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The power of myth series6/30/2023 ![]() ![]() ![]() The Power of Myth is a sort of campfire dialogue between Campbell and writer/journalist Bill Moyers, covering the stories and symbols of civilization. Director George Lucas said that Campbell's The Hero With A Thousand Faces (1949) was the catalyst in dreaming up the film, and that the inspiration for Yoda, the ancient and wise one, was Campbell himself. Though he was a respected academic mythologist, Campbell also played a key role in the creation of a definitive modern tale, Star Wars. This is a red-blooded book from a man who lived a very full life. Campbell was essentially a storyteller, spending his days uncovering and telling old stories that he felt had the power to soak up the alienation of technological society. ![]()
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Beautiful world where6/30/2023 ![]() ![]() ![]() From an early age, Simon has been polite, clean, and plagued by romantic fits of epilepsy. The recuperation of Catholicism is staged most overtly through Eileen’s romantic interest - fair-haired heartthrob Simon, a childhood crush that has turned fitfully into an adult one, and a regular churchgoer with a prehistory that reads more like hagiography. In Rooney’s attempt to imagine the world radically otherwise, she returns to two venerable national devotions: Irish Catholicism and James Joyce. In their email exchanges, Alice and Eileen parse the slow violence of their contemporary moment - imminent environmental catastrophe, xenophobic conservative politics, and, by the novel’s end, an ongoing global pandemic. Her friend Alice shares a partial biography with Rooney: she’s a well-spoken novelist grappling with raging success and exasperating celebrity before the age of 30. ![]() Eileen is a smart and woefully underpaid editorial assistant in Dublin. THE EPISTOLARY NOVEL hits inboxes in Sally Rooney’s latest novel, Beautiful World, Where Are You. ![]()
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The forbidden book clive barker6/30/2023 ![]() ![]() ![]() The three-part collection is split into different forms of stories. It makes sense, then, that he would focus his stories on the most corporeal of all human acts: fornication and decay. His prose style is unflinching and brutal, often satirical, but always engrossing (emphasis on gross) in its exploration of the human body. Not so with Clive Barker, who broke open the pairing with his debut work, the BOOKS OF BLOOD.įirst published in 1984, these stories combine two things that often go together – sex and death – but does so in such a blatant, shameless, and powerful way that is so rarely seen. For the most part these crossovers are subtle and quiet. But history goes to show, these two genres often cross over, finding commonalities in each other that perhaps should not be uncovered. Logic would never place horror and erotica in the same field. ![]() |