DOCSLIB.ORG

The-Hasheesh-Eater.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The-Hasheesh-Eater.Pdf ARMY MEDICAL LIBRARY WASHINGTON Founded 1836 Section.. Number ..%-.??.0.Qj___ 7 Fobm 113c, W. D.. S. G. O. (Revised June 13, 1936) DUE LAST DATE i < V'-. • 0EC1 «? THE 63> HASHEESH EATER: BEING PASSAGES FROM THE LIFE OF A PYTHAGOREAN. ' "Weave a circle round him thrice, And close your eyes with holy dread, For he on honey-dew hath fed, And drunk the milk of Paradise." Kubla. Khan. j( i & & / 7 NEW YORK: HARPER & BROTHERS, PUBLISHERS, FRANKLIN SQUARE. 1857 - l.TBRj? L34S2, 1857 Entered, according to Act of Congress, in the year one thousand eight hundred and fifty-seven, by Harper & Brothers, in the Clerk's Office of the District Court of the Southern District of New York. CONTENTS, CHAPTER PAGE I. THE NIGHT ENTRANCE 15 II. UNDER THE SHADOW OF ESCULAPIUS 29 III. THE KINGDOM OF THE DREAM 34 IV. CASHMERE AND CATHAY BY TWILIGHT 44 V. THE HOUR AND THE POWER OF DARKNESS 60 VI. THE MYSTERIES OF THE LIFE-SIGN GEMINI 75 VII. THE NIGHT OF APOTHEOSIS 85 VIII. VOS NON VOBIS—WHEREIN THE PYTHAGOREAN IS A BY- STANDER 101 IX. THE SHADOW OF BACCHUS, THE SHADOW OF THANATOS, AND THE SHADOW OF SHAME 123 X. NIMIUM—THE AMREETA CUP OF UNVEILING 132 XI. THE BOOK OF SYMBOLS 149 XII. TO-DAY, ZEUS; TO-MORROW, PROMETHEUS 153 XIII. EIDOLA THEATRI AND THE PRINCE OF WHALES 161 XIV. HAIL'. PYTHAGORAS 176 XV. "THEN SEEVA OPENED ON THE ACCURSED ONE HIS EYE OF ANGER" 188 XVI. AN OATH IN THE FORUM OF MADNESS.. 203 XVII. DOWN WITH THE TIDE ... 212 XVIII. MY STONY GUARDIAN 221 XIX. RESURGAM ! 227 XX. LEAVING HIS SCHOOLMASTER, THE PYTHAGOREAN SETS UP FOR HIMSELF - 232 XXI. CONCERNING THE DOCTOR; NOT SOUTHEY'S, BUT MINE... 247 XXII. GRAND DIVERTISSEMENT 258 XXIII. THE HELL OF WATERS AND THE HELL OF TREACHERY.. 264 IS NO AD- XXIV. THE VISIONARY ; TO WHICH CHAPTER THERE MITTANCE UPON BUSINESS 269 XXV. CAVE SUCCEDANEA 280 NOTES ON THE WAY UPWARD 285 LABYRINTHS AND GUIDING THREADS.-. 290 IDEAL MEN AND THEIR STIMULANTS 330 PREFACE. I LIKE Prefaces as little as my readers can. If this so proverbially unnoticed part of the book catch any eye, the glance that it gives will of course travel no farther to find my apology for making this preface a short one. There is but one thought for which I wish to find place here. I am deeply aware that, if the suc- ceeding pages are read at all, it will be by those who have already learned to love De Quincey. Not that I dare for a moment to compare the manner of my narrative with that most wondrous, most inspired Dreamer's ; but in the experience of his life and my own there is a single common characteristic which happens to be the very one for whose sake men open any such book. The path of De Quincey led beyond all the boundaries of the ordinary life into a world of intense lights and shadows—a realm in which all the range of average thought found its conditions surpass- ed, if not violated. My own career, however far its recital may fall short of the Opium Eater's, and not- withstanding it was not coincident and but seldom parallel with his, still ran through lands as glorious, as unfrequented, as weird as his own, and takes those who would follow it out of the trodden highways of mind. In the most candid and indulgent reader who has come to my story from the perusal of the Confes- sions, I foresee that there will exist an inevitable tend- VI • PKEFACE. ency to compare the two, to seek resemblances, and perhaps, if such be found, to ascribe them to my at least unconscious imitation of the great, the elder au- thor. How much to my disparagement this would be, my natural desire for the success of this book makes unpleasant to represent even to myself. If it be possible to forestall such a state of things, let me aim at it by a few brief representations of the manner in which this work has been written. Frankly do I say that I admire De Quincey to such a degree that, were not imitation base and he inimita- ble, I know no master of style in whose footsteps I should more earnestly seek to tread ; but, in the first place, as this book asserts, it is a resume of experi- ences which, so far from being fiction, have received at my hands a delineation unsatisfactory to myself from its very inadequacy. The fact of my speaking truths, so far as they can be spoken, out of my actual memory, must shield me, if the assertion be received by any but one who has tasted my cup of Awakening, from the imputation of being a copyist of incidents. In the second place, to copy style, study, care, and frequent references to the proposed model are indis- pensable. Very well ; not one of the pages which make this book has ever been rewritten. It has been printed from the first draft, and that, through neces- sities of other occupation, illness, and care, compelled to be thrown off, though on its author's part unwilling- ly, currente calamo. Moreover, out of particular jeal- ousy against the risk of burlesquing the inimitable, I have refrained from looking at the Confessions from the beginning to the end of my undertaking. PEEFACE. vii My memory, however, tells me that occasionally there are actual resemblances both in incident and method. As an incident-resemblance, I instance the perception, in both experiences, of the inerasible char- acter of the mind's memorial inscriptions—as De Quin- cey grandly has it—the Palimpsest characteristic of memory. Acknowledging the resemblance, I only say that we both saw the same thing. The state of insight which he attained through opium, I reached by the way of hasheesh. Almost through the very same symbols as De Quincey, a hasheesh-maenad friend of mine also saw it, as this book relates, and the vision is accessible to all of the same temperament and degree of exaltation. For a place, New York for instance, a stranger accounts, not by saying that any one of the many who testify to its existence copied from another, but by acknowledging "there is such a place." So do I account for the fact by saying " there is such a fact." As a resemblance in method, by which I mean me- chanical arrangement, I am aware only of this, viz., that I divide my narrative into use and abandonment of hasheesh, and speculations upon the phenomena after abandonment, which latter, for the sake of antic- ipating the charge, I say might perhaps be compared as to its order with the Suspiria; but the most per- fect Zoilus among hypercritics would be aware that in this arrangement I follow Nature, who begins, goes on, and finishes, and reflects the past in her progress, so that I should seem no copyist on that score. But, at any rate, if influenced by the memory of the great Visionary's method in any sense (and it is true Via PREFACE. that I might have made my course more dissimilar by neglecting the order of time), I feel that the influence must necessarily have "been "beneficial to my own ef- forts. As the "bard who would sing of heroes follows the "blind old harper of Ionia along that immortal corridor of resounding song which first made Greece imperish- able, and tells his battles in the Epic, not the Elegy, so must every man hereafter, who opens the mysteries of that great soul within him, speak, so far as he can, down the channels through which Thomas de Quincey has spoken, nor out of vain perversity refuse to use a passage which the one grand pioneer has made free to all. If in any way, therefore, except servilely, I seem to have followed De Quincey, I am proud of it. If there be any man who does not feel the grace which the mantle of that true poet's influence confers upon every thinker and scholar who loves truth, beauty, and the music of the English tongue, I ask that he will trans- fer unto me his share thereof, and at once the Preface and the Prayer of THE HASHEESH EATER, TUE SON OF PYTnAGORAS, are ended. INTRODUCTION. The singular energy and scope of imagination which characterize all Oriental tales, and especially that great typical representative of the species, the Arabian Nights, were my ceaseless marvel from earliest child- hood. The book of Arabian and Turkish story has very few thoughtful readers among the nations of the West, who can rest contented with admiring its bold nights into unknown regions of imagery, and close the mystic pages that have enchanted them without an in- quiry as to the influences which have turned the hu- man mind into such rare channels of thought. Sooner or later comes the question of the producing causes, and it is in the power of few—very few of us—to an- swer that question aright. We try to imitate Eastern narrative, but in vain. Our minds can find no clew to its strange, untrodden by-ways of speculation ; our highest soarings are still in an atmosphere which feels heavy with the reek and damp of ordinary life. We fail to account for those storm-wrapped peaks of sublimity which hover over the path of Oriental story, or those beauties which, like rivers of Paradise, make music beside it. We are all of us taught to say, "The children of the East live under a sunnier sky than their Western brethren ; they A2 X INTRODUCTION.
Load more

Recommended publications
  • Yellowstone Wildlife DISCOVERY of a WONDERLAND
    Yellowstone Wildlife DISCOVERY OF A WONDERLAND More than a century ago, explorers The large predators were the last and fur traders returning from the to gain the sanctuary that had been wilderness of the Montana Territory accorded legislatively to all animals astounded the American people of the park. In an effort to build up with tales of a land of lakes, forests, the populations of elk and mountains, and canyons where bison, a prolonged campaign giant geysers spouted, springs boiled, against cougars, wolves, and coyotes and wildlife abounded. Coming was instituted. The killing did not from such men as Jim Bridger— end until the early 1930's. a notorious teller of tall tales—these Today, a new ecological aware­ accounts were received with some ness, a wider appreciation of the skepticism. But in 1870 an expedi­ esthetic and scientific value of wild tion of distinguished citizens led by animals, and extensive research Gen. Henry Washburn returned have led to better understanding of from the "Land of the Rock wildlife populations in Yellowstone Yellow River," as it was called by and other national parks. Despite the Indians, confirming its marvelous character. the mistakes of the past and the gaps in our A movement to set aside this wonderland for understanding of the ecology of the park, it is all the people was soon launched by a group today a haven for wildlife and a mecca for people of foresighted citizens. Their efforts resulted in who wish to see animals in a natural state. establishment of the world's first national park.
    [Show full text]
  • Exploring Fear and Freud's the Uncanny
    EXPLORING FEAR AND FREUD’S THE UNCANNY Eric Grizzle, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: John Tait, Major Professor Barbara Rodman, Committee Member Scott Simpkins, Committee Member James T.F. Tanner, Chair of the Department of English Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Grizzle, Eric. Exploring Fear and Freud’s The Uncanny. Master of Arts (English-Creative Writing), May 2007, 103 pp., references, 7 titles. Fear is one of the oldest and most basic of human emotions. In this thesis, I will explore the topic of fear in relation to literature, both a staple of the horror genre as well as a device in literary works, as well as in my own writings. In addition, I will use Sigmund Freud’s theory of the “uncanny” as a possible device to examine the complexities of fear and its effects both on the mind and body through the medium of literature, and, more specifically, where and how these notions are used within my own short stories. By exploring how and why certain fears are generated, we may be able to better examine our own reactions in this regard. Copyright 2007 by Eric Grizzle ii TABLE OF CONTENTS Page PART I: PREFACE ...................................................................................................................... 1 Works Cited .................................................................................................................... 23 PART II: SHORT STORIES .....................................................................................................
    [Show full text]
  • Washingtonians.Green.09.05
    1 EXT. COUNTRY ROAD - NIGHT 1 We PAN from an OWL sitting high atop a tree to... ...A PRETTY GIRL, early 20’s, walking down a lonely, moonlit country road. Carrying a knapsack. HEADLIGHTS approach from behind. She sticks her thumb out... ...and the CAR passes... ...leaving her alone again. The owl HOOTS high in the tree. The girl turns and keeps walking...until she hears something. She stops, looks over her shoulder. Sees nothing. Hears nothing. Starts walking again... ...until she hears something a second time. She glances over her shoulder again, but this time she doesn’t stop. She’s spooked. She starts to walk faster... ...and then she’s almost jogging, because whatever she hears is getting closer... She drops her knapsack, fumbles to pick it up, in a panic now...and before she can start running again... ...a RIDER ON HORSEBACK hurtles over a split-rail fence... ...we hear a CLASH OF METAL... ...and then a shiny SABER flashes in the moonlight... ...and we follow the GIRL’S SEVERED HEAD as it cartwheels through the air and lands in the middle of the country road. The BLOODY HEAD (eyes wide open) rolls to a stop and we HOLD on it for a quiet beat...then the owl HOOTS again...and we slowly PAN back to the girl’s crumpled body on the side of the road... ...where the RIDER dismounts in the background. We only see him in silhouette, framed by moonlight. And then the sound of an APPROACHING HORSE fills the night... ...and A SECOND RIDER arrives and dismounts.
    [Show full text]
  • Shadows Over Filmland Excerpt (3Mb PDF)
    TRAIL OF CTHULHU DOUBLE FEATURE century’s horror fiction, he was unwilling to completely abandon them in his own work. His earlier fiction happily trades in such standard tropes, and even his later “Furtiveness and secretiveness seemed universal in this hushed city hyper-scientific horrors recapitulate and of alienage and death, and I could not escape the sensation of being reshape the Gothic horror archetypes watched…” rather than rejecting them entirely. This brief examination of Lovecraft’s -- H.P. Lovecraft, “The Shadow Over Innsmouth” treatment of these standards may inspire Trail of Cthulhu Keepers to likewise project the classic figures through a Cthulhoid lens. The Vampire On the surface, the two great streams hiding it under an Edgar Allan Poe title Lovecraft’s tales actually include two of horror that flowed out of the 1930s (The Haunted Palace). traditional vampires. The monstrosity in would seem to have little in common. the basement of “The Shunned House” H.P. Lovecraft’s “cosmic materialism” But underground, appropriately is a pseudo-scientific translation of the grew in intricate patterns of words, enough, the two rivers blend. Both disembodied blood-drinking spirits building sublime dread from the hints Lovecraft and Laemmle drew their of New England folklore; it absorbs and edges revealed by modern science archetypes from the Gothic “terror- the entire personality and life-force and technology. The “monster rally” tale” wellsprings of Shelley, Stoker, and of its victims, and engages in a sort of horror films of Carl Laemmle Jr’s Stevenson. And both responded to, and mesmeric possession similar to Lugosi’s Universal Studios (and even moreso reflected, the terrors characteristic (and Stoker’s) Dracula.
    [Show full text]
  • ANIME from Akira to Princess Mononoke Experiencing Contemporary Japanese Animation
    ANIME from Akira to Princess Mononoke Experiencing Contemporary Japanese Animation Susan J. Napier ANIME ✱ from Akira to Princess Mononoke Experiencing Contemporary Japanese Animation Susan J. Napier for St. Martin’s Griffin ANIME FROM AKIRA TO PRINCESS MONONOKE © Susan J. Napier, 2001 All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. Portions of chapter 4, “Controlling Bodies,” first appeared in “The Frenzy of Metamorphosis: The Body in Japanese Pornographic Animation,” by Susan J. Napier in Word and Image in Japanese Cinema, Dennis Washburn and Carole Cavanaugh, eds. Reprinted with the permission of Cambridge University Press. First published 2000 by PALGRAVE 175FifthAvenue,NewYork,N.Y. Companies and representatives throughout the world PALGRAVE is the new global publishing imprint of St. Martin ‘s Press LLC Scholarly and Reference Division and Palgrave Publishers Ltd (formerly Macmillan Press Ltd). ISBN 0-312-23862-2 hardback ISBN 0-312-23863-0 paperback Library of Congress Cataloging-in-Publication Data Napier, Susan Jolliffe. Anime from Akira to Princess Mononoke : experiencing contemporary Japanese animation / Susan J. Napier. p. cm. Includes bibliographical references and index. ISBN 0-312-23862-2 — ISBN 0-312-23863-0 (pbk. : alk. paper) 1. Animated films—Japan. I. Title. NC1766.J3 N37 2001 791.43’3—dc21 00-051473 Design by planettheo.com First edition: May 2001 10 9 8 7 6 5 4 3 2 Printed in the United States of America. For Julia Moon Prism Power! This page intentionally left blank CONTENTS Acknowledgments..................................vii PART ONE INTRODUCTION CHAPTER ONE WhyAnime?........................................3 CHAPTER TWO AnimeandLocal/GlobalIdentity.......................15 PART TWO BODY, METAMORPHOSIS, IDENTITY CHAPTER THREE Akira and Ranma 1/2: The Monstrous Adolescent .
    [Show full text]
  • MARSHALL HARVEY, ACE Editor
    MARSHALL HARVEY, ACE Editor Selected Feature Films: THE CHRISTMAS PRINCE - Netflix - Alex Zamm, director BURYING THE EX - Voltage Entertainment - Joe Dante, director DRACULA 3D - IFC Midnight - Dario Argento, director BEVERLY HILLS CHIHUAHUA 2 - Disney - Alex Zamm, director THE HOLE - Bold Films - Joe Dante, director DR. DOOLITTLE 5 - 20th Century Fox - Alex Zamm, director HELLHOUNDS - Sabbatical Pictures - Scott Ziehl, director RIDING THE BULLET - MPCA - Mick Garris, director LOONEY TUNES: BACK IN ACTION - Warner Bros. - Joe Dante, director THE TOUCH - Mythical Films - Peter Pau, director LAKE PLACID - Phoenix Pictures - Steve Miner, director SMALL SOLDIERS - DreamWorks - Joe Dante, director BIG BULLY - Morgan Creek/Warner Bros. - Steve Miner, director DON'T BE A MENACE TO SOUTH CENTRAL... - Island World - Paris Barclay MY FATHER, THE HERO - Disney - Steve Miner, director MATINEE - Universal - Joe Dante, director DROP DEAD FRED - New Line Cinema - Ate de Jong, director THE 'BURBS - Universal - Joe Dante, director DATE WITH AN ANGEL - DEG - Tom McLoughlin, director THE SWORD AND THE SORCERER - Group One - Albert Pyun, director Television: 12 DEADLY DAYS - YouTube Red - Joe Lynch, director SHUFFLETON'S BARBERSHOP - The Hallmark Channel - Mark Jean, director FEAR ITSELF “New Year’s Day” - NBC /Industry Entertainment - Darren Lynn Bousman, director FEAR ITSELF “Eater”- NBC/Industry Entertainment - Stuart Gordon, director FEAR ITSELF “The Sacrifice”- NBC/Industry Entertainment - Breck Eisner, director MASTERS OF HORROR “Dreams in the Witch
    [Show full text]
  • Name IT. CHANGE IT. SEXISM & EQUALITY DON't MIX!
    The Women’s Media Center MEDIA sexism & equality don’t mix! GUIDE NameIt to Gender ChangeIt Neutral Coverage of Women .org Candidates + Politicians sexism & equality don’t mix! The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians By Rachel Joy Larris and Rosalie Maggio NameIt ChangeIt .org info @NameItChangeIt.org @NameItChangeIt Facebook.com/NameItChangeIt WOMEN’S MEDIA CENTER Acknowledgments The Women’s Media Center was co -founded by Jane Fonda, Robin Morgan, and Gloria Steinem to make women visible and powerful in media. This guide was written and produced by the Women’s Media Center. Rachel Joy Larris, communications manager, wrote the guide; Rosalie Maggio wrote the glossary section which is from Unspinning The Spin: The Women’s Media Center’s Guide to Fair + Accurate Language . The staff and board would like to thank Mary Thom for her editorial contributions to the guide. Name It. Change It. is a collaborative project of The Women’s Media Center and She Should Run. Special thanks to Lauren Embrey and the Embrey Family Foundation for supporting the creation and production of this guide. Copyright 2012 Women’s Media Center. No part of this publication can be reproduced without permission in writing from the Women’s Media Center. sexism & equality don’t mix! TABLE OF CONTENTS Introduction .................................................................1 What is Name It. Change It? .............................................. 1 What Does It Mean For Media? .......................................... 2 Guiding Rules For Gender Neutrality .....................3 Rule of Reversibility ............................................................ 3 Chart of Reversibility .......................................................... 3 Past Instances Of Sexism In Media ........................................4 Parallelism: When Everything Isn’t Equal ...............................
    [Show full text]
  • Tracy Martin,Lovecraftian Films Designed to Terrify,Book Review
    August Pin-Up of the Month: Tracy Martin Tracy Martin Occupation: Production Operations Manager (@ Retail Solutions Inc – SaSS company) Favorite Book: My favorite recent book is Night Circus, but my all time favorite is Jane Eyre. Favorite Quote: “You miss 100% of shots you don’t take.” Wayne Gretsky He doesn’t specify which kind – I am a Jager bomb kind of girl. What’s your dream job? Elementary school art program director; they’re uninhibited and it would be fun and stress free! Tell us something we don’t know about you. I was in the active duty Air Force studying Arabic, when I met my husband nearly 20 years ago…we’ve been married since 1995 Favorite Creature of the Night: Vampires. Who wouldn’t want a real life Cullen around? Biggest Irrational Fear: As a rational person, I would have to say not being prepared for the Zombie Apocalypse. Lovecraftian Films Designed to Terrify What H.P. Lovecraft-themed magazine would be complete without a list of Lovecraftian-style movies? Ridley Scott, John Carpenter, Joss Whedon and Sam Raimi have all made films with a heavy Lovecraft influence. So, here’s a list to help creep the shit out of you and your loved ones. Die, Monster, Die! (1965) is a take on Lovecraft’s The Colour Out of Space. The film stars legendary horror actor Boris Karloff and is about a radioactive meteorite wreaking havoc on a small New England estate. Lovecraft’s original text is a seemingly impossible one to adapt to the screen due to the meteorite’s incomparable-to-anything-of-this-earth color.
    [Show full text]
  • PRPL Master List 6-7-21
    Author Title Publication Info. Call No. Abbey, Edward, 1927- The serpents of paradise : a reader / Edward Abbey ; edited by New York : H. Holt, 813 Ab12se (South Case 1 Shelf 1989. John Macrae. 1995. 2) Abbott, David, 1938- The upright piano player : a novel / David Abbott. London : MacLehose, Abbott (East Case 1 Shelf 2) 2014. 2010. Abe, Kōbō, 1924-1993. Warau tsuki / Abe Kōbō [cho]. Tōkyō : Shinchōsha, 895.63 Ab32wa(STGE Case 6 1975. Shelf 5) Abe, Kōbō, 1924-1993. Hakootoko. English;"The box man. Translated from the Japanese New York, Knopf; Abe (East Case 1 Shelf 2) by E. Dale Saunders." [distributed by Random House] 1974. Abe, Kōbō, 1924-1993. Beyond the curve (and other stories) / by Kobo Abe ; translated Tokyo ; New York : Abe (East Case 1 Shelf 2) from the Japanese by Juliet Winters Carpenter. Kodansha International, c1990. Abe, Kōbō, 1924-1993. Tanin no kao. English;"The face of another / by Kōbō Abe ; Tokyo ; New York : Abe (East Case 1 Shelf 2) [translated from the Japanese by E. Dale Saunders]." Kodansha International, 1992. Abe, Kōbō, 1924-1993. Bō ni natta otoko. English;"The man who turned into a stick : [Tokyo] : University of 895.62 Ab33 (East Case 1 Shelf three related plays / Kōbō Abe ; translated by Donald Keene." Tokyo Press, ©1975. 2) Abe, Kōbō, 1924-1993. Mikkai. English;"Secret rendezvous / by Kōbō Abe ; translated by New York : Perigee Abe (East Case 1 Shelf 2) Juliet W. Carpenter." Books, [1980], ©1979. Abel, Lionel. The intellectual follies : a memoir of the literary venture in New New York : Norton, 801.95 Ab34 Aa1in (South Case York and Paris / Lionel Abel.
    [Show full text]
  • Cultural Placemaking in Washington's U Street Corridor
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2020 Cultural Placemaking in Washington’s U Street Corridor: A Catch 22 Maya Coleman Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Urban Studies and Planning Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/6293 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Cultural Placemaking in Washington’s U Street Corridor: A Catch 22 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Urban and Regional Planning at Virginia Commonwealth University by Maya Coleman, B.A. in Political Science Hampton University, 2018 Director: Dr. Kathryn Howell, Assistant Professor, Urban and Regional Planning Virginia Commonwealth University Richmond, Virginia May, 2020 Acknowledgments To my family and friends that motivated me with constant support and positivity, I could not do this without you. Thank you to Dr. Howell for the outstanding guidance, along with my other committee members Dr. Dickinson and Dr. Fasulo for their invaluable support. Thank you to the universe and God for keeping me grounded. The support from any and all involved in my journey of completing this thesis is greatly appreciated. Contents Abstract .......................................................................................................................................................
    [Show full text]
  • SILENCE Silence Is © 2018 by James Banks and Licensed Under a Creative Commons License: Attribution- Noncommercial-Noderivatives 4.0 International
    SILENCE Silence is © 2018 by James Banks and licensed under a Creative Commons license !ttribution" NonCommercial"NoDerivatives $%0 International% See creativecommons%org/licenses/by"nc"nd'$%0/ A note on t(e ty)e t(e Com)uter *odern +amily ,as desi&ned by #onald -nut(% .(e +onts em)loyed in t(is ,ork are Com)uter *odern Seri+/ and +or t(e (eaders/ Com)uter *odern Sans Seri+% INTRODUCTION .(is book is a record of t(ree mont(s 0ebruary/ *arc(/ and !)ril 1incom)lete t(ou&( it may be2% 3 Table of Contents INT45#UC.I5N%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%3 0EB46!47%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%8 1. Silence/ Loveless Lostboyevsky%%%%%%%%%%%%%%%%%%9 2. *y Bloody Blue%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%32 3% Cafe Soundtrack%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%8$ $% Ein:uss and Background%%%%%%%%%%%%%%%%%%%%%%%%%62 8% Silent Sno,y ;alentine%%%%%%%%%%%%%%%%%%%%%%%%%%%%80 *!4C<%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%105 9% 5*ENER#S =$>/ Homer ?uincy Smit(/ *ysel+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%106 @% Heaven or Las ;egas/ #amage/ Ein:uss%124 8. Aapre .igre EP/ Blue Bell -noll/ Heaven or Las ;egas%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%144 B% Silence%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%159 10. Silence%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%171 11. Silence%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%184 12. Silence%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%193 LET.ERS%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%203 16 *arc( 2018%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%203
    [Show full text]
  • Television Reviews
    Page 134 TELEVISION REVIEWS Witchcraft 101: The Secret Circle (CW/ Sky Living, Sept 2011 – May 2012) Vampires, it goes without saying, are “In”. So are zombies. We have, in fact, seen so many of these undead consumers of human flesh and blood in recent years, on both the small and big screens, that a certain degree of fatigue is setting in. Recent efforts to broaden the range of monsters on TV are therefore to be lauded. On this side of the Atlantic, Sky Living has done some sterling work in this regard, struggling to relieve the gloom of this rain­rotted, recession­ridden little isle with a rather more glitzy kind of darkness, in the shape first of glossy teenage werewolves (in Teen Wolf) and now, in a new 22­episode adaptation of L.J. Smith’s T he Secret Circle novels, glossy teenage witches. Like many an oppressed minority, witches have had a less than easy time of it over the years. After centuries of persecution and culturally sanctioned mass­murder, as Bernice Murphy explains at length in her book Suburban Gothic , they have largely been relegated to narratively and socially subordinate positions in fiction, theatre and film. Domesticated to ditsy housewife status in shows like Bewitched and Charmed, or to second­fiddle roles in Buffy the Vampire Slayer, True Blood and indeed Macbeth, witches fare even worse in those texts which seek to exonerate them and counter long­standing prejudice. Some of the finest depictions of witch­related panics, including Arthur Miller’s The Crucible, Michael Reeve’s Witchfinder General and even, arguably, The Blair Witch Project, succeed in convincing us that witches have been wrongfully demonised only by insisting that there is no such thing, and that those accused of witchcraft are simply misunderstood old women (Diana Wynne Jones’ Witch Week being a notable and much­neglected exception).
    [Show full text]