#that's multiple entries from Seward

[lorereadsclassics7]

me, looking at the length of tomorrow's entries (multiple!): you know, something tells me things are gonna change. And not for the better

[immediatebreakfast]

The relationship between Dracula the novel, and its telling of ableism around the characters is a rather complex issue that stems from both the narrative itself, and the framing of said ableism when applied to a character.

The book has gone on lenght to describe, and establish the power dynamic, the tension, and the interactions between Seward and Renfield in way that is clearly uncomfortable.

The illusions of Seward clinging to Renfield's status as a patient to defend a treatment that clearly puts the old man in the category of test subject. Renfield's performative words and actions towards Seward (that he knows will work) are painted as unsettling not only thanks to the internal ableism of the novel, but also to put Seward in a spot of morality in his profession at the cost of Renfield's treatment as a human being.

Remember that regarding Renfield's motives for his actions, Seward is at best drawing the wrong conclusions from them, and at worst turning into an unrealiable narrator to fit the version of Renfield that he has in his head. This gets worse when you add Seward's problems with sleeping, and depression.

The difference is that Renfield, despite his plans and his manipulations, at the end of the day is a mentality ill old man who is vulnerable. Even if Seward's unethical treatment si something that Renfield has known from the beginning, and sadly knows the exact consequences of it. He is human, and there is a point where we can't take it anymore.

"Happy thought! We shall to-night play sane wits against mad ones. He escaped before without our help; to-night he shall escape with it."

Narrative wise, it seems that Seward has dropped the pretense of convincing himself about how Renfield is a patient that he must treat, and instead Renfield is a test subject that he needs to observe.

Even if Jack said before how he wouldn't cross the line of feeding into Renfield's dellusions to study him, it was more to convince himself to not do it. That was also a time when Renfield was actively performing, and keeping afloat the power dynamic between to get a few pieces of freedom. So maybe Seward felt more comfortable in keeping that "line" when he perceived Renfield as a more (ugh) illogical madman that at least knew his "place" in their dynamic.

If Renfield now "sees" him as an equal, as a mere person entrusted with his care, then Seward has to admit to himself that his diagnosis, and theory about Renfield is wrong. That he observed, but did not process anything.

But now that Renfield has been "acting out" of the established dynamic, along with Seward's own depression taking a hold on his biases within the system of doctor-patient? If the constant use of restraining jackets, and a padded room says something, it's something that is not pretty.

[vickyvicarious]

So, I noticed something kind of interesting today. Seward's diary never mentions Renfield by name. And that's not totally out of the ordinary for him - I went back and looked, and there are several other times so far that he doesn't name him (18 June, and 1, 8, and 19 July). But in each of those entries, Seward is entirely focused on figuring out Renfield; nothing else is discussed at all. Not naming him is simply because each entry is continuing the same thought/preoccupation. And in fact, on both the 8th and 19th, he calls Renfield "my friend" - the lack of name is not due to emotional distance.

But today it felt more like that. We haven't heard from Jack's diary since the 24th of August, when Renfield escaped on his own terms briefly rather than taking the intentional opportunity given to him. That whole "plan" was a huge unprofessional mess on Seward's part, and I wonder if he realized that at least a little. He went quiet for a good few days, until he heard from Arthur, and then in his treatment of Lucy we see him being a much better doctor and friend than he's ever been to Renfield. Where he's drugging Renfield to sleep so he can go through his journal, with Lucy he is very respectful and makes sure he has consent to share medical information. And so on. Obviously he thinks of Lucy and Renfield in very different ways and has different standards for what is acceptable to do - or even considered as an option.

But I still find it interesting that when we see him writing about Renfield again, this first entry feels a lot more removed than before. It feels like Seward is trying to be more professional and less emotionally involved. He names Renfield at the start by his supposed disorder ("Zoöphagous patient") and at other points refers to him again by role ("my patient") or what he represents ("a wonderfully interesting study"). But he never calls him by name or by any more affectionate nickname such as 'my friend'. He also notes his madness multiple times, musing about madmen and lunatics and wishing he could understand his mind.

A part of me wonders if there is a slight element of Seward recognizing just how out of control his own behavior was getting, and trying to rein it in. It would make sense for him to be doing so either after the escape plan went wrong (and Renfield was furious with him in particular, and he ended his entry saying he'd never forget that night) or after the company of people like Lucy and Van Helsing helps to sort of forcibly reconnect to friends who keep him more humane/sane himself. As well a patient he deeply cares for and wants to treat respectfully (Lucy) potentially making him feel a bit off-balance in how he is treating his 'other' favorite patient (Renfield).

I do have to point out how all of this more distant wording is just dehumanizing Renfield in another way, of course. And it doesn't seem like much about Seward's actual behavior has changed - he still folds pretty easily in the face of Renfield's "cringing" supplication/flattery, and thinks he is indulging him in order to better understand. He still is obviously fascinated by him and takes a strong personal interest in his care. But it feels a little bit like the way he talks about it is at least trying to be more distant.

...Though maybe that's partially just his melancholy. Seward talks multiple times today about not understanding/wishing he could understand Renfield. And for the most part, it reads as more frustrated/downtrodden than previous times. He doesn't have much speculation to offer until the very end of his entry. Is it possible that he is feeling a bit upset about not being able to figure out Lucy's illness, and it's spilling over?

And there's of course the really eloquent line in the middle of this entry describing how he feels returning to "all the grim sternness of my own cold stone building, with its wealth of breathing misery, and my own desolate heart to endure it all." That makes it sound a lot like his time with Lucy and Van Helsing (and talking to Arthur) was really good for him. He needed this friendly socializing, and even if the circumstances weren't ideal, he got to spend time with people who genuinely care for him. Who aren't just using him when they ask for things, who are just as eager to help him, who like him for who he is and have fun being with him. And then he goes back to the asylum.

He doesn't truly like it here. It's not good for him, he's at his worst when he's isolated here. And yet I wonder if, upon his return today, knowing Van Helsing has left and that he's returning (at least mostly) to his customary isolation, he feels much more aware of that than ever. In the past, he's thrown himself willingly if not eagerly into his work, but even the fascination he still feels doesn't seem to boost his mood today. I think he's feeling lonely.

I also think he's feeling a little bit of resigned "this is where I belong" and his more distant language reflects that. It's not just Renfield, after all. It's Lucy, too - he's been calling her by first name in his letters to Arthur, but today in his private diary he calls her "Miss Westenra". And it's not just because he's talking out loud, because he's called her "Lucy" in his diary before. So the more formal address today seems to fall in with the pattern happening with Renfield too. He feels alone, he feels lonely, and so his wording displays less connection to others.

[see-arcane]

considering it was the late 1800s, do you think Seward and VH are oblivious to Jonathan's watchfulness because Stoker couldn't justify writing Jonathan implying that "vampirism and blasphemy are fine if it's for Mina, actually" beyond his initial declaration? We don't seem to get much more of it directly from Jonathan's entries either after that, just by implication.

I wouldn't be surprised if that was a factor.

Considering all the very potent metaphors at work in the premise of 'God has denied love and protection to my beloved over X Violation and/or X State of Being which is beyond their control, and I have decided our love is more holy than any decision of the Almighty, and I would rather be a monster with her than shun/destroy her As Is the Righteous Thing to Do,' Stoker was already dancing on the edge of acceptability with Jonathan making his secret vow even once.

But thankfully, that single vow--and the adamant refusal to even pretend to make a new 'Yes honey, I will absolutely vampire martyr-murder you like a good Christian boy! God says it's chill just like it was for Lucy and everyone else Dracula has snacked on for untold centuries! God's will be done!'--likely flew over a lot of heads back in the day (as it does now) and simply landed in a lot of hearts with the more obvious factor of...

"Oh. He is literally willing to brave Hell and eternal damnation as the conscripted undead, possibly even cutting down his stake-wielding friends, just to protect and be with his beloved? ...That's kind of hot."

Especially during a period when romance was basically just a bonus to tack on to the Job of Being Married. Jonathan Harker is proven multiple times to be the un-Victorian Victorian man, running from the Brides (mistress stand-ins), happily letting his wife take the lead and holding her up as his equal until he's peer pressured out of it (which leads to dangerous consequences! Social mores fucked everything up! And He Only Follows New Directions with Mina's Approval Going Forward!), and now here's this romantic motherfucker ready to skin Dracula and French kiss the Devil so long as it sees his beloved safe and un-slaughtered, even if she isn't ~perfect and saintly and non-monstrous~.

Girls gays and goths of 1897 were definitely fanning themselves at the next tea party book club once they reached October 3rd.

Even without the ell gee bee tee undertones to glean from Stoker's own romantic leanings, the idea of 'selfish' personal love, of a mere human being, getting held up as more important than God, someone worth Hell, was extremely spicy to depict during that period. If Stoker had had Jonathan repeating himself over and over regarding his secret plans, it would have started to sound a bit like writing a smitten Poe protagonist. Which would also be sexy! But it'd risk taking some of the heroic shine off of him towards the end.

Better to let it hang over the narrative's neck in silence like an axe waiting to fall.

Or a kukri.

[somethingusefulfromflorida]

I have an ambitious idea for a multi-media project

Long: details under cut

Preface:

Adam Savage is known for making meticulous replicas of the Grail Diary from Indiana Jones 3; they're printed on authentic onionskin paper, stitched together and bound with leather like a real old journal would be, stuffed with inserts like folded up drawings, maps, post cards, letters, wax rubbings, tickets from ships and blimps, receipts, to-do lists, photos made to look like they were taken with late 19th/early 20th century cameras, an old silver certificate dollar, Hitler's autograph, you name it. The ten dollar word of the day is "verisimilitude." These super high fidelity replicas are more than just props, they're meant to feel like a real lived-in historical document kept by a globetrotting adventurer from the 1890s to 1930s.

Gravity Falls Journal 3 wanted to be like this, but it's mass market, printed on glossy paper with fake weathering and fonts that look like handwriting. If Adam Savage made a Journal 3 replica, it would look and feel like a real field journal from the 1970s; it would have crinkly yellow pages with mold/water damage, the cover would have brass or gold foil inlays, each entry would be handwritten (and you would be able to tell it wasn't just a font because every letter would have realistic variability in shape and size, there would be a different number of lines per page, the margins would drift, it would be sloppy and illegible in parts)

JJ Abrams published a book that came close to this aesthetic, a nice midway point between the Grail Diary and Journal 3 in terms of quality. A collab with Doug Dorst, the book is sold under the title "S." but once you take it out of its slipcover it's a meta-fictional artifact made to look like an old cloth-bond library copy of a (fictional) novel from the 1940s called The Ship of Theseus by VM Straka. The text of the novel is inconsequential, a dry story about a sailor being Shanghaid onto a pirate crew (it's actually pretty authentic, evoking the feeling of being forced to read an overrated novel for high school English class), but the book is full of faux-handwritten notes in the margins with multiple characters trading it back and forth (with different colored pens used to show the passage of time), telling a whole new story about their attempts to crack the case of the author's mysterious disappearance/death and an academic conspiracy trying to stop them. It is VERY dense. VERY confusing. You have to work out the timeline yourself because each character has annotated the book from start to finish over multiple passes; you'll be flipping back and forth like a choose-your-own-adventure. And the icing on the cake is that there are dozens of inserts stuffed throughout the pages; newspaper clippings, posts cards, a napkin from a fictional university restaurant, old telegrams, folded notes written on loose leaf college-ruled paper, a cipher wheel, etc. It is mass market like Journal 3, but with a much closer attention to detail like Adam Savage's Grail Journals. The inserts are impressive as part of the meta-narrative, but they don't hold up to as much scrutiny. Owning the book is more interesting than the book itself.

My idea

I want to create a boxset for Dracula in which the story is separated out into its constituent parts; Jonathan Harker's illegible shorthand journal, piles and piles of letters between Mina and Lucy and Van Helsing and the suitors (each with their own recognizable handwriting), real playable wax cyllinders with Dr. Sewards voice recordings, the water-damaged journal from the captain of the Demeter, newspaper clippings about the horrible storm and the large dog and "bloofer lady" sightings, and then a big stack of typewriter carbon paper where Mina painstakingly collated it all into the manuscript for the novel itself. The novel claims to be stitched together from a hundred different sources, and this boxset would actually BE the original sources! There would be old 1890s kodak photography, Jonathan's train tickets from across the continent, maps showing the exact paths of the Demeter and Dracula's dirt shipments and the suitors' chase along the rivers back to Transylvania. Lucy and her mother's wills, stationary with Lord Godalming's letterhead, an old rosary, a crucifix, some garlic flowers, lots and lots of communion wafers, Dracula's book of train schedules, and MOST IMPORTANTLY OF ALL the paprika hendl recipe!

Dracula Daily allows us to experience the story chronologically, but I would like to experience it the way the characters themselves would have, piecing together all the disparate clues over the course of 6 months. It would be an enormous and unweidly boxset, like the special edition of a video game.

The framing narrative would be that the box itself used to belong to Bram Stoker. He was a close friend to the Harkers, and they gave him all their first-hand documents so he could eventually publish their story.

I don't even know where I'd start!

[bookwyrminspiration]

Signed up for drac daily but don’t understand what’s happening can you give a short explanation of the plot/who the characters are so I’m caught up

sorry

No need to apologize, I'm happy to help! Welcome to the book club, however long your stay may be :). I know you asked for a short summary but also there's been a fair amount of things that happened so I'm doing my best!

My explanation ended up being about 800 words, so I'm putting it under a cut! But it's all in one place and shorter than reading all the entries. I think I touched on the important things that get us to where we are today, so I hope that helps! If there's anything else you need/want explained or any of this is confusing, just let me know and I'll try to clear it up :)

So the story starts with Jonathan Harker, who is a lawyer/solicitor kind of person, who is going to visit Dracula in his castle to do some business with him because Dracula's buying a house in London. When he first arrives the locals are a little off and begging him not to go. Jonathan ignores this and goes to the castle; he and Dracula get along at first, but he starts to discover things aren't as they seem and Dracula has trapped him there, though it's unclear why. Dracula pretends to be normal, but as time passes while Jonathan is stuck in the castle more and more strange things start to happen, like Dracula crawling on the walls and the three beautiful women enchanting him from a forbidden part of the castle.

He's stuck for like a month or two there and frequently talks of his fiance, Mina, who I'll get to in a moment. He forces Jonathan to write letters to people saying he's staying longer and that he's fine. Dracula has also bought his house in London, leaves to go there, and now that Jonathan's alone he escapes and we don't hear from him for a while.

The story then switches to Mina Murray (his fiance) and Lucy Westerna (young woman with blossoming love life). They're friends and staying with each other going about life, Mina worrying about Jonathan and Lucy's love life starting. In one day, Lucy gets three proposals. One from Dr. Jack Seward, who is a doctor at an insane asylum, one from Quincy Morris, who is a cowboy, and one from Arthur, who is a Lord's son. She says yes to Arthur.

Seward goes on with his life documenting working with a specific patient in the asylum who has a fascination with consuming life (he eats spiders, birds, things like that). This patient's name is Renfield and he's connected to Dracula in some way

At this time, we also get a bit of story from the Captain of a ship, the Demeter, a ship transporting boxes of dirt. Dracula's on this ship. In the Captain's brief updates all the crew start to mysteriously vanish as days go by until there's only him left, and then in a newspaper report as the ship drifts into a harbor a few days later he's also dead. This is how Dracula gets to London and he escapes the ship as a dog

The part of the story with this host of characters takes a turn for the worst when Lucy's sleepwalking worsens and she starts appearing sick. There are wounds on her throat and she's often pale and out of breath. Mina looks after her the best she can, but at this point it's discovered that Jonathan's okay! He's recovering someplace from his ordeal, and so Mina goes to him at once. The lovers are reunited and get married, but that leaves Lucy without anyone to look after her.

She gets worse and worse until Seward, a doctor, is called to see her because Arthur (her now fiance) is worried. Seward decides that he's gonna need some help, so he calls in Dr. Van Helsing, who has been described as the character who knows he's in Dracula. He's got multiple PhDs and seems to suspect vampires from the beginning, but doesn't say the word for a while.

This starts a period of time where Lucy slowly and agonizingly declines in health for reasons no one can really tell, requiring multiple blood transfusions to keep her alive. People stay with her through the night to watch her, because when they leave her she's always worse in the mornings. They cover her room in wild garlic flowers, too, but her well-meaning mother (who is one shock away from death) sometimes messes with them.

Despite everyone's efforts and transfusions, Lucy dies. So does her mother when a wolf (controlled by Dracula) jumps through the window and shocks her. There's a funeral for both of them and everyone grieves, but the strange thing is Lucy doesn't look dead. She looks more alive than she did when she was dying.

At this point in time Mina and Jonathan have reunited and are back to their lives, Mina looking after Jonathan whose had a lapse in memory of the whole Dracula thing because he thinks he made it all up. But when they were first reunited he gave her his journal of the trip, and now she finally reads it and sees everything he's written about Dracula.

Since Van Helsing is suspicious of Lucy's situation, he's read through her own diary from before she died of the horrors she went through and saw Mina was mentioned with the sleepwalking things, so he reaches out to her and they connect and share information, both confirming with the other that Dracula is a monster and that he's in London.

At the same time, reports have started of children going missing and reappearing with wounds on their neck, and so Seward and Van Helsing (who finally clued Seward into what's happening) are watching her grave because she's Undead.

That's where we're up to now! Of course this isn't every detail of the story, but it's a general overview with enough detail you can kinda familiarize yourself with the characters. Again, I hope this helps but if there's anything else I can do just let me know!

[fecto-forgo]

Seward for the meme

saved this one for today because HHHHH.I DO NOT LIKE WHAT THEY DID TO MY MAN.

(used both bingos lol)

okay so yk.as someone whos psychotic, as someone who has a personality disorder, as someone who has not ignorable autism.as someone the system hates.i like him! a lot! it felt very comforting to see a character whos trying to understand shit despite the period, while him still fucking up is interesting to watch

that being said i found him COMICALLY bad for this part of the plot.you mean to tell me the jack from may who acknowledged he fucked up a session is the same jack from september-october who went "do you wanna eat an elephant? huh? wanna think about those souls? whats with the child reaction? huh? huh? are you upset? you cant even say drinking? how about i keep reminding you of it?" repeatedly to the point he triggered his patient multiple times?

but yk what? if he showed remorse id be willing to see it as him assuming his patients relation to dracula meant he had a play in lucys death.but he didnt.he immediately forgot him and left him to die in the floor after literally noting he was starting to feel bad for him.and from what some ppl told me while discussing the entry he literally never shows any improvement or remorse again.i literally hate this part of the story SO much i do not claim this guy as part of my pathetic cringe therapist

TLDR if i say i like jack im either referring to earlier jack or the jack in my head who did act that awful but actually experienced guilt remorse etc

[taletuner]

Dracula: A Gothic Masterpiece | The Haunting Legacy of Bram Stoker's

"Dracula," written by Bram Stoker and first published in 1897, is a cornerstone of gothic literature and one of the most famous horror novels of all time. The novel’s influence extends far beyond the literary world, shaping popular culture's depiction of vampires and horror.

The story unfolds through a series of letters, diary entries, newspaper clippings, and other documents, a format known as an epistolary novel. This approach adds to the suspense, as readers piece together the narrative from multiple perspectives, each offering fragments of the dark and mysterious events surrounding Count Dracula.

The novel begins with Jonathan Harker, a young English solicitor, traveling to Transylvania to assist a nobleman named Count Dracula with a real estate transaction. As Harker becomes increasingly uneasy about the Count's strange behavior and the ominous atmosphere of Dracula's castle, he uncovers terrifying secrets about his host. Dracula is not merely an eccentric nobleman but a centuries-old vampire with a thirst for blood and a plan to spread his undead curse to England.

One of the strengths of "Dracula" is its rich atmosphere. Stoker masterfully builds a sense of dread and foreboding, whether in the eerie landscapes of Transylvania or the dark, foggy streets of Victorian London. The novel's setting is a character in itself, with gothic elements like crumbling castles, moonlit nights, and sinister weather enhancing the terror.

Count Dracula himself is a captivating antagonist. He is both charismatic and terrifying, a creature of immense power and cunning. Stoker's portrayal of Dracula combines the allure of the exotic and the monstrous, making him a figure of both fascination and horror. His interactions with other characters, particularly the vampire hunter Professor Van Helsing, create some of the novel's most intense and memorable scenes.

The supporting characters, including Mina Murray, Jonathan Harker, Lucy Westenra, and Dr. Seward, are well-developed and contribute significantly to the story. Mina, in particular, stands out as a strong and intelligent heroine, whose resourcefulness and determination are key to combating Dracula's evil.

However, some modern readers might find the pacing of the novel slow, especially in the first half, where Stoker takes his time building the narrative. The language, reflective of the period in which it was written, might also seem archaic to some. Yet, these elements also contribute to the novel's gothic charm and authenticity.

Overall, "Dracula" is a timeless classic that has earned its place in literary history. Its exploration of fear, superstition, and the unknown resonates with readers even today. Bram Stoker's "Dracula" is not just a horror story; it is a profound exploration of the human psyche, the nature of evil, and the enduring power of myths. For fans of gothic literature and horror, it is an essential read.

Click Here to Listen Full Audiobook for Free

[no-side-us]

Dracula Daily Liveblog: May 25

Today's entry is recorded in a phonograph, which is an interesting parallel to Jonathan's diary being written in shorthand. What's also interesting is how Lucy suggested Seward as a potential partner to Mina, who is engaged to Jonathan.

Maybe Dr. "Lunatic-Asylum Man" Seward isn't handling the rejection as well as I thought, but at least he's keeping himself occupied.

Like any good doctor, Seward makes sure to keep his favorite patients continuously ill so that he can continue to work on them.

From the footnotes of my copy of Dracula:

"Omnia Romæ venalia sunt" is from the Roman poet Juvenal's satire 16, and means "Everything in Rome was up for sale," which is a sign of corruption in Rome I'm guessing.

And "verb. sap" is apparently an abbreviation of "verbum satis sapienti," which means "A word to the wise is sufficient."

And now we are introduced to Renfield! The "ætat" is Latin for "At the age of," so he's an older gentleman then. But other than some weird descriptors, we don't actually learn that much about him today, which is a shame.

And a short message from good ol' Quincey P. today too, inviting both Seward and Arthur out for some drinks! He's definitely handling rejection better than Seward is.

In a way, the Dracula Daily format highlights the "found footage" nature of the epistolary novel, since today we get two messages in different mediums. It shows that multiple things are occurring at the same time on the same day, where as reading the book normally wouldn't really showcase this.

[cryptid-deity]

September 4 Entry Summarized

.

Dr Seward’s Diary

Seward reports that Renfield became very frantic at noon on September 3. During the roughly five minutes of his frenzy, Renfield let out screams that scared some of the other patients in the building. Seward, despite not being at the scene when it happened, could also hear the screams (and likewise found them disturbing). By the time of Seward making the recording, Renfield is sitting quietly in the room he has been in for multiple days now.

Seward continues the recording a little later, reporting that he checked on Renfield, who seemed to feel much better. He was eating flies again, keeping note of the amount by scratching it into the walls of the room with his nails. Upon seeing Seward, Renfield apologized for the way he’d behaved earlier and asked to go back to his own room. Seward let him, and Renfield soon went back to keeping flies in boxes to feed to spiders. Seward asked him about the past few days, wanting to better understand the changes in Renfield’s mood.

For a moment or two he looked very sad, and said in a sort of far-away voice, as though saying it rather to himself than to me: ‘All over! All over! He has deserted me. No hope for me now unless I do it for myself!’ Then suddenly turning to me in a resolute way, he said: ‘Doctor, won’t you be very good to me and let me have a little more sugar? I think it would be good for me.’ ‘And the flies?’ I said. ‘Yes! The flies like it, too, and I like the flies; therefore I like it.’

Seward got him a double supply of sugar and left him again.

At midnight, Seward picks up the recording once again. Coming back from his check-up on Lucy, he was standing at the gate to the building and looking at the sunset when he heard Renfield yelling. When he reached Renfield’s room, the sun could be seen setting through his window. As it lowered, Renfield’s energy seemed to drain, until he sank intertly to the floor as the last of the sun disappeared. After a few minutes, he was up again and started moving around the room.

He went straight over to the window and brushed out the crumbs of sugar; he then took his fly-box and emptied it outside, and threw away the box; then he shut the window, and crossing over, sat down on his bed. All this surprised me, so I asked him: ‘Are you not going to keep flies anymore?’ ‘No,’ said he; ‘I am sick of all that rubbish!’

Sitting behind his grammophone now, Seward contemplates these extreme changes in mood.

I wish I could get a glimpse of his mind or of the cause of his sudden passion. Stop; there may be a clue after all, if we can find why today his paroxysms came on at high noon and at sunset. Can it be that there is a malign influence of the sun at periods which affects certain natures - as at times the moon does others? We shall see.

.

Telegram, Seward, London, to Van Helsing, Amsterdam

Patient still better today.

[papermoonloveslucy]

THREE LITTLE PIGSKINS

 December 8, 1934

Three Little Pigskins is a 1934 Columbia Pictures short subject directed by Raymond McCarey and starring slapstick comedy team The Three Stooges. It is the fourth entry in the series starring the comedians, who released 190 short films for the studio between 1934 and 1959.

Synopsis ~ Moe, Larry and Curly are hired to promote a university football team. They're soon mistaken for the school's famous star athletes, "The Three Horsemen." As the star athletes, they are hired by a gangster to secretly play on his professional team, but of course the boys know nothing about football.

PRINCIPAL CAST

The Three Stooges were an American vaudeville and comedy team active from 1922 until 1970. Their hallmark was physical farce and slapstick. Six Stooges appeared over the act's run with only three active at any given time. In this film they are: 

Moe Howard (Moe) born Moses Horwitz in 1897. Died 1975. 

Larry Fine (Larry) born Larry Feinberg in 1902. Died 1975. 

Curly Howard (Curly) born Jerome Horwitz in 1903, Moe’s younger brother. Died in 1952. 

This short film is the only time the three worked with Lucille Ball. 

Lucille Ball (Daisy Simms). This is Ball’s 17th film to be released since 1933. It is her 13th in 1934 alone. 

Gertie Green (Lulu Banks) makes the third of her four screen appearances.

Phyllis Crane (Molly Gray) was also seen with Lucille Ball in Broadway Bill and Men of the Night, both in 1934. 

UNCREDITED CAST (in alphabetical order)

Harry Bowen (Boulder Dam PR Man) also appeared with Lucille Ball in The Whole Town’s Talking (1935) and Dummy Ache (1936). 

Lynton Brent (1st Man Panhandled by Moe) appeared with Lucille Ball in seven other films between 1934 and 1939. 

Bobby Burns (Man Panhandled by Larry) also appeared with Lucille Ball and Harry Bowen in Dummy Ache (1936). 

Charles Dorety (2nd Photographer) also appeared with Lucille Ball in His Old Flame (1935). 

Milton Douglas (Henchman) makes his only appearance with Lucille Ball. 

Oscar ‘Dutch’ Hendrian (Referee) did five other films with Lucille Ball between 1934 and 1935. 

William J. Irving (1st Photographer) did five other films with Lucille Ball between 1933 and 1935.

Johnny Kascier (Man Panhandled by Curly) makes his only appearance with Lucille Ball.

Walter Long (Joe Stacks) also appeared with Lucille Ball in The Whole Town’s Talking (1935).

Roger Moore (Pete, Joe’s Henchman) also appeared with Lucille Ball in Meet the People (1944) and The Fuller Brush Girl (1950). 

The role of Joe is sometimes attributed to Joseph Young.

Jimmy Phillips (2nd Man Panhandled by Moe) also appeared with Lucille Ball in The Whole Town’s Talking (1935)

Larry Wheat (3rd Man Panhandled by Moe) appeared with Lucille Ball in Thousands Cheer (1943).

PIGSKIN TRIVIA

Three Little Pigskins was filmed from October 25 to 30, 1934 in and around Los Angeles.    

The film's title is a multiple pun, derived from the children’s nursery rhyme the Three Little Pigs, along with ‘pigskin’ being a synonym for a football. 

In 1924, Mermaid Comedies produced Pigskin, starring silent comedy short starring Lige Conley. 

In 1936 a film titled Pigskin Parade premiered earning its leading man an Oscar nomination. 

The second half of the film was shot at Gilmore Stadium, and its name on the scoreboard appears in several shots. The Los Angeles stadium was newly built in 1934 and had a seating capacity of 18,000. The football team the Stooges play against was from Loyola Marymount University, a regular tenant of Gilmore Stadium. 

The Cubs on the scoreboard refers to the Westwood Cubs, who had played at the stadium on the October 28, 1934. The Tigers refers to the Occidental Tigers, a college team from Los Angeles.  Neither team appears in the film. 

Coincidentally, the stadium was demolished in 1952 to make way for CBS Television City, a production facility that was opened by Lucille Ball as the network’s reigning star, although “I Love Lucy” never filmed there. One of their major tenants was the Hollywood Stars Baseball team, which Fred Mertz mentions during “In Palm Springs” (ILL S4;E26) in March 1955. 

There is also a shot that includes a billboard for Gilmore Oil, including its trademark symbol, a red lion. The Gilmore Oil Company was an independent oil company in California founded by Arthur Fremont Gilmore, whom the stadium was named for. At its peak, they operated over three thousand gas stations on the West Coast. In the 1940s, the company was acquired and then merged into a group which eventually became Mobil.

The address 6317 Yucca Street on the poster behind Curly and Moe was the actual location of filming. Coincidentally, it  is about a quarter mile from the Stooges’ Star on the Hollywood Walk of Fame. the location is now the Los Angeles campus of The American Musical and Dramatic Academy (AMDA).

Boulder Dam College is a fictional school. Boulder Dam is located in Clark County, Nevada and was under construction at the time of filming. It named Boulder Dam in 1933 and dedicated in 1935 and opened in 1936. It was renamed Hoover Dam in 1946. 

Beyond the stadium can be glimpsed the Fairfax Theatre sign. The Fairfax Theatre opened in 1930 as part of a larger retail complex.  The theatre was ‘triplexed’ in the 1980s but closed for good in 2010 after roof damage from heavy rains. The owner was unwilling to make repairs although the façade still remains.  

Later in her career, Lucille Ball (apparently referring to the seltzer squirting scene) would remark, 

"The only thing I learned from The Three Stooges was how to duck. I still got wet!"

While Lucille Ball was filming Three Little Pigskins, The Affairs of Cellini, in which she played an uncredited lady in waiting, was in wide release, having premiered in late August 1934. 

Moe Howard once called Three Little Pigskins "a humdinger of bangs and bruises," as it marked the first time the Stooges flatly refused to perform a stunt. In the film, during the game the boys are stopped by photographers to pose for a picture, when the football players then tackle them. The team consisted of genuine college football players, and the Stooges were afraid of being hurt. Larry Fine, the smallest and lightest of the three, told director Raymond McCarey, “We've never used stunt doubles before but we certainly need them now." 

The fact that both Curly and Larry had been hurt a few days earlier (Curly broke his leg riding down the dumbwaiter and Larry lost a tooth due to a mistimed punch) reinforced the trio's decision to opt out of the scene. Less than an hour after the exchange, the studio found three stunt doubles made up to look like the Stooges. Two of the three were seriously injured as were all four photographers.

A planned concluding scene had the Stooges, years later, telling the story to their sons. It is unknown if this scene was ever filmed, but publicity photos exist of the Stooges, each with a young actor, all made up and dressed to resemble their older counterparts.

In 1996, Exclusive Premiere created limited edition action figures of the Stooges in costumes from the film. 

PIGSKIN PROGRESS

As a young model and actress, Lucille Ball didn’t just take film jobs. Here she poses with Billie Seward at Bovard Field in Los Angeles.

In 1949, Lucille Ball and Victor Mature starred in a film about a professional football player, Easy Living.

Ball’s radio show “My Favorite Husband” tackled gridiron gimmickry in 1950. 

For a further look at Lucy and the Gridiron, click here!  

[teatimewithtess]

Book Review #1... Dracula ^-^

Dracula was written in 1897 by Bram Stoker, an avid Irish writer in his young adult years. The story’s format takes the appearance of multiple character’s diary/journal entries and letters in roughly 350 pages. The main character Jonathan Harker, a young naive solicitor in England, first encounters Count Dracula at his own castle in order to expand upon a business inquiry. The opening scenes start off slowly, as if Stoker purposely did so in order to provide tension for later abhorring scenarios. Harker avidly describes his surroundings and encounters with people throughout the entirety of his excursions, whether they are beneficial or not. His oblivious persona creates a pitiful urge from the reader to aid him or point out the obvious, which is especially heart-wrenching since his descriptions are in his personal journal. 

The audience witnesses the growth of insanity Jonathan Harker faces as he reveals his entrapment within the castle and the details of the Count are certainly unsettling, which contribute to the eeriness of the entire situation. However, in the modern day understanding of Dracula and vampires, there are many assumptions that have been made which could not have been entirely true which prompts the question... How much has society altered the reality of the book in order to appeal to the social hierarchies and norms?

The audience then encounters his future wife, Miss Mina Murray, a vivacious young woman certainly in love with Jonathan; Dr. Seward, a doctor of the mind during the colonial England era who consistently writes about his striking patient R. M. Renfield in the most intuitive sense; Dr. Van Helsing, an older academic with evolutionary advances in neuroscience who also has an extensive knowledge of vampiric history; and of course, Count Dracula, a suspicious gentleman with malignant, unnerving features in the viewpoint of common humanity. Although there are a few others, these are the main protagonists and antagonists the audience witnesses the growth of through first hand viewpoints, which places the reader in the character’s position in an evolutionary way.

The suspense, fear, questioning is felt as if you are in the room with the Count, where he appears and disappears within a second, where the power of Holiness is tested through the religious will of each individual character, as certain people do not possess the power to push through. Many mementos withholding religious and scientific values stress the ideas of what good and evil is, as Stoker explained how he based these characters off of real events/people. I do not read much literature where the format is journalistic, but this book used the format graciously. From the instances where characters are having an enlightening moment, to the reactions of evil presenting itself in the worst way, the audience witnesses a development of morals in which each individual reader can infer and create within their own analysis since there are many unanswered questions about the character’s acts. The grim, Gothic events generously appeal to a dark academic’s interpretation of life and literature.

Dracula also puts into perspective on the level of trust we consciously and unconsciously give to people in order to find out the truth for personal development or closure; there is also a measure of the balance of good and evil in personas which can drastically alter outcomes that must be considered when meddling with dangerous circumstances.

Dracula exceeded my expectations from the common story/assumptions I know from society that consistently smothers me with. Respectively, I would recommend this book to anyone looking for:

1) A psychologically manipulative antagonist in the old era of European history described through personal accounts.

2) The truth of a traditional tale told through time.

3) Being able to witness the emotional downfall of human charisma in it’s purest form.

4) An easier read of classic literature (the syntax and diction is not as difficult as many other classics.)

Dracula will hold a special place in my Gothic literature heart, and I wish for everyone to read it!

- Tesu

[vickyvicarious]

Ignore me if I got the wrong person to pester, but I thought you were the one or one of the people talking about Mina following a routine and paying a lot of attention to time and clocks and schedules. Anyway I was catching up and saw. August 10 11 o’clock p. m.—Oh, but I am tired! If it were not that I had made my diary a duty I should not open it to-night. And I thought she thinks that her a diary each day is a duty? And also, then some of the dates she wrote are not included.

I think I have mentioned it a little, but I believe @thegoatsongs has talked about it more!

But yeah, I agree that Mina definitely seems to do this. And her diary specifically is a self-assigned duty for the summer. She talked about it in her letter to Lucy on 9 May, when she said she was going to write more substantially than "one of those two-pages-to-the-week-with-Sunday-squeezed-in-a-corner diaries [...] it is really an exercise book. I shall try to do what I see lady journalists do: interviewing and writing descriptions and trying to remember conversations." That doesn't specify daily entries but it does seem like she wanted to have them. Otherwise lines like you quoted above, or her 17 August "No diary for two whole days. I have not had the heart to write." lose a lot of weight. And I do think they're important.

Mina will try and squeak in an entry at the last minute to make sure she gets one for the day. She feels guilty or perhaps disappointed in herself when she's too beaten down to write for two days in a row. What began as a fun challenge to herself has in some ways become another burden, another responsibility. Just because it's self-imposed doesn't make that less true I think. Of course, it's hardly only a burden and I don't think it's overall or even mostly negative for her, only incidentally. She is able to track Lucy's health which is useful, she is able to express her emotions and talk about the secrets surrounding her. It gives her a place to vent, even just a little, and that's huge. But I do think Mina does have a tendency to blame herself and that shows up a little in that line about missing days.

And speaking of missing days... obviously all I've said assumes she has been writing every day, which would mean we haven't gotten all her entries. I think we are only seeing Mina's Dracula-relevant entries. So she has been writing every day... it's just, some days only talk about the play they went to see, or someone she interviewed in town, etc. Those aren't relevant to the story. Lucy's health and sleepwalking is, her fears about Jonathan are, the Demeter is, Mr. Swales is, that bat definitely is... every single one of her entries includes at least one of those topics. Usually multiple.

And this is the case throughout everything. We get an establishing letter or two to explain where/who people are/what their relationships are to one another, but then everything else must be relevant to Dracula or it doesn't appear. Hence Arthur and Quincey vanishing from the narrative, despite us knowing Arthur at least has written to Lucy. We knew Mina and Lucy exchanged other letters in the beginning as well, which we didn't get to see. Seward presumably might have phonograph records discussing other patients too, but we don't get those, just the ones about Renfield (and also his feelings for Lucy).

I think the only person who we've seen everything from is Jonathan, and that for the simple reason that everything he wrote was relevant. He didn't have any opportunities to write anything totally separate from the topic of Dracula since arriving at the castle. And mileage varies on whether he wrote Dracula-relevant things that have been censored out (or chose not to write them in order to self-censor), such as getting bitten, but I personally look at the timing I think it happened and also Lucy being unable to fully remember being drunk from, and I don't think he left anything out of his diary on purpose. But Jonathan was in a pretty unique position with no freedom to write otherwise. Everyone else can and probably does - maybe they don't all keep diaries (we can pretty firmly say Lucy at least doesn't currently because that would absolutely be relevant) but they must be writing letters at the least. And we don't get those.

Of course, there's a reason for this: [spoilers!]. But also, it just makes sense not to clutter up the novel with tons of irrelevant letters and is kind of just a staple of the epistolary genre to only present the reader with plot-relevant documents.

[lnkhauler]

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[lnkjanitors]

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[lcgacyofages-a]

Codex Entry : The Maleficar Hunter

found in a forgotten journal at an abandoned templar camp on the Storm Coast. Used to unlock a dialogue with Aurora on if she knew anything about this Ser Tearlach. 

Of all the maleficar hunters, Ser Tearlach Seward is one of the most prolific. I’ve never once seen him falter under their magic, as if something more drove him to his work. And he executes his job with such a cold, calculated mannerism, perhaps not even viewing the maleficar as people. I wondered where he had learned this drive from and heard only rumors.

As far as I could tell, he was born to a poor laborer family in Ferelden, perhaps near Amaranthine. His year of birth was more than likely 9:07 Dragon, from the records I uncovered. His parents and older sister were killed by a maleficar being pursued by templars. Poor sods got caught in the crossfire apparently. He was roughly 5 years of age then and pitied by the templars. They took him into the Order to train, so he’d have a home and family.

He was trained in Tantervale under one of the most aforementioned templar trainers. I’ve heard rumor this man was severe to all his recruits, pushing them to the breaking point multiple times and assuring they kept closely with the Chant. But one must wonder what sort of viewpoint that might put in a young boy’s mind.

Once his training had been completed, I learned he had been stationed at Kinloch Hold in 9:32 Dragon to help replace the templars lost during Uldred’s attempted coup. Some records suggest whispers of mistreatment on his end and it finally came to a head in the beginning of 9:36 Dragon, where he was removed from Kinloch Hold and made to patrol and hunt down maleficar.

I am not sure what became of him since I worked with him. He was always an ambitious sort. I wonder if he ever rose to a position he was comfortable with or if rumors dogged him all the years and kept him from that.

-Ser Robb Netherberg, Templar Knight