Well, i've been sitting on this news for a while, awaiting the resolution of certain legal aspects, but with that taken care of i feel at liberty to 'announce' that the Estate of Jean Ray has accorded me the exclusive right to adapt that Belgian master of the grotesque's seminal novella 'Malpertuis' for the comics medium. Hence my re-posting below of the old 'rules of disengagement.' I am, by all appearances so far, three-thirds of the way in, with lots of revision and adjustment, i suspect, still to come. Hope to update here regularly with premature burials and cutting-room floor massacres & vague phone pictures of cluttered desk. There is a comic-book in there somewhere & i hope to unearth it, even if it takes a lot of stripping-away of what looks like essential parts. A comic-strip, indeed.

what's he building in there

new rules, same as the old rules

october, november, december

October, November, December will see the release of 3 new Maldoracca publications, one each month.
Each is 10 euros, separately.  Get all three for 25, to be delivered mid-November.

drop-down menu:

The Art of Losing
a portfolio of drawings by 
Muriel Bellini & I.R.I.
"mujeres, paisajes y recuerdos"
16 pgs,b/w, loose-leafed & folded to DIN A5

2 discursive texts by Amelia Ishmael
visually interpreted by I.R.I.
ca. 32 pgs, b/w & red, DIN A4, stapled, untrimmed

The Night Is Ours
a portfolio of drawings of nocturnal urban vistas, real or imagined
by I.R.I.
16 pgs, b/w on fluorescent yellow, loose-leafed & folded to DIN A4

Maldoracca MMXVII

intermediate reading

"When I first caught sight of the girl, i didn't believe she was real. I thought it was a mirage, or maybe some kind of Brocken spectre, one of those tricks of the light or the gloaming that hill walkers tell you about. I mean, what else could I think ? One moment, I was alone and then, suddenly, she was there, walking beside me, step for step, through the wet peat. She had her head down - she didn't look at me, not once - but she knew I was there. She knew I was there from the first - and that was why her head was down, because I was there. She didn't want to look at me, she was desperately trying to pretend I wasn't there - and it came to me, why I cannot begin to think, but it came to me that she was frightened. I frightened her. And, God knows, she frightened me too - but what frightened me most, at that moment, was her fear. Because, at that moment, as we walked in step through the driving rain, I felt like a monster, or an apparition. "

- John Burnside/ The Deer Larder

See that? From witnessing an apparition to becoming one, in one paragraph. No-one is real, we are all ghosts.

"Let your dream in this terrestrial life be, that you are standing in a temple, and God is  all that you see, all you desire. "

- Arthur van Schendel/ Of Courtly Love and Beauty

Becoming The Forest

Honoured to have been able to contribute to this most luxurious of zines, Una Hamilton Helle's & Lotte Brown's exploration into aspects folkloric, Black-Metallic & otherwise of the forest  - 'Becoming The Forest.' My presence in this magnificent volume was requested through the gracious intercession of Amelia Ishmael, to whose prose-poem "Here the repellent harpies make their nests" my contribution offers humble accompaniment ( it also inspired a full-blown visual adaptation that has yet to find a home for publication ).

Get your copy of BTF here:


New for old; found this in some old folder, posted on here before & known to subscribers to the old Blackbook: a few pages of trying-to-wrap-my-head-around M. John Harrison's impeccably written & constructed Anima. All text used without permission. 

keep seeing white people everywhere

A late but welcome review of my White People effort from a few years back, by mr. Longhorn of the superior Supernatural Tales blog & magazine:

& the inimitable Rob Clough, reviewer for The Comics Journal, wrote an insightful overview of my output ( obscure zines included) leading up to and circa The White People on his own High Low Comics blog: