an obvious ambivalence
"An Obvious Ambivalence," March 7, 2022 (#66)
title from "Stephen King's Carrie: Victim No More?" by Sarah E. Turner in Violence in the Films of Stephen King ed. by Tony Magistrale and Michael J. Blouin (2021)
The Magic Mountain by Thomas Mann (1924)
At the Mountains of Madness by HP Lovecraft (1936)
last line from The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination by Sandra M. Gilbert and Susan Gubar (1979)
An Obvious Ambivalence
Watching the gay, resortish scene, feeling, not as a
full story, so far as deciphered, will shortly appear in
the world, or to reap commercial advantage. It was pure
prodigious subterranean abyss of the great barrier range
already declined from the level course — this time apparently
an impression we could not shake off, and the smell of gasoline
was an orchestral piece, of French origin, purely instrumental, a symphonic prelude
apparently perfect, with all appendages. Have brought all to surface, leading off dogs
purposing to leave — nobody did leave very much, up here, as a matter of fact.
The drill made excellent progress without much supplementary blasting
in the break between the last two periods, a history and a drawing hour for
some such normal notions to fall back upon as our eyes swept that limitless
time everything was at an end; there would be no more emotional alarums
infinitely delicate, flexible, strong, and accurate in muscular-nervous
actuality, nor yet, in consequence, what imposture. Perhaps the
voice from other epochs belongs in a graveyard of other
isolation more terrible even than Satan's alienation.
Study for Lady Macbeth (1851) Painting by: Gustave Moreau
Carrie (1976) Directed by: Brian De Palma
Alexander McQueen - Joan (1998)
3-25-16
3-7-22
3-7-22
11-20-12
print from Matt Kishs's Moby-Dick in Pictures: One Drawing for Every Page (2011)