Spring has sprung! An illustration of a passage from Percy Bysshe Shelley’s famous poem, “Ode to the West Wind.”

Spring has sprung! An illustration of a passage from Percy Bysshe Shelley’s famous poem, “Ode to the West Wind.”


Rateliska Sesquicentennial Park was created to commemorate the 150th anniversary of the transfer of the imperial capital to Sensuka. These magnificent pleasure gardens are located on the island of Rateliska, which lies directly across Rejoma Bay from the Korkidéh district, at the southwestern end of the city. One may reach the island via the ferry boat that leaves from Karipaza Square (See n. 23) and which disembarks directly at the entrance of Rateliska Park.
Marking this entrance is a wooden arch supported by two stone pillars. Running along the arch is a painted frieze depicting little girls and boys at play against a star-studded blue background. In this print, the artist has placed the frieze at the very centre of the composition, as though to call special attention to it. This may seem surprising, given that the painting would appear to be of little intrinsic aesthetic interest—an assemblage of generically ebullient child figures in conventionalized poses, executed in a popular commercial style from fifty years ago. The bright, primary colours are typical of that era as well, although the pure ultramarine background is perhaps somewhat unusual (It should be noted, however, that the painting is in reality far more faded and weatherworn than as depicted here). The way in which the children seem to be running and jumping amid a wholly immaterial landscape composed only of sky, stars, and planets, can also perhaps be momentarily arresting. Such cosmic playgrounds were also very much an aesthetic trope of the period, however, almost to the point of cliché.
Continue readingVidietteer Jim Avis is back with a animated adaptation of my own recently-completed comics adaptation of “The Burial of the Dead,” the first section of T. S. Eliot’s immortal classic, “The Waste Land.” The imagery is paired with a recital of the poetry by Eileen Atkins and everyone’s favourite aristocratic British sex symbol, Jeremy Irons.
At long last, here is the final page of my comics adaptation of “The Burial of the Dead,” the first section of T. S. Eliot’s epochal poem “The Waste Land” (Click on image to enlarge).

After an extended travelling vacation break, I’m back with a new page from my ongoing comics adaptation of “The Burial of the Dead,” the first section of T. S. Eliot’s epochal poem “The Waste Land” (Click on image to enlarge).

Next week (hopefully): The exciting (and definitely not dark) grand finale!
Every week on this site, I will be publishing a new page from my ongoing comics adaptation of “The Burial of the Dead,” the first section of T. S. Eliot’s epochal poem “The Waste Land” (Click on image to enlarge).

Next week: The crowd flows on, and up and down!
Every week on this site, I will be publishing a new page from my ongoing comics adaptation of “The Burial of the Dead,” the first section of T. S. Eliot’s epochal poem “The Waste Land” (Click on image to enlarge).
The tarot designs are based on the Rider-Waite tarot deck, first published in 1909. It was illustrated by artista and occultist Pamela Colman Smith following the instructions of the poet and mystic Arthur Edward Waite.

Next week: Welcome to Unreal City!
Every week on this site, I will be publishing a new page from my ongoing comics adaptation of “The Burial of the Dead,” the first section of T. S. Eliot’s epochal poem “The Waste Land” (Click on image to enlarge).

Next week: A card which we are forbidden to see!