I'm Nick.

Silver tetradrachm of Syracuse with head of Arethusa (obverse) and quadriga with Nike crowning the charioteer (reverse)

Greek (minted at Syracuse, Sicily), Classical Period, c. 405-400 B.C.

“Complete skeleton of the gigantic Irish deer.” British deer and their horns. 1897.

i was going to put this on a spam account but then decided to put it on a public one. who knows, maybe someone will benefit from it! if i’ve made any mistakes, do let me know

à moi. l’histoire d’une de mes folies (to me. the history of one of my follies or my turn. the tale of my madness)

quod erat demonstrandum (it can be shown)

cubitum eamus? (will you sleep with me?)

consummatum est (it is done)

hoi polloi. barbaroi [the many/majority. barbarian (person who doesn’t speak greek)]

bei nacht und nebel (at night and in fog)

deprendi miserum est (it is wretched to be found out)

khairei (hello)

bakchoi (initiates)

cuniculus molestus (annoying rabbit)

arrectis auribus (attentively/ears peeled)

dormir plutôt que vivre (sleep rather than live)

dans un sommeil aussi doux que la mort (in a sleep as sweet as death)

requiescat in pace (rest in peace)

n’est-ce pas (isn’t that so)

amor vincit omnia (love conquers all)

raison d’être (reason for existence)

nihil sub sole novum (there is nothing new under the sun)

quel plaisir de vous revoir (what a great pleasure to see you again)

genis gratus, corpore glabellus, arte multiscius, et fortuna opulentus (smooth-cheeked, soft-skinned, well-educated and rich)

dénouement (outcome)

salve, amice (hello, friend)

valesne? (are you well?)

quid est rei? (what is the matter?)

benigne dicis (i thank you)

bureau de tabac (tobacco store)

Χαλεπά τά καλά (beauty is harsh)

mais, vrai, j’ai trop pleuré! (oh, truly, i have wept too much!)

les aubes sont navrantes (the dawns are heartbreaking)

hinc illae lacrimae (hence those tears)

The Palgrave Handbook of Contemporary Gothic, edited by Clive Bloom, Palgrave Macmillan, 2020. Cover image by Angela Waye / Alamy Stock Photo, info: palgrave.com.

The Palgrave Handbook of Contemporary Gothic is the most comprehensive compendium of analytic essays on the modern Gothic now available, covering the vast and highly significant period from 1918 to 2019. The Gothic sensibility, over 200 years old, embraces its dark past whilst anticipating the future. From demons and monsters to post- apocalyptic fears and ecological fantasies, Gothic is thriving as never before in the arts and in popular culture. This volume is made up of 62 comprehensive chapters with notes and extended bibliographies contributed by scholars from around the world. The chapters are written not only for those engaged in academic research but also to be accessible to students and dedicated followers of the genre. Each chapter is packed with analysis of the Gothic in both theory and practice, as the genre has mutated and spread over the last hundred years. Starting in 1918 with the impact of film on the genre’s development, and moving through its many and varied international incarnations, each chapter chronicles the history of the gothic milieu from the movies to gaming platforms and internet memes, television and theatre. The volume also looks at how Gothic intersects with fashion, music and popular culture: a multi-layered, multi-ethnic, even a trans-gendered experience as we move into the twenty first century.

Vogue, November 15th, 1917

Hannibal (2013-2015)

And Viktor abused the crap out of the poor creature for not being smart enough when it was only following natural developmental milestones. Because, like most men, like his own father, he wanted to create life but he wasn't interested in raising it beyond that and instead wanted it to be born a doctor ready to show the world how smart Viktor is for creating a carbon copy of his brain except in a stronger immortal body. Elizabeth gave him five minutes of love and let him explore how sounds come out of her mouth and he started talking.

what the people want, the people get

you see

my professor’s take is that mary shelley is feminizing victor throughout the novel, as a way of flipping gender roles and putting a male character through female experiences.

evidence as explained:

victor is creating life. he is putting his health at risk (spends two years with little sleep or socialization) to bring life forth into this world

his illness after he is shocked by the creature coming to life is akin to both ‘hysteria’ and postpartum depression

he pretty much swoons, let’s be honest

henry clerval, a man who has been characterized as manly and heroic, has to chase after damsel-in-distress victor and care for him as he convalesces 

afterward, he hides what he did and went through, for fear that others will label him crazy and emotional and not believe him. sound familiar?

Victor in general is more emotional than the other characters and is constantly tempering his reactions to not be seen as irrational 

the book does not otherwise have central female characters 

Also, Shelley’s mother died in childbirth. It’s interesting, then, that Shelley presents the creation of life as something horrific and damaging. She parallels Victor with her mother.

As if Mary Wollstonecraft never wrote about her life or her own political views. Wollstonecraft was sometimes still used as a public example of how radical views would destroy a woman's life during her daughter's time, but her own words and life become nothing in the above analysis, just her death.

But, most critically for this post, the fucking fact that Mary Shelley (then still Mary Godwin) had birthed two children herself before she wrote Frankenstein, one of which had by that point already died. If you're going to view this as an allegory for pregnancy/post-partum, it absolutely matters that she had children, and one of those children was with her on the trip when she began writing Frankenstein. She had her own experiences of pregnancy and motherhood, including socially disapproved of pregnancy and motherhood (both children were illegitimate, the suicide of Harriet Shelley occurred after their birth and the beginning of writing Frankenstein).

And also, you know, stop pretending like men are never dramatic or ridiculous. Percy Shelley abandoned his pregnant wife and their children when he ran off with Mary. Maybe, you know, that a man who would do things like abandoning his children yet celebrating the birth of his son in the company of his pregnant mistress isn't inconceivable as male behavior because that was how Percy Shelley just actually behaved.

Lord Byron and John Polidori were also on that trip where the initial story was written, and were also incredibly dramatic men.