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

From here.

print from Matt Kishs's Moby-Dick in Pictures: One Drawing for Every Page (2011)