An affluent womanizer, Tony Bream. The nicest, sweetest girl, Jean Martle. A desperate lover abroad too long in China, Dennis Vidal. The odd Rose Arminger. They all seem like characters from the famed game Clue. In The Other House, Henry James writes an awkward murder mystery vis a vis a novel of manners that begins with some piquant flavor of the supernatural
Hilarious dialogue, telling imagery, and one of the most paranoid and depraved characters in fiction made visualizing this text taking place physically before me easy.
Martha Quest is a woman who has been on the run and has finally settled down in a house that seems to hold her hostage. Mark's house is, like Quest, an empty space filled with ways of being. Like the unfathomable house in The House of Leaves, Mark's space eats memory and consumes identity.
The foreboding lifelessness that stretches itself out before Gustav Aschenbach's life can be summarized by a series of words/phrases that arise consistently or at key moments, such as: "red," "false midsummer," or "diseased city."
William Blake, in many ways, polarizes innocence and experience in his book of poems Songs of Innocence and of Experience. His exploration of these are literally separated by a frontispiece and title page.
The aspect of Ryden's work that tugged on me most aggressively was his integration of children -- particularly prepubescent, white girls -- and meat. His "The Gay '90s" portfolio seems to piggy-back on his earlier "The Meat Show" works in which slabs of meat -- primarily fat rib-eyes -- connote a kind of religiosity.