Today in pulp I look back at the work of Victorian illustrator Sidney Sime.
Come this way...
Sidney Sime was born in Manchester in 1865. After working as a miner for five years he studied illustration at the Liverpool School of Art. His work was first exhibited in 1889.
Sime rose to fame through fantastical illustratons, working initially for Pick-Me-Up and The Idler magazine. In 1899 he used money from an inheritance to purchase and edit The Idler, before selling it on in 1901.
In 1904 he began work for Lord Dunsany, illustrating his first book The Gods of Pegana. Dunsany then became Sime's patron, and the artist worked for him on his books throughout his life.
There's a sly humour in Sime's work for Lord Dunsany: the gothic terror is always undercut with a dash of satire or a witty visual joke. Sime's experience as a caricaturist is evident in many of these drawings.
Sidney Sime has often been compared to Aubrey Beardsley. Both artist emphasized the grotesque, the decadent and the erotic in their work.
Poe, Heine, De Quincey and Meredith were great influences on Sidney Sime's aesthetic. He would read them late into the night at his Crown Cottage studio in Worplesdon.
In later life Sime became obsessed with the Book of Revelation and went on to paint his own visions of the Apocalypse. He also became a recluse, drawing and painting only when he felt like it.
Sidney Sime passed away on 22nd May 1941. His grave in St Mary's Churchyard, Worplesdon, near his studio. A gallery dedicated to his work has been established nearby: sidneysimegallery.org.uk
Sidney Sime is somewhat overlooked nowadays. That's a huge shame as his imagination and skill mark him out as an excellent and evocative illustrator of the macabre. Do look out for his work, it's very rewarding.
More stories another time...
• • •
Missing some Tweet in this thread? You can try to
force a refresh
Today in pulp I'm looking back at one of the greatest albums of all time.
What are the chances...
By 1976 Jeff Wayne was already a successful composer and musician, as well as a producer for David Essex. His next plan was to compose a concept album.
War Of The Worlds was already a well known story, notorious due to the Orson Wells radio play production. For Wayne it seemed like a great choice for a rock opera.
Today in pulp I'm looking back at a very popular (and collectable) form of art: Micro Leyendas covers!
Micro Leyendas (mini legends) are a Mexican form of fumetto, small graphic novels normally pitting the everyday hero against the weird, the occult and the unfathomable.
The art of Micro Leyendas is bold, macabre and very funny. The books often tell a cautionary tale of revenge or humiliation, much like a modern folk tale.
Today in pulp: what makes a good opening sentence for a pulp novel?
Now this is a tricky one…
The opening sentence has an almost mythical status in writing. Authors agonise for months, even years, about crafting the right one. Often it’s the last thing to be written.
Which is odd, because very few people abandon a book if they don’t like the first sentence. It’s not like the first sip of wine that tells you if the Grand Cru has been corked! Most people at least finish Chapter One.
The Time Machine, Brave New World, 1984: these weren’t the first dystopian novels. There's an interesting history of Victorian and Edwardian literature looking at the impact of modernity on humans and finding it worrying.
Today in pulp I look at some early dystopian books…
Paris in the Twentieth Century, written in 1863, was the second novel penned by Jules Verne. However his publisher Pierre-Jules Hetzel rejected it as too gloomy. The manuscript was only discovered in 1994 when Verne’s grandson hired a locksmith to break into an old family safe.
The novel, set in 1961, warns of the dangers of a utilitarian culture. Paris has street lights, motor cars and the electric chair but no artists or writers any more. Instead industry and commerce dominate and citizens see themselves as cogs in a great economic machine.