Suppressed Soundtracks: Tracking Camp Trajectory in American Queer Cinema’s Music, from Kubrick to Tarantino

“For now, it was lovely music that came to my aid. There was a window open with the stereo on, and I viddied right at once what to do.” ~ Alex DeLarge, A Clockwork Orange In Stanley Kubrick’s dystopian, totalitarian 1971 picture A Clockwork Orange, a musical motif is enough to incite violence – one movement of Beethoven’s “Symphony No.9 in D Major” enough to … Continue reading Suppressed Soundtracks: Tracking Camp Trajectory in American Queer Cinema’s Music, from Kubrick to Tarantino

Grim, Gyroscopic Apocalypse: Explicating W.B. Yeats’ “The Second Coming”

“And I stood upon the sand of the sea, and saw a beast rise up out of the sea…”                                                                                                             ~ Revelation, 13:1 In Poetry Magazine’s May 1914 issue, Ezra Pound unpacks William Butler Yeats’ late-career progression – particularly the Irishman’s shift into what Pound deems a “gaunter” voice – his work “seeking greater harshness of outline.” At the time, Yeats had not … Continue reading Grim, Gyroscopic Apocalypse: Explicating W.B. Yeats’ “The Second Coming”