Disorder and Artificiality in the Day of the Locust
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Pure Magazine
PURE MAGAZINOctobeEr 2017 Jack O’Rourke Talks Music, Electric Picnic, Father John Misty and more… The Evolution Of A Modern Gentleman Jimmy Star chats with Hollywood actor... Sean Kanan Sony’s VR capabilities establishes them as serious contenders in the Virtual Reality headset war! Eli Lieb Talks Music, Creating & Happiness… Featured Artist Dionne Warwick Marilyn Manson Cheap Trick Otherkin Eileen Shapiro chats with award winning artist Emma Langford about her Debut + much more EalbumM, tour neMws plus mAore - T urLn to pAage 16 >N> GFORD @PureMzine Pure M Magazine ISSUE 22 Mesmerising WWW.PUREMZINE.COM forty seven Editor in Chief Trevor Padraig [email protected] and a half Editorial Paddy Dunne [email protected] minutes... Sarah Swinburne [email protected] Shane O’ Rielly [email protected] Marilyn Manson Heaven Upside Down Contributors Dave Simpson Eileen Shapiro Jimmy Star Garrett Browne lt-rock icon Marilyn Manson is back “Say10” showcases a captivatingly creepy Danielle Holian brandishing a brand new album coalescence of hauntingly hushed verses and Simone Smith entitled Heaven Upside Down. fantastically fierce choruses next as it Irvin Gamede ATackling themes such as sex, romance, saunters unsettlingly towards the violence and politics, the highly-anticipated comparatively cool and catchy “Kill4Me”. Front Cover - Ken Coleman sequel to 2015’s The Pale Emperor features This is succeeded by the seductively ten typically tumultuous tracks for fans to psychedelic “Saturnalia”, the dreamy yet www.artofkencoleman.com feast upon. energetic delivery of which ensures it stays It’s introduced through the sinister static entrancing until “Je$u$ Cri$i$” arrives to of “Revelation #12” before a brilliantly rivet with its raucous refrain and rebellious bracing riff begins to blare out beneath a instrumentation. -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
Ministry Dissolves Transparency Society’S Board
N IO T IP R C S B U S THURSDAY, MAY 7, 2015 RAJJAB 18, 1436 AH www.kuwaittimes.net Bollywood star Inspired Salman Khan Messi lifts gets 5 years Barca past for40 hit-and-run Bayern20 UAE, EU sign Schengen Min 27º Max 35º High Tide visa waiver agreement 02:23 & 13:11 Low Tide 07:14 & 20:09 40 PAGES 40 16513 NO: FILS 150 UAE to send probe named ‘Hope’ to Mars in 2020 BRUSSELS: The EU and the United Arab Emirates Amir meets Saudi dep crown prince (UAE) signed a Schengen visa waiver agreement at a ceremony in Brussels yesterday. The new visa regime provides visa-free travel for EU citizens when travelling to the UAE and for citizens of UAE when travelling to the EU for a period of stay of 90 days, said a statement released by the EU Council of Ministers. UAE is the first Arab country to sign the Schengen-visa waiver agreement with the 28- member European bloc. On behalf of the EU, the agreement was signed by representatives of the current EU Latvian Presidency and the European Commission. The UAE Ambassador to the EU Sulaiman Hamid Al- Mazroui signed the agreement for his country. Visa- free travel applies to all categories of persons and for any purpose of travel, including tourism, cultur- al visits, scientific activities, family visits, business, etc, except for persons travelling for the purpose of carrying out a paid activity. The agreement will now be sent to the KUWAIT: HH the Amir of Kuwait Sheikh Sabah Al-Ahmad Al-Jaber Al-Sabah European Parliament with a view to obtaining its meets Saudi Deputy Crown Prince Mohammad bin Salman at Dar Salwa yes- consent before it can be concluded. -
ANALYSIS the Day of the Locust (1939) Nathanael West (1903-1940)
ANALYSIS The Day of the Locust (1939) Nathanael West (1903-1940) 1 The novel opens and ends with a mob scene, the first artificial and the last real. Circular structure is a characteristic of the transcendental mode and of Modernism, as in The Sun Also Rises and Finnegans Wake. In contrast, the structure of Locust implies a downward rather than an upward or progressive movement— to madness rather than transcendence. The great noise outside the office of Tod Hackett is a fake army moving “like a mob; its lines broken, as though fleeing from some terrible defeat.” This image prefigures the defeat of illusory dreams that provokes the mob riot at the end of the novel. The soldiers of European nations at war evokes the brutal recent history of western civilization, culminating in decadent Hollywood. They are stampeding to the wrong “stage” and their leader, in a cork sun-helmet that evokes colonialism, is chasing after them cursing and shaking his fist like a fool in a dark farce. Late in the novel Faye Greener, another force of Nature, is said to be “like a cork. No matter how rough the sea got, she would go dancing over the same waves that sank iron ships and tore away piers of reinforced concrete.” That the dominant forces of history and Nature are beyond control is a Gothic and a Naturalist vision of life. Naturalistic also is the detached view West takes of the retired people who “had come to California to die.” They are like locusts. West implies that believing in what you see on the movie screen is as foolish as believing that the set of “half a Mississippi steamboat” will get you somewhere. -
An Ethical Criticism of Nathanael West by Stefanie Stiles a Thesis
To Hurt the Pain: An Ethical Criticism of Nathanael West by Stefanie Stiles A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2012 © Stefanie Stiles 2012 AUTHOR’S DECLARATION I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract Nathanael West is typically considered to be a “major minor” American writer of the late modernist period. Best known today for Miss Lonelyhearts (1933) and The Day of the Locust (1939), West wrote four dark novellas that excoriated mainstream American culture of the 1930s. Earlier critics viewed his writing mainly as an existentialist exploration of universal human suffering; more recently, critics have claimed West as an avant-garde devoted to the criticism of Depression-era capitalism and consumer society. This thesis represents something of a return to the earlier, humanist study of West’s fiction, which he himself regarded primarily as moral satire. What differentiates this project from earlier studies, however, is its style of criticism. Since the 1980s, a new revitalized and reoriented ethical criticism has emerged, as evidenced by the proliferation of scholarly works and journal special issues on the topic of literature and ethics, the growing number of readers like Todd Davis and Kenneth Womack’s Mapping the Ethical Turn (2001), and the general trend toward linking moral philosophy and literary criticism, as carried out by Martha Nussbaum and Richard Rorty, among others. -
February 2007
The Poly Optimist Vol. ii John H. Francis Polytechnic High School february 2007 Parrots Prep for “Five chicks in mini skirts, fish nets and thigh-high boots.” Science Bowl XV By Karen Aguilar elimination rounds are held all Optimist Staff Writer day. The final session is based Showalter Rocks 10 Parrots from Poly’s on the old “General Electric Math/Science magnet are pre- College Bowl” television paring to compete for the re- game show. Subjects included gional title of the 15th annual computer science, biology, Kosovo for USO Los Angeles area Science physics, geology, astronomy, Bowl on February 24. The robotics and space travel. Poly drama teacher takes her band on the road to Kosovo. Bowl is sponsored by the De- The winner will receive partment of Water and Power. $1,000 in science equipment, materials or software and each By Meri Sarkisyan If the Poly squad can win the Optimist Staff Writer regional title, they will com- of its five team members will pete at the national finals to be receive Hitachi scholarships What’s a Poly teacher do- held April 27-30 in Washing- of $1,000. The second-, third- ing halfway round the world, ton, D.C. and fourth-place schools will on the rolling hills and farm- Science teacher Karen Bo- also receive money for equip- land of Serbia, singing to brow is sponsoring the teams, ment, the DWP said. hundreds of America’s finest. who also get training from a Public schools from Find out as the Optimist goes Science Bowl coach. This is throughout the Los Ange- on tour with Drama teacher Bobrow’s first year as spon- les Unified School District Amy Showalter. -
Nathanael West's Vision of the End: the Apocalypse As Ludicrous
The University of North Carolina at Greensboro JACKSON LIBRARY UNIVERSITY ARCHIVES WILSON, ASHBY S. , JR. Nathanael West's Vision of the End: The Apocalypse as Ludicrous. (1976) Directed by: Dr. James Ellis. Pp. 53. Nathanael West is regarded generally as a deeply pessi- mistic artist whose dark vision finds nothing but destruction and death in store for humanity. The purpose of this thesis is to explore the implications of Nathanael West's Vision of the apocalypse and to argue that his dark warning is tempered by his ironic comedy. The failure of the dream, the futility of the quest, the denial of the wish — these are the central themes in each of West's novels. West tells us that since modern dreams have failed humanity there is no alternative but apocalyptic violence. Throughout West's fiction there is created a per- vasive mood of Impending doom, a clear sense that the world is fast approaching the ultimate disaster of apocalypse. Each novel culminates in an act of violence which promises to initiate the apocalypse. However, in American literature there is an apocalyptical tradition which describes the apocalypse as essentially humorous. This thesis argues that West joins this tradition by bringing a comic spirit to his evocation of the coming apocalypse. Through his humor Nathanael West reveals the coming end to be the ultimate joke, a vast cosmic joke played on an 1 unsuspecting humanity. West's ironic comedy mitigates the onslaught of apocalypse and brings a sense of compassion to his satiric portrayal of what he saw to be the absurdity of human life. -
Bi Guy: Vol. 4 by Mason Lee
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F Scott Fitzgerald's "The Last Tycoon" (1941) and Nathanael West's "The Day of the Locust" (1939)
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1974 The Hollywood Metaphor: F Scott Fitzgerald's "The Last Tycoon" (1941) and Nathanael West's "The Day of the Locust" (1939) Anthony Glyn Roberts College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Roberts, Anthony Glyn, "The Hollywood Metaphor: F Scott Fitzgerald's "The Last Tycoon" (1941) and Nathanael West's "The Day of the Locust" (1939)" (1974). Dissertations, Theses, and Masters Projects. Paper 1539624859. https://dx.doi.org/doi:10.21220/s2-m3rn-5g52 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE HOLLYWOOD METAPHOR: . SCOTT FITZGERALD'S THE LAST TYCOON (1941) AND NATHANAEL WEST'S THE DAY OF THE LOCUST (1939) A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Anthony Glyn Roberts APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Anthony Glyn Roberts Author Approved, July, 1974, Scott Donaldson \ A U ^ > r if r ( Jjohn H. Willis/' Jr . ___ I O' Martha Reid 608950 I la memory of my father, Glyn Roberts, and to my mother, Irene. -
Literary Miscellany
Literary Miscellany Including Fine Printing, Artist’s Books, And Books & Manuscripts In Related Fields. Catalogue 329 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. -
Artists in Hollywood: Thomas Hart Benton and Nathanael West Picture America’S Dream Dump
9 Artists in Hollywood: Thomas Hart Benton and Nathanael West Picture America’s Dream Dump Erika Doss University of Notre Dame In the late 1930s two American artists, one a popular painter and the other a struggling novelist, depicted Hollywood in different yet related projects. Thomas Hart Benton’s mural-sized painting Hollywood (1937-38) was intended, the artist remarked, to show that the movie industry was “pre- dominantly an economically conditioned Art” (Color plate 1). As Benton wrote in “Hollywood Journey,” a short essay describing the month he spent sketching Southern California’s movie studios: The movie Art is not only a business but a busi- ness expression. It speaks in by and through the patterns of the American business mind. It is go-getter, optimistic, sentimental, politically conservative. It sings and clowns in Rotary Club fashion, and romances with a high regard for the status quo in everything. (Benton, “Hollywood Journey”).1 In his satirical novel The Day of the Locust (1939), Nathanael West similarly framed Tinseltown as an industry run by “damn good business men” who despite being “intellectual stumblebums” had a “strangle hold” over the movies. From its assembly-line production system to the orchestrated riots of its movie premieres, Hollywood’s “dream factory,” West elaborated, was determinedly—and destructively—a “picture business” (Locust 253, 255). Both artists were well aware of Hollywood’s preferred and repeat- edly self-promoted image as a “leisure utopia” of big-name stars and luxu- rious mansions (May, Screening 167). Likewise, both realized the popular and powerful national fantasy of “making it” in the movies as the pinnacle of the American Dream. -
Nathanael West and the Mystery of Feeling
588 Nathanael West and the Mystery of Feeling NATHANAEL WEST AND THE f MYSTERY OF FEELING Jonathan Greenberg But "men" are undoubtedly, to a greater of less extent, ma- chines. And there are those amongst us who are revolted by this reflection, and there are those who are not. —Wyndham Lewis, Men Without Art Surely even within the vision of the human body as a machine, it is not a machine the way the machine is a machine? —Stanley Cavell, The Claim of Reason It is the peculiar fate of literary modernism to be vulnerable to the incompatible charges of both decadent libertinism and rearguard conservatism. For cultural conservatives the early decades of the last century mark the beginning of the end—the licensing of moral and sexual transgression and the onset of a pernicious relativism—while critics on the left have disparaged the modernist emphasis on formal experiment as an elitist effort to distance high art from the popu- lar. Despite obvious differences, both charges share a distrust of modernism's well-known rejection of an aesthetics based in readerly engagement and sympathy, a rejection that is read, often too eas- ily, as a sign of amorality. Yet for better or worse modernism both chronicled and fostered a significant shift in the way that people know and feel. As early as 1971 Lionel Trilling discerned this shift when he characterized the condition of modernity, if not modernism per se, as the demise of the value of "sincerity," which he defined as "a congru- ence between avowal and actual feeling" (2).