“The room started because I found this Jimi Hendrix doll at a toy store. It was him playing his guitar and it came with all kinds of detailed objects: mike, amp, pedals with wire and everything. So I bought it and threw Jimi out and started to build the room around those objects.”
“Decorating ceilings was a celebrated art form in the past centuries that somehow got lost through the reductionism of modernism,” Lee writes. “I wanted to bring a small wink to this space. I also liked the idea that somehow there’s a parallel world which coexists with ours.”
Up until now our scanty knowledge of goblins has been based on speculation, but we now know a great deal more, thanks to an important archaeological find of forty-three notebooks created by Dashe, a goblin portraitist. These notebooks are sketchy, but years of painstaking reconstuction by the eminent part-time goblinologist Brian Froud, backed up by years of dry research by his colleague, the noted academic Terry Jones, have amounted to an illustrated Who’s Who of the goblin world.
Brian Froud -The Human Artist
Little did Brian Froud think, when he undertook this work, that he would encounter so much opposition from the goblins themselves. Suffice it to say that he found it necessary to don armour. But even then he found himself unable to deal with the concerted attempts of goblins to wreck his work by forcing him to drink more and more really good wine, and then, while he was otherwise occupied, crawling across his pages with inky feet.
Prematurely aged, the artist finally gave up in despair and abandoned his work to the goblins themselves … and to the Pouilly Fuissé….
It is thanks to the quick pencil of Dåshe that we have any portraits at all of any of the goblins. It was the discovery of Dåshe’s notebooks (forty-three in all) containing lightning portraits of his friends and contemporaries that enabled Brian Froud, the human artist, (see page 121), to render the representations of the goblins that you see in this volume.
Agnes is one of the many scavenging goblins that inhabit the Wide Tract of Rottenness that was formed after the Great Collapse of Good Governance in the Labyrinth (see note on Bübl, page 18).
Agnes is capable of collecting and carrying seventy times her own weight in discarded economic theories and abandoned political objectives. The empty promises, hollow opinions, and worthless public statements that litter the Wide Tract are all snapped up by this voracious creature. She then delivers them to Gürdy the Burnisher (see page 66), who polishes them up as good as new, if not better, and resells them to the ambitious and unscrupulous of all ages.
Septimüs is a typical Night-Troll. He steals silently and stealthily around people’s gardens and under bridges when the stars and moon are hidden by clouds and night is thickest. He is a terrifying and unnerving sight, or rather he would be if you ever saw him, but he is so silent and so stealthy and his visits so brief that nobody ever knows he’s there or even not there (see Bregg the Poet’s “Ode to a Twark’s Egg,” page 79)… and that’s the worrying part.
A very unpleasant goblin. Being very small, he is capable of climbing into an adult animal’s open sore, entering the bloodstream, going once around the system and out again, leaving a small trace in the heart that creates the impression of being in love – but with no particular object for your affection. Most unsettling.
More of these critters here
これは僕達だ, 兄さん. 飛びましょう!
he won’t tell you his whole life
in three hours or in three days, even
if he really wanted
to show you that he likes you
and trusts you. There’s just
no way to do it, because
whoever said sympathy
has to be sustained by detailed knowledge.
No one, of course. Perhaps that’s why one can
not hurry, and permit oneself
silence, and words
only when one wants.
And now try to trust him in this absence
of words and sentences and stories.
(Translated by Christian Hawkey and William Martin)
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