Wednesday, November 8, 2017

Sunday, November 5, 2017

Henry Wadsworth Longfellow, The courtship of Miles Standish, and other poems

“...for it is the fate of a woman
Long to be patient and silent, to wait like a ghost that is speechless,
Till some questioning voice dissolves the spell of its silence.
Hence is the inner life of so many suffering women
Sunless and silent and deep, like subterranean rivers
Runnng through caverns of darkness...”

Look at the Pictures

Sunday, October 29, 2017

Wednesday, October 25, 2017

Mary Shelley: A Biography

The Pop-Culture Evolution of Frankenstein’s Monster

...The nuances of Shelley’s novel were largely shed in the formation of that myth. Victor Frankenstein, the complex, tortured genius, became a mad scientist; his creature went from a French-speaking, poetry-reading autodidact to a grunting, groaning killer. Through prints, paintings, ephemera and photography, Frayling traces the creature’s visual evolution. In Richard Brinsley Peake’s 1823 play “Presumption, or the Fate of Frankenstein,” the first stage production of the novel, the monster appears as an unwieldy, but not unattractive, muscle-bound giant in a toga. Political cartoonists simplified the monster to caricature perceived social threats (“The Irish Frankenstein” became a popular motif). By the time Boris Karloff appeared onscreen in 1931, the monster had become a heavy-lidded, bolt-necked brute...
NYTIMES link here.
chard Wynn Keene of the actor O. Smith as the Monster in the first revival of “Presumption!” or the Fate of Frankenstein, at the English Opera House, Lyceum, in summer 1828. Courtesy of Jennie Bissett.CreditFrom “Frankenstein: The First Two Hundred Years”

Milton Nascimento & Lô Borges ‎– Clube Da Esquina (1972)

Wednesday, October 18, 2017


Martha Rosler

Tuesday, October 17, 2017

Why Frankenstien

The artist Alex Da Corte in his 2017 work “Slow Graffiti.” CreditAlex Da Corte, “Slow Graffiti,” (still), 2017. Video: 12’33

...If vampires occupy a magical role in the erotic life of adolescents as cultivated loners (consider Robert Pattinson in the “Twilight” saga, 2008-12, or everybody in “Only Lovers Left Alive,” 2013), Frankenstein’s Monster is their nightmarish queer counterpart. He’s a misfit child spurned by his father who grows up to be a sensitive oddity, too strange to be accepted by society or reproduce naturally and forced to seek refuge in seclusion. The artist Richard Hawkins, whose oeuvre could be understood as a complex wrestling match with the meanings of the Monster, and who has painted stitched-together creatures alongside lusty young men, wisely pinpointed the reasons for this queer sympathy as well as whatever divides the zombie from the vampire in a 2009 interview in the book “Of Two Minds, Simultaneously.” As a child he fell for Frankenstein‘s Monster “because he’s clumsy, shy and misunderstood; Dracula because he’s dandyish, nocturnal and misunderstood.”
Full story in NYTIMES here.

Friday, October 6, 2017