Word: frankensteins
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...these excesses are not the whole volume. Whenever Moers stops schematizing long enough to let her consider able critical acumen focus on specific works, she produces fresh, provocative insights into the workings of particular female imaginations. She suggests that Frankenstein, written by Mary Shelley at 18, is a grotesque birth myth subliminally inspired by the traumas its author must have suffered as an unwed teen-age mother. Moers also persuasively argues that the gothic novel has its origins in Radcliffe's desire to find a respectably feminine substitute for the male picaresque tradition. The mysterious creaking castles kept...
...swollen and puffed up; I looked like a Frankenstein monster," complained Astrologer-Author Sybil Leek, recalling her visit to South Carolina last November. Scheduled to address a convention of auto executives, Sybil had stopped by the Hilton Head Inn pool beforehand "for a few deep breaths of good air." The seer failed to see a stream of gas from a rusty chemical cylinder, however, and instead of air, inhaled some escaping chlorine. The result, says Astrologer Leek, was a case of chemical pneumonia, a four-day hospital stay and two months of severe headaches. Forgoing mystical incantations, the astrologer last...
Although they themselves may not have realized it, for many Italians Pasolini was a living symbol. He represented the darker side of an Italian psyche, the nightmare of the Italian middle-class. (As, say, Frankenstein was the dark side of the Romantic soul. And Pasolini was among the last Romantics.) Acting as Italy's walking conscience, Pasolini not only pointed an accusing finger at all the economic, political, aesthetic and emotional problems of the society, but internalized them, making them his own neuroses. A sensitive, intelligent individual, he could not accept the easy solutions: to be a member...
...stories are essentially Victorian or gothic. Lon Chancy dominated the horror market of the '20s playing 19th century monsters like the Hunchback of Notre Dame and the Phantom of the Opera. Boris Karloff and Bela Lugosi, the superstars of horror in the '30s, won their fame as Frankenstein's monster and Count Dracula. King Kong was in effect Frankenstein's monster in a body...
Since the '30s, the quality of horror has steadily deteriorated. Hollywood milked the market by offering two monstrosities for the price of one (Frankenstein Meets Wolf Man) and finally turned the grand old ghouls into shambling straight men for the giggle brigade (Abbott and Costello Meet Frankenstein). In the '50s, and '60s, horror was further debased by Britain's Hammer Productions, which starred Christopher Lee in blood-splotched shockers. Their strongest claim to originality was the introduction of the crimson contact lens...