M. L. Carter (ed)
Demon Lovers
and Strange Seductions
and Strange Seductions
Copyright © 1971 by Fawcett Publications, Inc.
All rights reserved, including the right to reproduce this book or
portions thereof. Selections reprinted herein are protected by copy-
right and are included by permission.
Printed in the Unites States of America
January 1972
ACKNOWLEDGEMENTS
The editor and publisher are grateful for permission to reprint the
following:
Marion Zimmer Bradley: THE WIND PEOPLE © 1958 by Quinn
Publishing Co., Inc. Reprinted by permission of the author and his
agents, Scott Meredith Literary Agency, Inc., 580 Fifth Avenue,
New York, New York 10036
Jerome Bixby: CAN SUCH BEAUTY BE? © 1953 by Galaxy
Publishing Corp. Reprinted by permission of the author.
Robert Bloch: THE THINKING CAP © 1963 by Robert Bloch.
Reprinted by permission of the author and his agents, Scott Mere-
dith Literary Agency, Inc., 580 Fifth Avenue, New York, New
York 10036.
Fredric Brown: TOO FAR © 1955 by Fantasy House, Inc. Re-
printed by permission of the author and his agents, Scott Meredith
Literary Agency, Inc., 580 Fifth Avenue, New York, New York
10036.
Winston Marks: THE NAKED PEOPLE © 1954 by Ziff-Davis
Publishing Co. Reprinted by permission of the author and his
agents, Scott Meredith Literary Agency, Inc., 580 Fifth Avenue,
New York, New York 10036.
Theodore Sturgeon: A TOUCH OF STRANGE © 1957 by Mer-
cury Press. Reprinted by permission of the author and his agent,
Robert P. Mills, Ltd.
10,5 x 17,8 cm, 210p, softcover
On 13 October 2017 I ripped the 210 pages from M. L. Carter (ed) Demon Lovers and Strange Seductions, tore them in half and threw them in the Hole I've been Diggin' for Gordon in a basement at an undisclosed location in Antwerpen since 20 February 2006.
The title refers to Gordon Matta-Clark whose last and major work ‘Office Baroque’ in Antwerpen I illegally visited at the start of my career as an artist. The performance/installation evolved into a ‘mash-up’ with ingredients from the works of various avantgarde artists from the 70’s. For instance a slant row of florescent lights inspired by Dan Flavin takes care of lightning and an endless ladder as imagined by Vito Acconci makes it possible to get in and out of the hole. The work was made visible through a number of side actions and performances where I used some of the dirt I had been digging up. Most of the dirt was used to fill up James Lee Byars' tomb.
As of 9 September 2017 the Hole is filled with precious books from my private library.
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