The Frye sculpture proposal remains very much alive in third place — the top two finishers receive a $25,000 prize. Voting ends tomorrow. Vote today and tomorrow here.
A mashup by Media Matters for America of Beck’s appropriation of the anniversary of Martin Luther King Jr’s “I have a dream” speech on Saturday, including a long string of incendiary lies and provocation from his radio and Fox News shows.
A taste of those lies and provocation: “I can tell you there will be rivers of blood.” “Very dark dudes are coming for us.” “There are Satan worshipers who are in office.” “That’s when the arrests start . . . that’s when the shootings start.” “Drive a stake through the heart of the bloodsucker.” And much, much more.
He’s no Martin Luther King.
Where I come from, we call that “eliminationist rhetoric.”
A real rarity: the Edison Studios 1910 film adaptation of Frankenstein — thirteen minutes and one reel, as was the fashion of the time. It is startling to think that just barely one lifetime after her death, Shelley’s novel was already being adapted at the very dawn of the film industry, making her monster one of the most recognizable of all movie characters, even if that character usually bore little resemblance to her original literary creation.
Today is Mary Shelley‘s birthday (1797-1851).
Frye on Frankenstein in A Study of English Romanticism:
An almost equally remarkable example of Romantic irony is Mary Shelley’s Frankenstein. The story is not, as it often is said to be, a precursor of science fiction: it is a precursor rather of the existential thriller, of such a book as Camus’ L’Etranger. The whole point about the monster is that he is not a machine, but an ordinary human being isolated from mankind by extreme ugliness, Blake’s “different face.” The number of allusions to Paradise Lost in the narrative indicate that the story is a retelling of the account of the origin of evil, in a world where the only creators we can locate are human ones. Frankenstein hunts down his monster in the same way that moral good attempts to destroy the moral evil that it has itself created: Frankenstein is as much a death principle as his quarry, and is surrounded by the vengeful spirits of his monster’s victims. (CW 17, 122)