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I was a
young man at the time, and intimately acquainted with some of the actors in
this strange tale; the impression which its incidents made on me, therefore,
were deep, and lasting. I shall now endeavour, with precision, to relate them
all, combining, of course, in the narrative, whatever I have learned from
various sources, tending, however imperfectly, to illuminate the darkness which
involves its progress and termination.
Text:
J. Sheridan Le Fanu, The Familiar
(1872)
Itals: In A Dis Ya Time (Link)
Velvet Underground: That's
The Story Of My Life (Link)
Even
in his colored paintings, Paul Nash tended to project the world (inner and
outer) in neutral tones, not dissimilar to these 1920 black and white woodblock
prints of (top to bottom) promenade 2, the bay, and the tide dymchurch. I’m a sideline spectator only, unskilled in art, but I also see the
world that way. I have always wondered why and suspect it has to do with television’s strong influence. Sitting endless hours in front of a black and white console as a child, consuming all entertainment genres in velvety shades of gray, left its mark, I think. I always found it odd that when the world was deep into the “color era” (the company I worked for even defined a motion picture as a color motion picture in our contracts) that black and
white acquired “art-y” status. To me it
looks like reality and it keeps me from becoming (too) overwrought.
Velvet
Underground: I Heard Her Call My Name (Link)
