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In my translator’s preface to Saneatsu Mushanokoji’s The Innocent (Omedetaki Hito of 1911), I noted a curious feature of the novella: Mushanokoji seems to anticipate aspects of very modern writers such as Samuel Beckett and Italo Calvino in particular. Mushanokoji’sThe Innocent intriguingly prefigures elements of Beckett’s minimalism and Calvino’s conceptual play, bridging literary traditions in… Read more
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Welcome to the final dramatic chapter of Baron Montez of Panama and Paris. We witness the culmination of Louise and Harry’s romance and the end of Fernando Montez. Readers have been eagerly anticipating the final revenge against Montez, for every time they pick up the yellow-back novel to read, the cover screams of the lustful,… Read more
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The reader is treated to the resolution of affairs with Baron Montez, so far as the Larchmont family is concerned. This is orchestrated by Harry, with the unexpected assistance of his brother, who is still flitting between mental states. This penultimate chapter opens with Baron Montez deliberating on the fate of his black morocco-bound pocketbook.… Read more
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Open Access Review | Frame by Frame: A Materialist Aesthetics of Animated Cartoons (2019) by Hannah Frank | The truly monumental film director Sergei Eisenstein, pioneer of the “montage of attractions,” creator of the intense Russian masterpieces Battleship Potemkin (1925), Strike (1925) and Ivan the Terrible (1944), loved Mickey Mouse. Pre-colour Mickey exemplifies what Eisenstein… Read more
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The previous chapter closed dramatically with a frightened and frantic Louise at the door of Larchmont’s hotel clutching ‘THE BULKY, BIG POCKETBOOK OF BARON FERNANDO MONTEZ!’ Gunter’s decision to end the previous chapter like this, with Louise rejoining Harry, means that this coming chapter falls into retrospective: detailing how Louise came to have the object… Read more
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