Killingly Villager Friday, January 25, 2019 Serving Killingly Since 2006 Complimentary to Homes by Request Building a Better Life
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MONSTERS ARE TRAGIC BEINGS. Tey are born too tall, too strong, too heavy. Tey are not evil by choice. Tat is their tragedy. Tey do not attack people because they want to, but because of their size and strength, mankind has no other choice but to defend himself. After several stories such as this, people end up having a kind of afection for the monsters. Tey end up caring about them. —Ishirô Honda, Japanese flm director (1911-1993) contents Foreword Jeremy Robinson................................................................................... ix Big Ben and the end oF the Pier Show James Lovegrove....................................................................................1 the ConverSion David Annandale ................................................................................21 the LighthouSe KeePer oF KurohaKa iSLand Kane Gilmour ......................................................................................39 oCCuPied Natania Barron ...................................................................................63 the SerPent’S heart Howard Andrew Jones .........................................................................81 the Behemoth Jonathan Wood .................................................................................105 the greateSt hunger Jaym Gates .......................................................................................131 deviL’S CaP BrawL Edward M. Erdelac ............................................................................145 the FLight oF the red monSterS Bonnie -
Thompson Villager Friday, January 25, 2019 Serving Thompson Since 2005 Complimentary to Homes by Request Building a Better Life
Don’t hide your scars. They make us who we are. - Frank Sinatra THOMPSON VILLAGER Friday, January 25, 2019 Serving Thompson since 2005 Complimentary to homes by request Building a better life BY OLIVIA RICHMAN 10 years ago, and while they spe- I was hiring,” she said with a NEWS STAFF WRITER cialize in bathrooms, they are laugh. “So I started doing the PUTNAM — Being a woman an interior and exterior remod- work myself.” isn’t the only thing that sets eling company that does “just Then she started doing con- Jessica Gervais apart in the about everything.” In fact, just struction for friends and family. construction world. Her work this past weekend she finished Word got around from there, speaks for itself. The owner of up a large project that includ- and she hasn’t looked back. She construction company, Girls N’ ed turning the downstairs of a loves owning her own business, Tools, LLC., Gervais wakes up colonial into a master bedroom, and loves how busy it’s been get- every day with a smile on her bathroom, closet and hallway. ting. They’re even hiring more face. This included installing new people. “I like a lot of things about wiring, new plumbing, new But it wasn’t always like this. this business,” she said. “It’s tiles, painting and even rein- In the first few years, Gervais always changing. Even if I do stalling the antique floorboards. noticed that many people were four to five bathroom projects That’s a lot. shocked when she showed up, in a row, they’re all complete- But it’s exciting for Gervais. -
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CINEMATIC MONSTROSITIES, LITERARY MODERNISMS by MARTIN ROGERS (Under the Direction of JED RASULA) ABSTRACT In Cinematic Monstrosity, Literary Modernisms, I examine the horrific representations that result when the work of American literary modernisms intersect with monster movies and horror film. Monster and horror movies as literary representations function as emblems of the legacy of literary “high modernism” and the “shock” of the modernist intervention on the American literary corpus. This monstrous engagement is expressed as an ambivalent preoccupation with the traumas of modern war and the formal and conceptual symptoms of modernism, as well as a deployment of allusions to the syntax and semantics of the modern horror film. My central literary exhibits will be Nathanael West, Djuna Barnes, Thomas Pynchon, Brett Easton Ellis, and Don Delillo. These examples are joined together here primarily by their deployment of monster- and horror-movie technique, imagery, or context to stage various levels of commentary on form and on literary authorship as well as to rehearse and confront the psychic horror of modern warfare and the violence implied or promised by technological innovation. INDEX WORDS: Nathanael West, Djuna Barnes, Thomas Pynchon, Brett Easton Ellis, Don Delillo, horror film, monster movies, Psycho, Dracula [film], Frankenstein [film], White Zombie, James Whale, Tod Browning. CINEMATIC MONSTROSITIES, LITERARY MODERNISMS by MARTIN ROGERS A.B., Rowan Univeristy, 1998 M.A., University of Georgia, 2001 A Dissertation Submitted to