#j.h. roberts

[graphicpolicy]

Skybound celebrates 20 years of The Walking Dead with variants and weekly drops in October

Skybound celebrates 20 years of The Walking Dead with variants and weekly drops in October #comics #comicbooks #walkingdead #thewalkingdead #twd

Skybound has announced its 20th anniversary celebration of The Walking Dead, the groundbreaking comic series created by Robert Kirkman. The deluxe version of the series will see weekly releases throughout its anniversary month of October, all leading up to the legendary issue #75, now presented in glorious full color for the first time. Skybound debuted a stacked variant lineup for these issues,…

[brigdh]

Is it mid-February? Yes. Am I only just now getting around to finishing up reviewing the books I read in 2024? Also yes.

My Statistics: Total Read: 59 books By women: 29 books, 49% of the total By People of Color: 5, 8% (Oof, really need to up that for 2025) Books I managed to get off my TBR list: 27, 48% New books I bought: 8, 14% Reviews written: 51, 86%. The ones I haven't reviewed at this point I either don't remember well enough to have much to say, or are too similar to another one I did review. I've linked all the reviews I did write down below.

Top Five Books, in no particular order:

King Hereafter, Dorothy Dunnett

The Devourers, Indra Das

The Adventures of Amina al-Sirafi, Shannan Chakraborty

A Fatal Thing Happened on the Way to the Forum: Murder in Ancient Rome, Emma Southon

Rough Trade, Katrina Carrasco

Bottom Five Books:

Smilla's Sense of Snow, Peter Hoeg, trans by Tiina Nunnally

A World Lit Only by Fire: The Medieval Mind and the Renaissance: Portrait of an Age, William Manchester

The Whale: A Love Story, Mark Beauregard

Better the Blood, Michael Bennett

The Burning Girls, C.J. Tudor

Complete list of the books I read in 2024 under the cut

January:

Dive Deeper: Journeys with Moby Dick, George Cotkin

The Adventures of Amina al-Sirafi, Shannan Chakraborty

Death and Hard Cider, Barbara Hambly

Better the Blood, Michael Bennett

February:

A Fatal Thing Happened on the Way to the Forum: Murder in Ancient Rome, Emma Southon

Beautiful Darkness, Fabien Vehlmann and Kerascoet

Worn: A People’s History of Clothing, Sofi Thanhauser

The Piazza Tales, Herman Melville

Women’s Work: The First 20,000 Years, Elizabeth Berber

March:

The Golden Thread: How Fabric Changed History, Kassia St. Clair

Spain: the Centre of the World, 1519-1682, Robert Goodwin

The Man Who Invented Fiction: How Cervantes Ushered in the Modern World, William Egginton

The Spanish Inquisition, Helen Rawlings

Lope de Vega – Three Major Plays, Trans. Gwynne Edwards

April:

Imperial Spain, J.H. Elliott

Don Quixote, Cervantes. Trans. Grossman

Don Quixote, Cervantes. Trans. Lathrop

May:

Spanish Society, 1348-1700, Teofilo F. Ruiz

Desolation Island, Patrick O’Brian

June:

Dante in Love: The World’s Greatest Poem and How It Made History, Harriet Rubin

Kiss Her Once For Me, Alison Cochrun

Italy in the Central Middle Ages, Ed, David Abulafia

July:

System Collapse, Martha Wells

Melville: His World and Work, Andrew Delbanco

Reading Dante: From Here to Eternity, Prue Shaw

August:

King Hereafter, Dorothy Dunnett

All the White Spaces, Ally Wilkes

Smilla's Sense of Snow, Peter Hoeg, trans by Tiina Nunnally

Doctor Faustus, Christopher Marlowe

A History of Magic and Witchcraft: Sabbats, Satan and Superstitions in the West, Frances Timbers

Royal Witches: Witchcraft and the Nobility in Fifteenth-Century England, Gemma Hollman

September:

The Divine Comedy: Hell, Dante, trans by Dorothy Sayers

The Inferno, Dante, trans by Robert and Jean Hollander

The Divine Comedy: Inferno, Dante, trans by Robin Kirkpatrick

Sub Rosa, Jennifer Burke

The Ruin of All Witches, Malcolm Gaskill

The White Ship: Conquest, Anarchy and the Wrecking of Henry I’s Dream, Charles Spencer

Nathaniel’s Nutmeg: The True and Incredible Adventures of the Spice Trader who Changed the Course of History, Giles Milton

A World Lit Only by Fire: The Medieval Mind and the Renaissance: Portrait of an Age, William Manchester

From Virile Woman to WomanChrist: Studies in Medieval Religion and Literature, Barbara Newman

October:

The King in Yellow, Robert W. Chambers

The Golden Day: A Study in American Literature and Culture, Lewis Mumford

The Burning Girls, C.J. Tudor

The Final Girl Support Group, Grady Hendrix

When Darkness Loves Us, Elizabeth Engstrom

From Below, Darcy Coates

How to Survive in the North, Luke Healy

The Devil of Great Island: Witchcraft and Conflict in Early New England, Emerson W. Baker

When No One Is Watching, Alyssa Cole

The Devourers, Indra Das

November:

Rough Trade, Katrina Carrasco

The Divine Comedy: Purgatory, Dante, trans by Dorothy Sayers

Purgatorio, Dante, trans by Robert and Jean Hollander

The Central Middle Ages, Europe 950-1320, Daniel Power, ed

December:

Far Out: Recent Queer Science Fiction and Fantasy, Paula Guran, ed

Love and Death in the American Novel, 2nd ed, Leslie Fiedler

The Whale: A Love Story, Mark Beauregard

Dayswork, Chris Bachelder and Jennifer Habel

A Walk in the Park: The True Story of a Spectacular Misadventure in the Grand Canyon, Kevin Fedarko

Brave the Wild River: The Untold Story of the Women Who Mapped the Botany of the Grand Canyon, Melissa L. Sevigny

[cryptofmadness]

CRUEL UNIVERSE Issue 1 Cover Art Round-Up

By Chet Reams

So, EC Comics' new science-fiction series Cruel Universe drops this Wednesday. Here are the covers available for issue #1 of the new comic series:

The "Main Covers"

Cover A - Greg Smallwood art

Cover D - J.H. Williams III art, foil variant.

Cover C - Greg Smallwood art, Foil Variant

Cover D - J.H. Williams III art, foil variant.

Cover E - Blank Cover variant. (used by buyers for sketch cover commissions)

The "Retailer Incentive" Covers

Cover F - Jay Stephens art

Cover G - J.H. Williams III art, Black And White variant.

Cover H - Rian Hughes layout - Archive Edition variant

Cover I - Robert Hack art (High Horse Comics / Groundbreaking Comics / Knowhere Games & Comics exclusive cover variant)

[astralforecast]

books for astral projection

The Phase - Michael Raduga

The Study & Practice of Astral Projection - Robert Crookall

More Astral Projections - Robert Crookall

Out of the Body Experiences - Robert Crookall

Journeys Out of the Body - Robert Monroe

Far Journeys - Robert Monroe

Ultimate Journey - Robert Monroe

Astral Dynamics - Robert Bruce

Mastering Astral Projection - Robert Bruce + Bryan Mercer

The Treatise on Astral Projection - Robert Bruce

Adventures Beyond the Body - William Buhlman

The Secret of the Soul - William Buhlman

Beyond the Astral - William Buhlman + Susan Buhlman

The Astral Codex - Bulsebuub

Leaving the Body - D. Scott Logo

Flying Without A Broom - D.J. Conway

The Astral Projection Workbook - J.H. Brennan

The Astral Projection Guidebook - Erin Pavlina

Projection of the Astral Body - Sylvan Muldoon

The Astral Plane - C.W. Leadbeatter

Hacking the Out of Body Experience - Bob Peterson

Soul Journeys - Rosalind A. McKnight

Cosmic Journeys - Rosalind A. McKnight

Beyond Dreaming - Gene Hart

The Art and Practice of Astral ProJection - Ophiel

The Illusion of Method - Mark Gurriaran

Astral Projection Without Tears - Mark Gurriaran

Astral Projection for Beginners - Edain McCoy

Out of Body Into Life - Kwame Adapa

Navigating the Out of Body Experience - Graham Nicholls

Multi-Dimensional Man - Jurgen Ziewe

The Ten Minute Moment - Jurgen Ziewe

Elysium Unveiled - Jurgen Ziewe

Vistas of Infinity - Jurgen Ziewe

Projections of the Consciousness - Waldo Vieira

Seth, Dreams, and Projections of Consciousness - Jane Roberts

A Separate Reality - Castaneda

[multiversecomics2]

The Most Popular Comic Books From 2000-2020

Comics have been a favorite medium of storytelling for decades, and with the rise of superhero movies and TV shows, their popularity has only increased. From Marvel and DC to independent publishers, the 21st century has seen a plethora of comic books that have captured the hearts of readers. Here are some of the most popular comic books published between 2000 and 2020:

The Walking Dead (2003-2019) Robert Kirkman’s horror series about a group of survivors in a post-apocalyptic world overrun by zombies was a massive hit, both in comic book form and as a TV show. The comic book series ran for 193 issues and became a cultural phenomenon, spawning merchandise, video games, and even a theme park attraction.

Watchmen (2009) Alan Moore and Dave Gibbons’ 1986 comic book miniseries is widely regarded as one of the greatest graphic novels of all time. The 2009 film adaptation, directed by Zack Snyder, brought the story of retired superheroes investigating a conspiracy to a wider audience, and introduced new fans to the complex characters and intricate plot.

Batman: The Court of Owls (2011-2012) Scott Snyder and Greg Capullo’s run on Batman in the early 2010s revitalized the character and introduced new villains to his rogues’ gallery. The Court of Owls storyline, which revealed a secret society controlling Gotham City from the shadows, was a standout arc that kept readers on the edge of their seats.

Sandman: Overture (2013-2015) Neil Gaiman’s Sandman series is a classic of the comic book medium, and the 2013 prequel series Overture was eagerly anticipated by fans. Illustrated by J.H. Williams III, the series explores the origin of Morpheus, the lord of dreams, and features stunning artwork and complex storytelling.

Y: The Last Man (2002-2008) Brian K. Vaughan and Pia Guerra’s series about the last man on Earth after a mysterious plague wipes out all male mammals was a critical and commercial success. With its unique premise and strong character development, Y: The Last Man remains a classic of the comic book medium.

Black Panther (2016-2018) Ta-Nehisi Coates and Brian Stelfreeze’s run on Black Panther in the mid-2010s introduced new depth and complexity to the character of T’Challa, the king of Wakanda. The series explored themes of power, politics, and identity, and was a landmark moment for representation in comics.

The Umbrella Academy (2007-2008) Gerard Way and Gabriel Bá’s quirky superhero series, about a dysfunctional family of superpowered siblings trying to prevent an apocalypse, was adapted into a popular Netflix series in 2019. With its offbeat humor and distinctive art style, The Umbrella Academy became a cult favorite.

“Saga” (2012-2018) “Saga” is a space opera/fantasy comic book series written by Brian K. Vaughan and illustrated by Fiona Staples. The story revolves around two lovers from opposing sides of an intergalactic war and their fight to keep their newborn daughter safe from the conflict. The series is known for its inventive world-building, complex characters, and powerful themes of love and family. It ran for 54 issues from 2012 to 2018 and has won multiple Eisner Awards, as well as being praised by critics and fans alike.

“Ms. Marvel” (2014-2019) “Ms. Marvel” is a comic book series created by writer G. Willow Wilson and artist Adrian Alphona. The story follows Kamala Khan, a Muslim teenage girl from New Jersey who gains shape-shifting abilities and becomes the new Ms. Marvel, taking on the mantle from the original character Carol Danvers. The series is known for its diverse cast of characters, relatable portrayal of teenage life, and exploration of issues such as identity and representation. It ran for 38 issues from 2014 to 2019 and has been praised for its positive impact on the comic book industry.

“Invincible” (2003-2018) “Invincible” is a superhero comic book series created by writer Robert Kirkman and artist Cory Walker. The story follows Mark Grayson, a teenage boy who inherits superpowers from his father and becomes the superhero Invincible. The series is known for its deconstruction of the superhero genre, subverting expectations and exploring complex themes such as power, morality, and family. It ran for 144 issues from 2003 to 2018 and has been highly acclaimed for its storytelling, character development, and bold approach to the genre.

source https://multiversecomics.com/most-popular-comic-books-from-2000-2020/

[byneddiedingo]

The Divorce of Lady X (Tim Whelan, 1938)

Merle Oberon and Laurence Olivier in The Divorce of Lady X

Cast: Merle Oberon, Laurence Olivier, Binnie Barnes, Ralph Richardson, Morton Selten, J.H. Roberts, Gertrude Musgrove, Gus McNaughton, H.B. Hallam, Eileen Peel. Screenplay: Lajos Biró, Ian Dalrymple, Arthur Wimperis, based on a play by Gilbert Wakefield. Cinematography: Harry Stradling Sr. Art direction: Lazare Meerson. Film editing: Walter Stovkis. Music: Miklós Rózsa. 

Screwball comedy movies, in which an otherwise sober and respectable male, usually a lawyer, a professor, or a businessman, is prodded into absurd behavior and outlandish situations by a giddy, beautiful, and usually rich female, seem to be a particularly American genre. They may have their antecedents in the French farces of Feydeau and Labiche, but they need that American sense, particularly common in the Great Depression, that the rich are idle triflers, not to be trusted by everyday hard-working folk. Which may be why the British attempt at screwball seen in The Divorce of Lady X is a bit of a misfire. Merle Oberon plays the madcap lady in the film, who delights in deceiving and annoying the barrister played by Laurence Olivier until he inevitably falls in love with her. One problem with the film lies in the casting: Olivier's vulpine mien is not one that easily expresses naïveté, which the barrister Everard Logan must possess in order to fall for Leslie Steele's wiles, when she allows him to believe that she's really the scandalous Lady Mere. The real Lady Mere is played by Binnie Barnes, and the subplot revolves around the desire of her husband, played by Ralph Richardson, to divorce her, with the aid of Logan in the dual role of both barrister and corespondent -- how he got into that predicament is the rather clumsy setup for the film. Barnes and Richardson are far better suited to this kind of comedy than Oberon and Olivier, and they contribute some of the more amusing moments in the movie. It's filmed in the rather wan hues of early Technicolor, which only contribute to the general sense of underachievement.

Merle Oberon in The Divorce of Lady X (1938)

[plaques-memoire]

Plaque en hommage à : Robert Esnault-Pelterie

Type : Lieu de résidence

Adresse : 23 rue de Constantine, 75007 Paris, France

Date de pose : Inconnue

Texte : Robert ESNAULT-PELTERIE, Pionnier de l'Aviation moderne, Précurseur de l'Astronautique, 1881-1957

Quelques précisions : Robert Esnault-Pelterie (1881-1957) est un ingénieur français. Après des études en physique, il consacre l'essentiel de ses travaux à l'aéronautique et est ainsi à l'origine de plusieurs inventions dans ce domaine, dont l'aileron, le moteur en étoile et le manche à balai. Il est également le concepteur du premier monoplan à armature métallique. Il s'intéresse par ailleurs à l'astronautique et au voyage spatial (il côtoie par exemple sur ce sujet l'écrivain de science-fiction J.H. Rosny aîné, qui lui rendra hommage dans une de ses œuvres). Il connaît toutefois de nombreux démêlés juridiques sur des questions de propriété intellectuelle (notamment face aux Américains). Il meurt de maladie. Une rue de Paris, non loin de celle où est située cette plaque commémorative, porte son nom.

[hessbynum]

Sue Massek Project - Blog #3 - Which Side Are You On and The Death of Harry Simms

“Well, that didn’t go how I thought it would,” is an apt statement to describe 2024. Back in October I started a multi-month cold, around the same time Sue lost someone very close to her, and the rest of the year felt like an uncontrolled tumble down a steep hill. With all that in mind, it’s not surprising I’ve felt a bit lost here lately. 

I’ve continued the work. Practicing, band rehearsals, dug out song lyrics, decided on new arrangements, etc. I haven’t done much songwriting, but it’s always never far from my mind. I’ve felt myself metaphorically grinding an axe, being deliberate in honing my craft, but to what end? What do I need to do? What *am* I doing? 

This past week I got a gentle reminder what it’s about for me. What I’m about. That I have a voice. And a banjo. I ain’t afraid to use ‘em. As we ramp up 2025, that work becomes critical. Right now, more than ever, folks are picking fights with each other. Folks don’t understand we’re all working class folks. Regardless of which side we choose, all we have are each other. 

I’m taking Cowan Creek Mountain Music School’s winter session, specifically “Songs of Kentucky” with Anna Roberts-Gevalt. This week, we got into some of the work of Aunt Molly Jackson and Jim Garland, specifically “The Death of Harry Simms,” also Florence Reece’s “Which Side Are You On?” and followed it up by watching a documentary on Sarah Ogan Gunning. Dreadful Memories, the story of Sarah Ogan Gunning by Mimi Pickering which I believe is available on YouTube through Appalshop. I had watched it fairly recently, but was ready for a rewatch and honestly, I could probably stand to watch it a few more times. 

It may be a little strange with this blog being about working with Sue, this coming up in Anna’s class, but Sue is my connection to the Garland family including Sarah Ogan Gunning, so it makes sense to me because I learned about so much of this from Sue. 

So let’s get to it. 

“Which Side Are You On?” warrants its own blog, but I think we can look more broadly at what was going on to create these songs which are painfully relevant today. Here’s a clip of Florence Reece talking about the song, writing it in 1931, and singing a little bit of it. J. H. Blair was the sheriff. 

For just the song as sung by Florence Reece, you can find that here.

“Which Side Are You On?” is one of the first songs I learned from Sue. She told us that Florence Reece’s house got shot up by gun thugs. While she was hiding under the bed, she pulled the calendar off the wall and wrote the song. 

Here are the lyrics as I learned them from Sue:

Come all of you good workers

Good news to you I’ll tell

Of how that good old union

Has come in here to dwell

Chorus:

Which side are you on? 

Which side are you on?

Which side are you on? 

Which side are you on? 

My daddy was a miner 

And I’m a miner’s son

And I’ll stick with the union

Till every battle’s won

They say in Harlan County

There are no neutrals there

You’ll either be a union man

Or a thug for J.H. Blair

Oh, workers can you stand it?

Oh, tell me how you can

Will you be a lousy scab

Or will you be a man?

Don’t scab for the bosses

Don’t listen to their lies

Us poor folks haven’t got a chance 

Unless we organize

You don’t have to search very hard to find modern artists performing this song with their own updated lyrics and I have no doubt it will get another face lift in 2025. In fact, I really like this version from Dawn Landes released in 2024 on her fantastic Liberated Woman’s Songbook album.

I couldn’t find a handy recording of Sue singing “Which Side are You On?” but here’s a clip of Sue performing Aunt Molly Jackson’s “I Am a Union Woman” which uses a similar melody. The video has it labeled as Join the NMU. This was part of a play Sue starred in about the life of Sarah Ogan Gunning. Her banjo treatment is just 🔥. 

Aunty Molly Jackson and Jim Garland wrote “The Death of Harry Simms” and the song was popularized by Pete Seeger, so I’m going to go ahead and link Seeger’s version if you want to listen before we get into it. 

So, what was happening to cause these songs? 

The University of Kentucky (UK) has a more detailed write up here about the mining strikes in Bell and Harlan County, Kentucky in general with some videos, but I will try to summarize a bit. You can access their page here though: https://appalachiancenter.as.uky.edu/coal-strike/background-coal-strike 

In 1931-1932, when these songs were written, things were a mess for the coal miners in Kentucky. Back then, coal companies ran company towns. Folks who worked in the mines lived in company provided houses, so when the coal industry went bust with the Great Depression (started in 1929), folks lost everything including their homes. People were starving because there wasn’t any food (the Dust Bowl started in 1930) and the miners went on strike trying to improve conditions. Times were desperate. 

Meanwhile, the coal companies hired a private militia who were then deputized by the local sheriff’s office or authority. These are the “gun thugs” in the songs and they had three primary functions. 1) It was their job to protect the mines and the scabs so the work could continue. 2) Because the coal company owned the houses when someone was fired or otherwise let go, it was the gun thugs job to run people out of the housing. 3) They were there to intimidate folks and try and make the miners compliant, such as by shooting up Florence Reece’s house. The second video on the UK page points out that deputizing the thugs blurred the lines between the private and public sectors. The coal companies, the gun thugs, and the sheriff’s office were all on the same side even though as Florence Reece points out, the scabs and the gun thugs are workers too.

The UK page explains that the miners and their families felt abandoned by the United Mine Workers of America (U.M.W.A.), which created an opportunity for the growing American Communist Party in the U.S. to send a representative of their own union, the National Miners Union or N.M.U. The song references recruiting people for the N.M.U. and getting volunteers for the Y.C.L., the Youth Communist League. So, the N.M.U. sent Harry Simms as a representative to try and help organize the miners. Simms stayed with Jim Garland who was active with the communist group. The UK pages point out that communism was viewed as a fresh idea and the Cold War hadn’t happened yet, which I think is important to remember. 

Things escalated considerably after Harry Simms arrived and Simms was killed by one of the deputized gun thugs. He was only 19 years old. 

Here is Jim Garland’s recording of the song with lyrics below.

Comrades listen to my story

Workers listen to my song

I'll tell you of a hero

Who’s now dead and gone

I'll tell you of a worker

Whose age was just nineteen

He was the strongest union man

That ever I have seen

Harry Simms he was a pal of mine

We labored side by side

Expecting to be shot on sight

Or taken for a ride

By a dirty capitalist gun thug

Who roam from town to town

To shoot and kill our comrades

Where e'er they may be found

Harry Simms and I was parted

At five o’clock that day

"Be careful, my dear comrade"

To Harry I did say

"Now I must do my duty"

Was his reply to me

“If I get killed by gun thugs

Please don't grieve after me"

Just remain a faithful worker, 

Dear comrades, do be wise

Remain a faithful worker, 

Dear comrades, do be wise

Help destroy this rotten system

Don’t fail to organize

He was walking up the railroad track

One bright sunshiny day

He was young and handsome

His steps was light and gay

He did not know the gun thugs

Was a waitin’ on the way

To take our dear young comrade’s life

That bright sunshiny day

Harry Simms was killed on Brush Creek

In nineteen and thirty-two

He organized the miners

In the good ol’ N.M.U.

He fought for the union

That was all that he could do

He died for the union,

Also for me and you.

Now comrades, we must vow today

That one thing we must do

We’ll organize all the miners

In the good ol’ N.M.U.

We’ll get a million volunteers for the Y.C.L.

And sink this rotten system 

In the deepest pits of hell

I can’t tell anyone how to feel about these songs, but I can tell you how I feel about them and what they mean to me.

I believe they're still incredibly powerful and there's so much going on today relevant to what happened back then. To me they’re a reminder of how quickly things can get bad. That whichever side we choose matters and that our actions have consequences. It’s a reminder that everyone has forgotten that we’re mostly all working class and should be on the same side despite our differences. But maybe I'm just an idealist. So, which side are you on? 

[entomoblog]

[Bibliographie] Jean-Henri Fabre, un entomologiste au goût du Japon

See on Scoop.it - Insect Archive

Jean-Henri Fabre est sans doute l’un des entomologistes les plus connus dans le monde. Réputé tant pour ses qualités d’observateur que pour sa plume, son influence en Occident fait cependant pâle figure par rapport au véritable culte que lui voue le pays du Soleil Levant.

  Yves Cambefort, Entomologiste spécialiste des coléoptères scarabéidés, chercheur au CNRS et au Muséum d’histoire naturelle, membre de la Société entomologique de France

  Numéro 52 - Espèces

Bibliographie complémentaire

Les références suivantes viennent compléter la bibliographie déjà publiée dans l'article publié dans le Numéro 52 d'Espèces.

Abé K., 1967 – La femme des sables (Suna no onna), trad. du japonais par Georges Bonneau, Stock.

Abé K., 1987 – L’arche en toc (Hakobune Sakuramaru), trad. du japonais par René de Ceccatty et Ryoji Nakamura, Gallimard.

Cambefort Y., 1999 – L’œuvre de Jean-Henri Fabre, Delagrave.

Cambefort Y., 2003 – “Les débuts d’un grand vulgarisateur et de son éditeur : Jean-Henri Fabre et Charles Delagrave (1863-1867)”, Revue française d’histoire du livre, 116-117, p. 33-49.

Cambefort Y., 2014 – “Jean-Henri Fabre”, dans Commémorations nationales 2015, Éditions du Patrimoine, Centre des monuments nationaux, p. 64-67.

Charles-Roux J., 1913 – J.-H. Fabre en Avignon, Lemerre.

Conry Y., 1974 – L’introduction du Darwinisme en France au XIXe siècle, Vrin.

Delage A., 2005 – Jean-Henri Fabre : l’observateur incomparable, éditions du Rouergue.

Delange Y., 1981 – Jean-Henri Fabre, l’homme qui aimait les insectes, Jean-Claude Lattès (réédité en 1986, puis en 1999 avec préface de Claude Nuridsany, Actes Sud).

Diamant-Berger H., 1951 – Monsieur Fabre, Pathé, Paris, 1951 (réédité en DVD en 2007 par Pathé Classique).

Diamant-Berger H. et Kirkland J., 1951 – Monsieur Fabre, Delagrave.

Fabre J.-H., 1912-1923 – The works of J.H. Fabre, Translated by Alexander Teixeira de Mattos, Dodd, Mead & Co. ; Hodder and Stoughton (14 volumes).

Fabre J.-H., 1989 – Souvenirs entomologiques, édition d’Yves Delange, Robert Laffont (2 volumes).

Fabre J.-H., 1991 – Konchûki [Histoires d’insectes (en japonais)], adaptation et traduction par Daisaburo Okumoto, Shueisha (8 volumes).

Fabre J.-H., 2005-2017 – Konchûki [Histoires d’insectes (en japonais)], trad. par Daisaburo Okumoto, Shueisha (20 volumes).

Goncourt E. de, 2008 ‒ Utamaro, Parkstone International.

Gourdin H., 2022 – Jean-Henri Fabre, l’inimitable observateur, Le Pommier.

Goka K. et al., 2004 – “Biological invasion caused by commercialization of stag beetles in Japan”, Global Environmental Research, 8(1), p. 67-74.

Halffter G., 2003 – “Un regard sur la répercussion de l’œuvre de Jean-Henri Fabre”, dans Jean-Henri Fabre. Un autre regard sur l’insecte, Conseil général de l’Aveyron, p. 155-161.

Hoshina H., 2022 – “The mythology of insect-loving Japan”, Insects, 13(3), p. 234-238 (Doi : 10.3390/insects13030234).

Imanishi K., 2015 – Le monde des êtres vivants : une théorie écologique des êtres vivants, Wildproject.

Kimura M., 1990 – Théorie neutraliste de l’évolution, Flammarion.

Legros G., 1913a – La vie de J.-H. Fabre, naturaliste, par un disciple, Delagrave.

Legros G., 1913b – Fabre, Poet of Science (traduit par Bernard Miall), The Century Co.

Loison L., 2012 – “Le projet du néolamarckisme français (1880-1910)”, Revue d’histoire des sciences, 65, p. 61-79.

Nakatomi K., 2014 – “Evolution and non-evolution. Bergson and Fabre”, Society and Education, 15, p. 5-15.

Paulian R., 2004 – Un naturaliste ordinaire. Souvenirs, Boubée.

Pelletier P., 2002 – “Ōsugi Sakae, une quintessence de l’anarchisme au Japon”, Ebisu, 28, p. 93-118 (Doi : 10.3406/ebisu.2002.1269).

Peng H., 2014 – “A traveling text : Souvenirs entomologiques, Japanese anarchism and Shanghai neo-sensationism”, dans Peng H. et Rabut I. (éds), Modern China and the West : Translation and Cultural Mediation, Brill, p. 268-302 (Doi : 10.1163/9789004270220_012).

Tort P., 2002 – Fabre : le miroir aux insectes, Vuibert-Adapt.

Tournant P. et al., 2012 ‒ “The rarity and overexploitation paradox: stag beetle collections in Japan”, Biodiversity and Conservation, 21, p. 1425-1440.

Utamaro K., 1984 ‒ Le livre des insectes, Herscher.

Utamaro K., 2012 – Insectes choisis. Myriades d’oiseaux, Philippe Picquier.

  Bernadette Cassel's insight:

  Précédemment

  Les pigments rouges du vivant - ESpèces N° 52 - De especes.org - 16 mai 2024, 16:38

[docrotten]

DON’T BE AFRAID OF THE DARK (1973) – Episode 215 – Decades Of Horror 1970s

“When will they come? When will they come? When will they come and set us free?” Who are “they?” Who are “us?” Free from what? Sheez, so many questions. Join your faithful Grue Crew – Doc Rotten, Bill Mulligan, Chad Hunt, and Jeff Mohr – as they visit the Farnham household for answers in Don’t Be Afraid of the Dark (1973).

Decades of Horror 1970s Episode 215 – Don’t Be Afraid of the Dark (1973)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Decades of Horror 1970s is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of the podcast and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

A young couple inherits an old mansion inhabited by small demon-like creatures determined to make the wife one of their own.

  Directed by: John Newland

Writer: Nigel McKeand

Music by: Billy Goldenberg

Cinematography by: Andrew Jackson (director of photography)

Makeup Department: Michael Hancock (makeup artist) (as Mike Hancock); Robert Sidell (makeup artist); Bruce Jossen (hair stylist) (as Jossen);

Selected Cast:

Kim Darby as Sally Farnham

Jim Hutton as Alex Farnham

Barbara Anderson as Joan Kahn

William Demarest as Mr. Harris

Pedro Armendáriz Jr. as Francisco Perez (as Pedro Armendariz Jr.)

Lesley Woods as Ethyl

Robert Cleaves as Doctor

Sterling Swanson as Policeman

Joel Lawrence as George Kahn (as J.H. Lawrence)

William Sylvester as Tom Henderson

Don Mallon as Bob

Celia Milius as Anne (as Celia Kaye)

Elizabeth St. Clair as Party Guest

Monika Henreid as Party Guest (as Monica Henreid)

Robert Priest as Party Guest

Ted Swanson as Bartender

Felix Silla as Creature

Tamara De Treaux as Creature (as Tamara DeTreaux)

Patty Maloney as Creature

Nigel McKeand as Demon (voice) (uncredited)

Ah, the “movie-of-the-week” in the Seventies in the States, when the family gathered around the boob tube deciding which network to watch. On occasion, the decision was to catch a scary movie, perhaps, such as this episode’s topic, Don’t Be Afraid of the Dark (1973). The film is littered with small, creepy, whispering “demons” out to get Sally (Kim Darby). Will they succeed in claiming Sally as one of their own? All the while, her husband (Jim Hutton) and their handyman (William Demarest) argue on the phone and her friend (Barbara Anderson) gets locked out of the house. How does this TV quickie hold up? Trust that the grue Crew has an opinion.

At the time of this writing, Don’t Be Afraid of the Dark is available to stream from archivedotorg and PPV from Google Play and YouTube, and on physical media in Blu-ray format from Warner Archives.

Gruesome Magazine’s Decades of Horror 1970s is part of the Decades of Horror two-week rotation with The Classic Era and the 1980s. In two weeks, the next episode, chosen by Chad, will be The Alien Factor (1978), a science fiction, horror film shot on a micro-budget with some ringers hiding in the credits for the film’s special effects. 

We want to hear from you – the coolest, grooviest fans: comment on the site or email the Decades of Horror 1970s podcast hosts at feedback@gruesomemagazine.com. 

Check out this episode!

[montessorischoolofsaltlake]

What are some good schools in Salt Lake City for children?

Kindergarten classes in salt lakecity is an academic department introduced to standard school particularly for college students in kindergarten thru 6th grade. The kindergarten become born out of the principles and strategies of Robert Owen in Great Britain, J.H. Pestalozzi in Switzerland and his scholar Friedrich Froebel in Germany, who got here up with the word, and Maria Montessori in Italy inside the early nineteenth century. Read more: https://qr.ae/psCHyf

[oldcurrencyexchange]

O'Brien Banknote Guide: 30 Shillings, Mallow Bank, Type 2 (De La Cour & Cuthbert) 1820

Date: 1820 Description: 1820 Mallow Bank, for Robert de la Cour & Richard Jonson Cuthbert, 30 Shillings Dated 2nd June, 1820 Signed by J.H. Cuthbert Introduction: The Mallow Bank (Co Cork) was registered on 23rd January 1801 by Robert Delacour and Hill Gallwey. Both men use variations of their name in documents from that time, e.g. Delacour also appears as Delacore and De La Cour, whereas…

[byneddiedingo]

Valerie Hobson and Stewart Granger in Blanche Fury (Marc Allégret, 1948)

Cast: Valerie Hobson, Stewart Granger, Michael Gough, Walter Fitzgerald, Maurice Denham, Sybille Bender, Allan Jeaves, Edward Lexy, Susanne Gibbs, Ernest Jay, Townsend Whitling, J.H. Roberts. Screenplay: Audrey Erskine-Lindop, Cecil McGivern, Hugh Mills, based on a novel by Joseph Shearing. Cinematography: Guy Green, Geoffrey Unsworth. Production design: John Bryan. Film editing: Jack Harris. Music: Clifton Parker. 

Timidity is fatal in moviemaking, and Blanche Fury, whose very title promises turbulent emotions, is a timid movie. It failed at the box office, and its producer, Anthony Havelock-Allan, acknowledged that it didn't turn out the way he wanted, leading to his departure from the producing company, Cineguild, and its eventual collapse. It’s a story, involving as it does an ancient curse, that demands high passion and exquisite villainy, but it gets neither. The key failure is in the protagonists, Blanche Fury (Valerie Hobson) and Philip Thorn (Stewart Granger). They should be modeled on the Macbeths, the very byword for glamorous wickedness. She is an impoverished gentlewoman, née Blanche Fuller, from the wrong side of the family. He is the manager of the country estate of the Fury family, their own kin but from the wrong side of the blanket. Thorn has been scheming to be declared the legitimate heir to the estate, hiring a lawyer to track down any evidence that his father, Adam Fury, actually married his mother. Blanche comes to the estate to serve as governess to the daughter of Laurence Fury (Michael Gough), current heir to the estate and a widower. So you guessed it: Blanche is going to marry the insipid Laurence and fall in love with the virile Thorn, and the two will scheme to get their own hands on the estate. Except that in the portrayal of their schemes, the film goes out of its way to make Blanche and Thorn look better than they are, to justify their wicked ways. Blanche is shown struggling to put up with the harshness of her previous employer, an imperious dowager, and Thorn likewise suffers the abuse and indignity of becoming essentially a servant to a household he believes he should head. Blanche and Thorn should flame, or at least smolder, with passion, but Hobson and Granger strike only the feeblest of sparks, partly because the screenplay doesn't give them enough opportunity to ignite. Much of the film seems to be derived from better costume dramas; there is, for example, a death that comes straight out of Gone With the Wind (Victor Fleming, 1939). There's also a lot of nonsense about marauding gypsies: The film's Roma are the stereotypical fortune tellers, trinket peddlers, and horse thieves. It has to be said that the movie is quite handsomely filmed in Technicolor by two eminent cinematographers, Guy Green, who did the interior scenes, and Geoffrey Unsworth, who shot the lovely exteriors in Staffordshire and Bedfordshire. If the story and the characters had the depth and color of its images, Blanche Fury might have been more than the routine costume drama it is. 

[fourorfivemovements]

Films Watched in 2019:

44. The Divorce of Lady X (1938) - Dir. Tim Whelan

[frankenpagie]

1.5.20

[davidosu87]