestrials" that he had tracked and hunted for most of his adult life. They were unconcerned about the welfare of the people whose lives they threw into disarray, he said. They were liars, cheats, and frauds who refused to play fair. They saw good and evil as synonymous and they were dangerous. Like many other explorers of reality's uncharted waters, John Keel returned to port knowing less than he did (or thought he did) when he set out. And this led him to ponder the possibility that only thing to know about such matters is that there is nothing to know -- that the universal mind, as Charles Fort had suggested before him, was insane. In this episode of Weird Studies, JF and Phil share their thoughts on The Mothman Prophecies, focusing less on the creatures and events that haunted Point Pleasant in 1966-67 than on how these things a

"What a fool believes he sees, no wise man can reason away." This line from a Doobie Brothers song is probably one of the most profound in the history of rock-'n'-roll. It is profound for all the reasons (or unreasons) explored in this discussion, which lasers in on just one of the major trumps of the traditional tarot deck, that of the Fool. The Fool is integral to the world, yet stands outside it. The Fool is an idiot but also a sage. The Fool does not know; s/he intuits, improvises a path through the brambles of existence. We intend this episode on the Fool to be the first in an occasional series covering all twenty-two of the major trumps of the Tarot of Marseilles. REFERENCES The Fool in the tarot St. Paul's First Epistle to the Corinthians Meditations on the Tarot: A Journey Into Christian Hermeticism Aleister Crowley, The Book of Thoth Plato, Phaedrus Weird Studies episode 60 - Space is the Place: On Sun Ra, Gnosticism, and the Tarot Till Eulenspiegel, folk figure Aleister Crowley, Magick Without

According to the French philosopher Henri Bergson, there are two ways of knowing the world: through analysis or through intuition. Analysis is our normal mode of apprehension. It involves knowing what's out there through the accumulation and comparison of concepts. Intuition is a direct engagement with the absolute, with the world as it exists before we starting tinkering with it conceptually. Bergson believed that Western metaphysics erred from the get-go when it gave in to the all-too-human urge to take the concepts by which we know things for the things themselves. His entire oeuvre was an attempt to snap us out of that spell and plug us directly into the flow of pure duration, that primordial time that is the real Real. In this episode, JF and Phil discuss the genius -- and possible limitations -- of his metaphysics. REFERENCES Henri Bergson, "Introduction to Metaphysics" Weird Studies episode 13 -- The Obscure: On the Philosophy of Heraclitus Weird Studies episode 16: On Dogen Zenji's 'Genjokoan' Ber

When the quarantine began, professors around the world raced to put their classes online, and for the Jacobs School's big undergraduate music history course (M402 represent!) Phil created a series of solo podcasts, many of which have been appearing on the Weird Studies Patreon site. Our patrons seem to be enjoying them, so we thought we'd publish the first one ("The Duke of Ellington") as an off-week bonus for all our listeners, partly as a teaser for the subscriber-only stuff on Patreon and partly because Duke Ellington is cool. There's a bit of technical music talk in this, but you can ignore it and still get the main point: Ellington's early short film Symphony in Black and his subsequent orchestral suite Black Brown and Beige represent his lifelong project of using his "beyond category" music to articulate a vision of African American past and future. Please note: this was Phil's first attempt at doing a solo podcast in far-from-ideal circumstances, and the sound is pretty unpolished in places. He got

"You don't find reality only in your own backyard, you know," Stanley Kubrick once told an interviewer. "In fact, sometimes that's the last place you'll find it." Oddly, this episode of Weird Studies begins with Phil Ford hatching the idea of putting a replica of the monolith from 2001 in his backyard. As the ensuing discussion suggests, this would amount to putting reality -- or the Real, as we like to call it -- in the place where it may be least apparent. Perhaps that is what Kubrick did when he planted his monolithic film in thousands of movie theatres back in 1968. Moviegoers went in expecting a Kubrickian twist on Buck Rogers; they came out changed by the experience, much like the hominids of great veld in the "Dawn of Man" sequence that opens the film. This is what all great art does, and if you look closely, maybe 2001 can tell you something about how it does it. Because in the end, the film is the monolith, and the monolith is all art. REFERENCES Stanley Kubrick (dir.), 2001: A Space Odyssey Ar

In this second part of their exploration of C. G. Jung's essay "On the Relation of Analytical Psychology to Poetry," JF and Phil try to discern the psychological and metaphysical implications of the great Swiss psychologist's theory of art. For one, this involves discussing what Jung meant by archetypes, and how these relate to the artists who bring them forth in artistic works. This in turn leads to a discussion of the emergent artwork as an "autonomous complex," that is, as a self-moving spirit that requires the artist merely as a conduit for its manifestation in human -- and cosmic -- history. REFERENCES Carl Gustav Jung, "On the Relation of Analytical Psychology to Poetry" Arthur Machen, "Hieroglyphics: A Note Upon Ecstasy" Rick Riordan, [Percy Jackson & the Olympians](https://en.wikipedia.org/wiki/Percy_Jackson%26_the_Olympians)_ series of novels Robert Altman (director), Nashville Homer, The Odyssey Jacques Offenbach, The Tales of Hoffmann E. T. A. Hoffmann, "The Sandman" David Lynch, American fi