#Stephen Collings
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Read any good books since your last update about your recent reading?
Yes, although I forget when I last shared the books I've been reading, so hopefully I don't repeat anything.
I know that I've repeated this book because I've mentioned it several times over the past couple of weeks, but I can't help but remind everyone again about Steve Coll's excellent new book, The Achilles Trap: Saddam Hussein, the C.I.A., and the Origins of America's Invasion of Iraq (BOOK | KINDLE | AUDIO). It's definitely the best book I've read so far this year, and it's one of the better books I've read in the past 10 years.
Other recent books that I've read and would recommend checking out:
•Radiant: The Life and Line of Keith Haring (BOOK | KINDLE | AUDIO) by Brad Gooch
•The Far Land: 200 Years of Murder, Mania, and Mutiny in the South Pacific (BOOK | KINDLE | AUDIO) by Brandon Presser
•UFO: The Inside Story of the U.S. Government's Search for Alien Life Here -- and Out There (BOOK | KINDLE | AUDIO) by Garrett M. Graff
Garrett Graff has quickly become one of those authors who I go out of my way to immediately pick up his latest books because he's so well-connected and I ALWAYS learn fascinating things from his books. I don't know if there's a writer/journalist today who has better access to the American defense establishment or proven to be more capable of shining a light on many of the most secretive aspects of the United States government.
•"Uncool and Incorrect" in Chile: The Nixon Administration and the Downfall of Salvador Allende (BOOK | KINDLE) by Stephen M. Streeter
•Life After Power: Seven Presidents and Their Search for Purpose Beyond the White House (BOOK | KINDLE | AUDIO) by Jared Cohen
•The Liberation of Paris: How Eisenhower, de Gaulle, and von Choltitz Saved the City of Light (BOOK | KINDLE | AUDIO) by Jean Edward Smith
•Unruly: The Ridiculous History of England's Kings and Queens (BOOK | KINDLE | AUDIO) by David Mitchell
•The Rise and Fall of a Palestinian Dynasty: The Husaynis, 1700-1948 (BOOK) by Ilan Pappe
•In the Houses of Their Dead: The Lincolns, the Booths, and the Spirits (BOOK | KINDLE | AUDIO) by Terry Alford
•Kingdoms of Faith: A New History of Islamic Spain (BOOK | KINDLE | AUDIO) by Brian A. Catlos
•Borgata: Rise of Empire: A History of the American Mafia, Volume 1 of the Borgata Trilogy (BOOK | KINDLE) by Louis Ferrante
•Soldier of Destiny: Slavery, Secession, and the Redemption of Ulysses S. Grant (BOOK | KINDLE) by John Reeves
•His Final Battle: The Last Months of Franklin Roosevelt (BOOK | KINDLE | AUDIO) by Joseph Lelyveld
•Charlie Chaplin vs. America: When Art, Sex, and Politics Collided (BOOK | KINDLE | AUDIO) by Scott Eyman
#Books#Recent Reading#Recent Books#Book Suggestions#Book Recommendations#The Achilles Trap#Steve Coll#Radiant: The Life and Line of Keith Haring#Brad Gooch#The Far Land#Brandon Presser#UFO: The Inside Story of the U.S. Government's Search for Alien Life Here -- and Out There#Garrett M. Graff#“Uncool and Incorrect” in Chile: The Nixon Administration and the Downfall of Salvador Allende#Stephen M. Streeter#Life After Power: Seven Presidents and Their Search for Purpose Beyond the White House#Jared Cohen#The Liberation of Paris#Jean Edward Smith#History#Unruly: The Ridiculous History of England's Kings and Queens#David Mitchell#The Rise and Fall of a Palestinian Dynasty: The Husaynis 1700-1948#Ilan Pappe#In the Houses of Their Dead#Terry Alford#Kingdoms of Faith: A New History of Islamic Spain#Brian A. Catlos#Borgata: Rise of Empire: A History of the American Mafia#Louis Ferrante
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Buy Michael R. Colling’s Stephen King is Richard Bachman from Booksvenue.com
Introduction
Stephen King is Richard Bachman, the pseudonym under which Michael R. Collings wrote his novels during his Dark Tower years. This book tells the whole story of how it all came to pass. A must-read for any Stephen King fan or anyone interested in learning more about this fascinating aspect of King's career.
The book includes the complete story of Stephen King's pseudonym, Richard Bachman. From the publication of his first novel, Rage, in 1977 to the author's confession that he was really Richard Bachman in 1986, this book is updated and revised with information on all of the novels released under this pseudonym since its original publication 25 years ago.
This book is an in-depth look at the life of Stephen King's Richard Bachman. Michael R. Collings takes us back to the beginning of Bachman's career and chronicles everything released as Richard Bachman. With updated information and new releases, this is the most complete history ever written on the matter.
Available at Books Venue. Buy now at the Lowest price Online.
Who is the author of “Stephen King is Richard Bachman”?
Michael Collings has been a critic and writer of fiction and poetry for over forty years. His work has been recognized by the American Library Association as both one of the most important novels of the last century ("The Anatomy Lesson") and one of the ten most dangerous books in America.
Michael Collings is a writer of remarkable and accessible insight who writes with love, humour, and a keen eye. He has been compared to such writers as Philip Roth, John Irving, Robertson Davies, and Kurt Vonnegut.
In this definitive biography, “Stephen King is Richard Bachman,” Michael R. Collings tells the story of one of America's most popular authors. He describes how Stephen King first came up with the idea for Richard Bachman, and how he used the pseudonym for a number of years for his darker works until The Regulators was released, whereupon it was discovered that he was behind Richard Bachman.
From the beginning of his writing career, Stephen King wrote under various names and pseudonyms. "Richard Bachman" is one such pseudonym. With this non-fiction, Michael R. Collings reveals the true story behind Richard Bachman -who he really was and how, after years of secrecy, his identity became known. This revised edition includes details about other pseudonyms used by King, including John Swithen and Owen West.
Interesting Facts about the book
Stephen King is Richard Bachman by Michael R. Collings tells the entire story of how Stephen King's Richard Bachman came to life and when King finally had to give up the ghost and admit that he was writing under the pen name Richard Bachman. This of course came about when the fifth novel, Thinner, was released and a reader discovered King's pseudonym. Now Michael Collings takes us from the beginnings of this unusual fiction sideshow of Stephen King's body of work to what we thought would be the last Bachman release, The Regulators. updated and completely revised with new information and Richard Bachman releases since its original publication almost twenty-five years ago.
Written by a former King researcher and collector, this is the definitive story of Stephen King's alternate identity. For all King fans and collectors, this is a must-read and the best book ever.
From the mind of Stephen King comes a gripping story of two boys who want to go out into the world but must first confront the challenges of their past. In a haunted house called The View from The Window and outside on the streets of Bucksport, Maine, Richard Bachman's fictional world is as real to his readers as anything they have experienced. But when a bookstore clerk named Steve Brown discovers that Bachman is actually King, his life changes forever. Brown's success brings him not only fame and fortune, but also heartbreak.
This book is a look back at the life of Stephen King and his career as an author. From his humble beginnings to his rise to fame—and even his fall from grace when his secret was discovered—this book offers a powerful narrative about the man behind the stories—and all those who influenced him along the way.
Find out how King finally revealed himself as Bachman, how he got the idea, why he started writing under a pen name in the first place, and what happened to the books that were published as Bachman. Though Stephen King had a rough childhood and humble beginnings, he rose above it all to become an author whose stories will continue to impact future generations.
The Bachman book Thinner, the last of the Bachman books before being outed as King, sold 28,000 copies when it was originally published and then about ten times that amount when it was revealed to the public that Bachman was actually King.
Welcome to the world of Richard Bachman, a new name with a very dangerous past. The man you only know now as the author of Rage, The Long Walk, and Roadwork actually died in 1985. But when his death was revealed as an elaborate hoax, one of King's most mysterious characters came to life.
Discover the story behind the pseudonym and find out why he chose it, how it began, and how he executed it. It includes a listing of all Richard Bachman books and novellas, with an updated title listing for this book itself.
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#mystery & detective fiction#books#stephen king#best book#richard bachman#story#bookstore#fiction#novels#collings
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AUTHOR INTERVIEW: Michaelbrent Collings
AUTHOR INTERVIEW: Michaelbrent Collings
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#Aterrados#author interview#Halloween#Halloween Extravaganza#Halloween Extravaganza 2022#Halloween frivolities#Halloween shenanigans#I Am Legion#Michaelbrent Collings#NPR#Prom Night#Publishers Weekly#Scream Magazine#Shirley Jackson#Six Figure Author#Stephen King#Stranger Danger#Stranger Sins#Stranger Still#Strangers#Tedx#Teletubbies#Terrified#The Creative Penn#The Final Girls#The Haunting of Hill House#The Shining#Watcher in the Woods#Writing Excuses
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from ‘imagining the worst: stephen king and the representation of women’
“OH DEAR JESUS IT IS FEMALE”: Monster as Mother/Mother as Monster in Stephen King’s It
Linda Anderson
Stephen King has been quoted as saying that in It he was attempting to create a monster that would be a synthesis of all of the great monsters of American popular culture: “[I]t’s like a monster rally—everything is in this book, every monster you could think of’ (Winter, 184). King scholars differ as to the literary value of this “monster rally”: Michael Collings declares It a “masterpiece”
(Phenomenon, 13), and Burton Hatlen likes it “a lot,” although finding it “imperfect in certain ways” (146); Don Herron’s assessment is scathing (216— 17). Clearly, what King aimed to create in It—and in It—was what Georgie Denbrough imagines (rather exceptionally for a six-year-old) as “the apotheosis of all monsters” (It, 7). Whether King succeeded in his attempt must ultimately depend on each reader’s taste, but it is certainly the case that King’s monster, even if not exalted to divine rank, is unusual.
Instead of appearing in a single, gruesome, terrifying form, It manifests Itself as many different avatars. Its incarnations include such classic monsters as the Mummy, the Creature from the Black Lagoon, Dracula, a teenaged werewolf, and Frankenstein’s monster. Less traditionally, It appears as a leprous hobo, Paul Bunyan, and Buddy Holly. It can possess the bodies of living people, as it does that of Beverly Marsh’s father, and It can take the form of dead acquaintances of the other characters, such as Belch Huggins and Victor Criss.
Its most frequent avatar, however, is Pennywise the Dancing Clown. One common element of nearly all of Its manifestations is that they are explicitly defined as male.' Though King as narrator is careful to refer to It Itself as gender-neutral, his characters sometimes refer to the avatars as male. On more than one occasion, It even defines Itself as male, saying that Its name is Bob
Gray, or even Mr. Bob Gray. Ultimately, however, and this is presented as the ultimate of Its horrors, It is discovered to be female and pregnant—not It at all, but She and Mother.
Eventually, of course, It is defeated, first and temporarily in 1958 by children, and finally in 1985 by adults (themselves unable to have children) who are able to “become children” again. The principal battle of the book is between a group of six boys/men (and one token girl/woman) and a (literally) devouring mother-figure who is made more monstrous because, as the book makes clear,
She does not kill merely for food or to support Her young: Her creative and bleakly humorous use of children’s popular culture suggests that She enjoys terrorizing, mutilating, killing, and devouring children, primarily male children, whose only rational response is to destroy Her. The female character who is part of the victorious group (known as “the Losers”) is ostensibly established as a virtuous mother-figure, in contrast not only to It but also to the novel’s real human mothers. However, her part in the defeat of the monster is problematic.
Only the group’s boy-men, with advice and limited help from their fathers, father-figures, and other male characters, can defeat the monstrous mother.
Despite all of the apparent male violence—human and inhuman—throughout the novel, It is ultimately about resolving pre-Oedipal conflict, the attempt to erase the “primary experience” of the link between mother and child and to “release the hold of the maternal entity” through male language (Irigaray, 14; Kristeva, 13).
Whether or not readers agree that the revelation of It as She and Mother constitutes the ultimate horror, those familiar with King’s other novels and tories should not be surprised at encountering a monstrous mother because such figures are common enough in his works to constitute a motif.* Even readers not familiar with King’s other works should not be too surprised at the revelation of
It as the monstrous mother because the idea of mothers as monstrous is established well before the book’s climax. Human mothers in It are not entirely unsympathetic: Many of them are poor, often working in hard, sometimes hazardous, dead-end jobs, and some of them are struggling to raise children by themselves (among the Losers, only Beverly has a father who is a dominant figure). Nevertheless, It is largely written from a child’s viewpoint, and as mothers these women are seldom more than ineffectual at best and often fail to rise even to that depressed and depressing level.
The best mother in the novel is probably Jessica Hanlon, but even she is represented as somewhat repressive, particularly when compared to Mike’s father, Will.* Jessica is the parent who keeps Mike at his chores, while Will is the one who tells her a boy needs time to play. Jessica is the parent who enforces discipline, to such an extent that even Will avoids her anger. Jessica tries to keep Will from giving Mike information that he needs to combat the monster. Jessica is somewhat humorless: When Mike and his father were having “great fun” watching Rodan on TV, she “popped her head in and told them to hush up before they gave her a headache with the noise” (275). Toward the end of the book, It reveals that the reason Mike sees It as a monstrous bird is that the infant Mike was attacked in his cradle by a crow when his mother left him in the yard while she was hanging out laundry. Although Jessica Hanlon is a loving mother, she is clearly represented as stricter and less fun than her husband, although still unable to protect her son, or even, at times, to comprehend the dangers of the world he lives in.
Richie Tozier’s is the only other family in the book that is other than gravely dysfunctional. (King offers almost no information about Stan Uris’s family.) Maggie Tozier, however, again in contrast to her husband, is represented as being no fun. She reproves her husband for “vulgarity,” refers to ichie’s beloved horror movies as “awful junk,” and “like Bill Denbrough’s mother” is “death on rock and roll” and is “traumatized” by seeing Jerry Lee Lewis on TV.° She becomes “furious” with Richie when his glasses are broken by a bully (662). She is described as being likely to “have a bird” if she finds out that Richie has been riding double on Bill’s bike, but she is completely unaware that her son is plotting with Bill to kill It and is shown as cheerfully pouring out iced tea for the boys as they plot their dangerous mission (363). Shortly after this episode, we hear her thoughts about the boys:
I don’t understand either of them, she thought. Where they go, what they do, what they want... or what will become of them. Sometimes, oh sometimes their eyes are wild, and sometimes I’m afraid for them and sometimes I’m afraid of them... . A pretty little girl she could have understood. (King’s ellipses, 366)
Ben Hanscom’s mother is affectionate and supportive. She is a single mother and works hard to raise her son, although even that virtue causes Ben anguish, as he worries about what her job in a textile mill is doing to her health. She is “a hard woman,” who usually insists on having her own way, and Ben is rarely capable of standing up to her (185-86). She knows little about her son’s life, particularly about his friendlessness early in the book, and he feels unable to talk to her about this or his other worries. Although Ben loves her, he doesn’t trust her. When he is pursued by It, he gets home to find that his mother, exhausted from work, “had not, in truth, much missed him” (215), and after being knifed by the murderous Henry Bowers, he thinks of his mother not as a comforter or protector but as someone who is “going to give him sixteen different flavors of holy old hell” or put him in the emergency room for ruining his clothes (216). Worst of all, she stuffs him with food, even after he is obviously grossly obese, and it isn’t until Ben is in high school—and then only after having “a hell of a fight” with her—that he is able to lose weight, and then only with her fighting him every step of the way. His weight, Ben suggests, was “a kind of security thing with her” (496).
And these are the good mothers.’
The remainder of the mothers in It are almost worse than the title character. Devastated by their younger son’s death, both of Bill’s parents withdraw into themselves, leaving Bill feeling that they blame him for George’s death and no longer love him, but Bill’s mother is the parent represented as least functional, most repressive, and most to blame for the failure of both parents.
She is the parent who reproves the boys for making noise and who refuses to allow Bill to have a rifle. She is the parent whom Bill wants to please, but whom he never can please. And, like Maggie Tozier, she is the parent represented as being confused and frightened by children, including her own son.
Eddie Kaspbrak’s mother is the most thoroughly described and in many ways the most monstrous in It. She is, in fact, described as “something nearly monstrous’”—because she weighs 406 pounds—as well as “crazy” at the time of her death (90, 95). She is racist, anti-Semitic, anti-Irish, and homophobic, hugely fat, stupid, frightened, but also “implacable” (88). Eddie “in a sense, [marries] his mother,” and his mother is obviously the cause of Eddie’s marrying her epigone, Myra (85). Eddie’s mother consciously uses tears as a weapon, is responsible for Eddie’s psychosomatic asthma, and turns him into a lifelong hypochondriac. When Eddie is hurt or in danger or contemplating doing something as harmless as playing baseball, his principal concern is not his own feelings but his mother’s reaction—always conceived of as strongly negative.
Even after his mother is dead, he can still hear her voice inside his head, warning him of imaginary perils. She is terrified that he will grow up, move away, and get married, thus leaving her alone, and when he shows signs of independence, she becomes afraid of him. Sonia Kaspbrak is explicitly associated with It in several ways. When she tries to drive all of Eddie’s friends away, Eddie sees It capering with glee and finally pretending to kiss Sonia’s cheek. When Eddie sees her most clearly, he associates her with the incarnation of It that has frightened him most: Her eyes, he realizes, are “almost predatory, like the eyes of the leper that had crawled out of the basement at 29 Neibolt Street” (789-90). Horrified at his own realization, he succeeds only in further extending the comparison when he tries to tell another character, “She’s not the leper, please don’t think that, she’s only eating me because she loves me” (790). Finally, It even takes the shape of his mother.
In addition to being manipulative, oppressive, ignorant, and afraid of their children, the human mothers in It all demonstrate a more immediate shortcoming: They are unable to protect their children. Occasionally, mothers in the book are actually the ones to inflict violence, intentionally or not: Tom Rogan’s mother, a single parent with four small children, often beats young Tom with a stick, thereby turning him into a wife-beater. An unnamed mother accidentally drops her baby into the Derry Standpipe, where it drowns.® Sometimes, children become victims of It when their mothers (never, it seems, their fathers) fail to watch them carefully enough. Three-year-old Matthew Clements is taken when his mother briefly leaves him outside alone to attend to her laundry. Five-year-old Laurie Ann Winterbarger is in her mother’s sole custody when she disappears. Patrick Hockstetter’s parents both fail to realize that their five-year-old son is a psychopath, but it is his mother who is home asleep when Patrick murders his infant brother Avery. More commonly, though, the failure to protect children is due to a lack of understanding, although even this is represented as the mothers’ fault because the children, reasonably, given the mothers they have, do not feel that they can talk to their mothers.’ The mothers are not, for the most part, uncaring: They try to protect their children against falling off bicycles, contracting contagious diseases, or becoming victims of what they assume to be a sex maniac who preys on Derry’s children. They fail, however, to understand not only the threat posed to their children by It but even the more obvious dangers of schoolyard bullies and domestic violence (at least some of which dangers are inspired by It).
Worse than the lack of understanding, however, is the fact that mothers in It fail to protect their children against domestic violence by men. Young Henry Bowers is driven insane largely by having to live with his crazy and abusive father, whose wife leaves him after he nearly beats her to death. Why she abandons their son to be abused by Butch Bowers is not explored. On occasion, mothers even protect abusive and violent men rather than their own children. Beverly Marsh’s mother, like so many others in the book, is loving and concerned, but too busy with her job and her husband to be involved in her daughter’s life or even to be aware of Beverly’s lack of friends. More important, she seems to be unaware that Beverly’s father is physically abusing their daughter, or, if she is aware, unwilling or unable to do anything about it. The mother of four-year-old Dorsey and ten-year-old Eddie Corcoran allows her husband, the boys’ stepfather, to physically abuse both of her sons and defends him even after he kills Dorsey and Eddie disappears. She subsequently has Eddie, one of Its victims, declared legally dead so that she can “enter into possession of Edward Corcoran’s savings account,” which consists of $16.00 (255).
The inability or unwillingness of mothers to protect their children is particularly important because It preys primarily upon children, mostly boys. Although there are a few mass killings that must have involved girls—the disappearance of approximately 340 people in 1741 (153) and the explosion of the Kitchener Ironworks during an Easter egg hunt arranged for the town’s children (157)—only a handful of Its more than twenty named or described child-victims are girls. When It chooses older victims, they are almost invariably men; although adult women sometimes die when It stages a mass killing—the fire at the Black Spot (463-69), the massacre of the Bradley gang (641—55)—the death toll is always much higher among men than women, and there are some mass killings in which the victims are exclusively men—the 1879 lumber-camp slaughter (157), the mass murder at the Silver Dollar in 1905 (883-93). Often, in fact, these mass incidents seem to occur in places where a largely or exclusively male population would be expected—an army base, a lumber camp, a disreputable saloon. Furthermore, King suggests that knowledge about It drives several men to suicide (including Stan Uris, Branson Buddinger, and Richard Macklin); women, apparently, either lack such insight or fail to be so horrified that death seems preferable to life with such terrible knowledge. In fact, there is no evidence that It ever singles out a female character over the age of eighteen for Its attentions. Adult women seem almost immune to Its attacks, except as incidental victims. The maternal monster rarely preys on Derry’s monstrous mothers.* As Georgie Denbrough presciently imagines, It is “a creature which would eat anything but which [is] especially hungry for boymeat” (7).
The fact that It eats Its victims is central to the horror It evokes. Again, the eating seems confined almost exclusively to young male victims. Although girls, women, and adult men are killed by It, there is rarely a suggestion that they are devoured.” Its appetite is one of Its two defining characteristics, eating and sleeping: An alien life form that arrived “from a place much farther away than another star or another galaxy,” It likes Earth because the “quality of imagination made the food very rich. . . . Upon this rich food It existed in a simple cycle of waking to eat and sleeping to dream” (758, 1007). It is described as a “homicidal endless formless hungry being” (1054), and describes Itself to Bill as “the Eater of Worlds” (1052). Bill comes to understand that It is a being that “only ate” (1054). When It becomes fearful of the Losers, Its response is defined in terms of eating: “Jt hated the fear, would have turned on it and eaten it if It could have” (1015).'°
But it is not merely the physical fact of being devoured by It that is terrifying. More horrific is the suggestion that children who are killed and eaten by It continue, in some sense, to live not only with It but within It. Betty Ripsom’s mother tells her husband that she heard “‘a whole slew of voices, all of them babblin together’ speaking from the drain of her kitchen sink: ‘Who the hell are you?’ she calls. ‘What’s your name?’ And all these voices answered back, she said—grunts and babbles and howls and yips, screams and laughin, don’t you know. And she said they were sayin what the possessed man said to Jesus: ‘Our name is Legion,’ they said” (154). Mr. Ripsom goes on to tell Mike that he himself later heard his daughter’s voice “screamin and laughin down there in the pipes” (155). That these voices and Its repeated assertions that Its victims all “float” down where It dwells are not merely illusions or lies is strongly suggested during the Losers’ first battle with It, when It tells Bill, “wait for the deadlights! you'll look and you'll go mad... but you'll live . . . and live _ and live... inside them... inside Me” (King’s ellipses, 1055). During his ordeal, Bill becomes confused as to whether “It wanted to eat little kids . . . or suck them in, or whatever It did” (1055). The answer, apparently, is that It both eats little kids and sucks them in. They are eaten but somehow remain alive within the monstrous mother.'’ As Jungian myth-scholar Erich Neumann explains, The mysteries of death as mysteries of the Terrible Mother are based on her devouringensnaring function, in which she draws the life of the individual back into herself. Here the womb becomes a devouring maw and the conceptual symbols of diminution, rending, hacking to pieces, and annihilation, of rot and decay, have here their place. (71-72)
It is not until the end of the book (the ends of both battles with It being narrated in alternating sections) that Its true identity as female and mother is revealed. Whether or not this revelation shocks the reader, it certainly has a profound effect on the two characters who first (in terms of the book’s somewhat skewed chronology) make the discovery. Tom Rogan drops “dead of shock . . . his eyes filling with the blood that had squirted out of his brain in a dozen places” (1016). Audra Denbrough puts “out one powerful, horrified thought—OH DEAR JESUS IT IS FEMALE,” before “her mind [is] utterly destroyed by her first sight of It as It really [is[’ (1016, 1015). Though it is possible that we are supposed to believe that these characters’ reactions are provoked by Its spider-avatar, that appearance had no such effect on the children who saw Its “true” form during the 1958 battle. Granted that the children know, as Tom and Audra do not, that they are about to face a monster, and granted that King emphasizes the toughness of children’s minds, the power of the spideravatar is later denigrated by the boy Bill, who thinks that “once seen, Its physical form was not so bad and Its most potent weapon was taken away from It. They all had, after all, seen spiders before. They were alien and somehow crawlingly dreadful. . . . But a spider was, after all, only a spider” (1074~75).
Audra’s last thought, in particular, suggests that Its femaleness, not Its arachnid form, is what causes death and madness.”
How that femaleness is recognized (not, one might imagine, a recognition easy to arrive at with regard to a bug, however large) is suggested when the Losers confront It in the final battle, although in a passage that raises at least as many questions as it answers:
Its belly bulged grotesquely, almost dragging on the floor as It moved. .. .
That’s Its egg-sac, Ben thought, and his mind seemed to shriek at the implication. Whatever It is beyond what we see, this representation is at least symbolically correct: It’s female, and It’s pregnant. . . . It was pregnant then and none of us knew except Stan, oh Jesus Christ YES, it was Stan, Stan, not Mike, Stan who understood, Stan who told us... . That’s why we had to come back, no matter what, because It is female, It’s pregnant with some unimaginable spawn . . . and Its time has drawn close. (King’s ellipses, 1048-49)
Its swollen belly identifies It as pregnant, and therefore female, and the “grotesque” bulging of Its belly links It with the monstrously fat, devouring mother Sonia Kaspbrak.'* The realization that It is pregnant adds to Ben’s horror, and because he and his friends are in immediate danger of death and worse than death, only a powerful horror could increase his fear. Unfortunately, Ben fails to specify what Stan told the rest of the Losers during or after the first battle with It, since the book provides no other evidence that Stan realizes that It is female and pregnant. Richie does suggest that It is female during the first attack, but this suggestion puzzles Ben: “Her? Ben thought stupidly. Her, did he say?” (1051). Ben’s befuddlement is understandable, as there is no indication of how Richie comes to recognize Its gender, although this recognition is immediately echoed by Bill, who begins referring to It as “bitch” (1052).
Though there is no clue given as to how they do so, the boys recognize the undisguised It as She and Mother and that recognition makes It far more horrible than Its earlier assumed male or gender-neutral avatars.
In contrast to It and the human mothers of the book, one female character is represented as a positive maternal figure, even though she has no children. Late in the novel, after the first battle with It, Beverly invites each of her six comrades to have sex with her, which all of them do, one after the other. Some critics find this episode to be both an effective narrative device and a breakthrough for King, suggesting that the scene not only presents a positive female and maternal presence in the novel but also operates as a rite of passage, with an emotional rather than physical emphasis.'* Clearly, King is trying to establish Beverly as a positive maternal figure'°—Eddie, the first of the boys to have sex with Beverly “comes to her... the way he would have come to his mother only three or four years ago, to be comforted” (1080).
Nevertheless, though tastes, of course, will differ, there is no question that many readers are likely to find this episode disturbing or absurd or both.
Although King is careful to establish the sex scene as Beverly’s idea, it is irresistibly reminiscent of gang-rape. The children have faced their greatest fears, and ultimately death, together to defeat It, albeit only temporarily. Sexual intercourse seems unlikely to deepen the emotional bond they have already forged or make them more mature, even if maturity were a fate to be wished for in Derry, a place in which all of the adults are violent, corrupt, ignorant, or ineffectual.
Because of the structure of the group, each of the boys has sex individually with Beverly, who becomes less a character than a link between the boys, all of whom are saved by “doing it” with the same girl. If the physical aspect were not paramount, one might be tempted to suggest that a stronger “link” might be forged by group members having sex with each other regardless of gender, but this would violate the book’s heterosexual-male perspective. The role of female characters is to be there for male characters, as either motherenemy or mother-comforter. From this heterosexual-male perspective, having (as they think) killed mother, the male characters are now able to have sex with mother; in both instances, of course, there is displacement: The mother is not the real mother. Although this episode is intended to contrast Beverly as good mother with It and the book’s other monstrous maternal figures, the contrast leads to the conclusion that the bad mother devours boys and therefore must be destroyed, to be replaced by the good mother, who encourages boys to have sex with her and thus become “normal” men.
Even if accepted as “good mother,” Beverly is a severely limited character. It is defeated by the male members of the Losers’ Club, all of whom take an active part in the 1958 battle. The four men who are present for the 1985 battle are also active in destroying It and Its offspring. Beverly, on the other hand, has to be rescued from Its clutches by Ben in the first battle and in both
battles tries to prevent Bill from confronting It. Like the other human mothers in the book, she acts as an inhibiting force in the necessary male battle against the monstrous mother. In the earlier struggle, she heroically interposes herself between Bill and the monster, but she seems unable to attack It in Its final, feminine form, and her part in both battles is limited to encouraging and comforting her male companions. Her apparent inability to engage with It is not merely physical because the most important aspects of these fights are intellectual and imaginative. Bill, Richie, Stan, and Eddie all use their knowledge of It and their imaginations to hurt the monster. Although there seems to be no reason why Beverly could not do the same, she does not do so.
Her only significant contribution occurs after the first battle, and it consists of offering sex and comfort. The necessary conclusion is that even the ideal girl/woman/mother is unable to be of much help in defeating the monstrous mother.
That killing the monstrous mother is a male task is also emphasized by the fact that the Losers defeat It with the advice and help of male characters, often fathers or father-figures. As Tony Magistrale has pointed out, ‘“Mike’s father and [male, army] friends unconsciously serve as models of inspiration for Mike and his friends” (Moral Voyages, 111). In addition to what he learns from
his father, Mike gets his information about the history of Derry and the cycle of Its depredations from male authorities, mostly elderly men, but occasionally male children. (One of Mike’s informants, Norbert Keene, suggests that Mike could get information about the massacre of the Bradley gang from Charlotte Littlefield, as well as five men he names, but there is no evidence that Mike avails himself of this opportunity.) Stan’s father teaches him about birds, knowledge that he uses to ward off Its attacks on both himself and the group. Bill’s father advises him that Derry’s sewers are dangerous and (unwittingly) provides the workshop in which the children make the silver slugs with which they attack It on Neibolt Street. Bill also gets some good advice from a male child—“‘You can’t be careful on a skateboard, man” (1126).
No one gets (or seeks) useful advice about It (or much else) from women or girls. Mothers, in fact, seek to prevent their children from getting information and tools they need to defeat It: Mike’s mother doesn’t want him to hear about the Black Spot, Richie’s mother discourages him from learning about rock music and horror movies, and Bill’s mother refuses to let him have a rifle.
More significantly, the Turtle—Its most obvious opposite, if not exactly adversary, because the Turtle seems too passive to function in that capacity—is identified as male and is crucially important, because he not only encourages and advises Bill in his first battle with It, but also, at least in Mike’s estimation, is responsible for awakening Mike to the possibility of Its return. The Turtle is large, old, kind, and more powerful than It, but, despite his apparent good intentions, cannot or will not act directly against the mother-monster: “/ take no stand in these matters,” the Turtle tells Bill when the boy begs for help against the monstrous mother (1053). Clearly, however, the Turtle is a father-figure, because he repeatedly refers to Bill as “son” (1053, 1054, 1056, 1057, and so 16 on).
In a further suggestion that the boy-men attacking It must assume the role of the adult male who is, however, more capable than the book’s inadequate fathers, King describes how Bill successfully recites his magic formula: “Dropping his voice a full register, making it not his own (making it, in fact, his father’s voice)” (1056).'’ Finally, It is defeated only after Bill and Richie are able to bite into Its tongue, an attribute that “always possesses a phallic character” (Neumann, 169).
The book ends on a note of comparative happiness. Although Stan and Eddie have died in the attempt, the surviving adult males have “killed the bitch” (1098). Stan’s and Eddie’s deaths are themselves symbolic because Stan, unable to face a second battle with the monstrous mother, commits suicide in a kind of return to the womb, locking himself in his bathroom, removing his clothes, and cutting his wrists to bleed to death while sitting in a tub of water. Eddie, who does face the second battle, dies when It bites off his arm, a symbolic castration (in the sense that Freud uses that term to mean amputation of the penis) by the vagina dentata.'* The word continually applied to the monster throughout both battles neatly represents the power gained by correctly naming the enemy, who is discovered to be not neutral, but female—not IT, but bITch. The monstrous mother, which could not be killed by boys, even though they recognized her as the source of evil in their world, is destroyed by men. The “fucking BITCH” (1049), who threatened to seduce and devour male children is no longer a danger. Furthermore, although the Losers are only thirty-eight at the time of the last battle, it seems that none of them still has surviving parents, or at least not parents worth mentioning. Thus, not only It, but apparently all of the real (inadequate or monstrous) mothers are dead as well. The ending suggests that, having defeated the monstrous mother, the surviving protagonists will now repress the memories of their titanic struggle and get on with their lives as adults.
In her analysis of Carrie, The Shining, and Misery in light of theorist Julia Kristeva’s discussion of abjection, Clare Hanson concludes that ‘Horror fiction . . . seems to be designed to work for the masculine subject as an exorcism: It offers a way of repassing through abjection and of distancing oneself once again from the power of the mother” (153). From this perspective,
It clearly does function as King’s “magnum opus” (Winter, 183), not only providing the “gross-out” elements for which his work is notorious but also associating them with the huge, seductive, devouring mother as the ultimate horror. Despite critics’ suggestions that It and Beverly Marsh are the novel’s only significant female characters, it is clear that It is an objectification of the book’s many monstrous mothers, who are powerful but un-nurturing.'” For the boys in the book to survive, as many do not, to prevent themselves from being engulfed and devoured, and to become men (heterosexual and potentially fathers themselves), they must kill the monster who stands for all of their monstrous mothers, a task in which they can expect only limited help—advice and tools from their fathers and encouragement and sex from a young female figure. The devouring bITch-mother can only be destroyed by masculine force, knowledge, and language in an exorcism of pre-Oedipal anxiety.
NOTES
Thanks are due to Terri Whaling for her invaluable help with this chapter.
1. It does occasionally appear as female, briefly as the dead Greta Bowie and more significantly as “Mrs. Kersh” who turns into a witch. It also sometimes appears in nongendered incarnations, such as “the Crawling Eye,” and as animals such as a giant bird, the shark from Jaws, and a gigantic Doberman Pinscher in a clown suit.
2. Many of the ideas underlying this chapter rely on the work of such literary theorists as Luce Irigaray and Julia Kristeva, who have identified a variety of cultural constructions as stemming from male anxiety about maternal power, and, in particular, the maternal body. For a more strictly psychoanalytic discussion of such issues, see hodorow (106) and Horney.
3. Mothers who are religious fanatics, treacherous toward their sons, or in other ways menstrous appear in Carrie, The Dead Zone, The Running Man, and Rage, the last of which even provides a foreshadowing of Its mother-as-collection-of-monsters in a description of Carol Granger’s mother. The mother in The Shining allows her son to be abused by his father, and mothers in Cujo, The Stand, Pet Sematary, and “The Boogeyman” are unable to save their children’s lives. See Collings, Stephen King as Richard Bachman (26) and Pharr (26-27). For a contrasting view, see Magistrale, Moral Voyages (95-103). On monstrous women in It, see Collings, Phenomenon (21). On monstrous women in King’s other works, see Collings, Phenomenon (108) and Facets (75); Hanson; Magistrale, Landscape (70); and Winter (53).
Fathers in King’s works, of course, are also frequently abusive or ineffectual: See Collings, Stephen King as Richard Bachman (25—26 and 134) and Magistrale, Landscape (72). On dysfunctional families in It, see Davis (95). On the failure of parents and other adults in It to protect their children, see Magistrale, Landscape (111-13). On inadequate and abusive parents in King’s other works, see Collings, Facets (74), Phenomenon (16), and Stephen King as Richard Bachman (16-17, 25, and 62-63); Collings and
Engebretson (89); Heldreth (65-66); Magistrale, Landscape (92); and Newhouse (51—55):
4. One of the few good mother-figures in King’s works is “Mother” Abagail of The Stand, but her virtue may have more to do with her race than with her gender or maternal qualities because King himself has described her, along with Dick Hallorann (who plays a major role in The Shining, as “cardboard caricatures of superblack heroes, viewed through rose-tinted glasses of white-liberal guilt” (Underwood and Miller, 47). This suggests that the fact that the Hanlons are African-American may have something to do with the fact that they are the happiest and most loving family in It, despite their comparative poverty.
5. That Maggie Tozier should so detest rock and roll is particularly ironic because her son grows up to become a famous disc jockey (343, 582, 720).
6. This is Eddie Kaspbrak’s version. Ben says that he “had heard that it was actually a kid, a little girl of about three” (417).
7. A suggestion of how ignorant mothers in It typically are about their children’s lives occurs in the case of sixteen-year-old Cheryl Lamonica, unusual among Its victims not only because she’s female, but because she is a mother, having borne a daughter at thirteen. The authorities originally assume that Chery] is the victim of one of her many boyfriends: “‘They were nice boys, most of them,’ Cheryl’s mother said. One of the ‘nice boys’ had been a forty-year-old Air Force colonel with a wife and three children in New Mexico. Another was currently serving time in Shawshank for armed robbery” (180).
8. It claims to have killed Barbara Starrett, a librarian who was “fifty-eight or -nine” at the time of her death (548). Because, however, It makes this claim in the course of terrorizing Ben, who was fond of Mrs. Starrett, and because she reportedly died of a
stroke, rather than being killed by violence, like the rest of Its victims (many of whom are also mutilated and entirely or partially eaten), the truth of this claim may be doubted. As Bill comes to understand late in the book, “much of Its talk is nothing but a bluff, a big shuck-and-jive” (1056).
9. Betty Ripsom is said to have been “ripped wide open” and “mutilated” (155, 180) and both she and “the Albrecht girl” are mentioned, along with three young male victims, when Mike is thinking about the word “haunt” as meaning “a feeding place for animals” (159). Mike recalls that “the bodies of the children that were found back then and now weren’t sexually molested, not even precisely mutilated, but partially eaten” (702), but there is no explicit description of It actually eating Her female victims, although It is apparently preparing to eat Audra Denbrough and the adult Losers. It is described as having “fed on [only] a few of the older ones over the years” (1016).
10. Bosky sees It as having “five basic faces: eating, excreting, sex (including procreation), fighting or killing, and dying. These are, in other words, all of the universal activities of the animal body, except for sleeping and being born. In a sense, It is the body, a devilish body that tempts us with its appetites and betrays us into death” (147). In fact, however, excreting is never mentioned with regard to It, nor is sex—how It can have become pregnant is a question the novel does not invite us to ask. Until the end of the book, It is unaware that It could face an adversary requiring fighting, or that It could die.
Killing is merely part of Its feeding cycle, and when It finally does have to fight, It does so by eating, both physically, by biting off Eddie’s arm and swallowing it, and mentally, by “feeding on [pain]” (1056). Sleep is the other half of Its cycle: It sleeps for twentyseven years (the approximate length of a human generation), awakes to feed on a new generation of children, and goes back to sleep: “Jt wanted only to eat and sleep and dream and eat again” (1008).
11. The horror of being “incorporated in [It] alive” is noted by Bosky, who sees this as an image that “presents a horror of corporeality, a duality of mind trapped inside flesh. In conjunction with Its pregnancy, the image also suggests a fear of the female body, which shelters yet engulfs, within the womb or through a hungry sexuality” (150).
Because the mind of Audra Denbrough is described as being “with It, in It” (1015) while Audra is still alive, it is apparently possible for It to devour the mind without devouring the body, although what this means is not really explained or explored. Audra’s mind apparently remains where It is even after Its death, until she is saved and restored by a bicycle ride. Also unclear is whether It is telling the truth when It tells Beverly that “No one who dies in Derry really dies” (571); if true, this statement may suggest that all of Derry’s dead are somehow Its victims.
12. Abraham discusses the spider as symbolic of the “angry,” “wicked,” and “dangerous” mother, and cites a case in which a spider killing its victim by sucking his blood “served as a castration symbol” for a patient whose “phantasies were concerned with the danger of being killed by his mother during incestuous intercourse.” C. W. Wahl also associates the spider with mother-son incest (Abraham, 326, 332, 331; Slater, 87 n., 65). Neumann notes that the spider symbolizes the “Terrible Mother” in various cultures (66, 177, 184, 233).
13. Its body is later referred to as “bloated” (1092). On obese female characters, particularly mothers, in King’s works, see Bosky; Collings, Facets (75 and 81), and Stephen King as Richard Bachman (17); Collings and Engebretson (28 and 147); and Wornom (158).
14. See Magistrale, Landscape (117-18) and Moral Voyages (94-95); and Collings, Phenomenon (24-25). In contrast, Don Herron finds the episode degrading to women, ridiculous in its content, absurd as one of the book’s climaxes, and feeble stylistically (216-17). Collings points out that sexual intercourse is “also referred to as doing ‘it,’ with connections to the monster that are anything but accidental” (Phenomenon, 24).
15. Pharr describes Beverly as “earth mother,” as does Magistrale (Moral Voyages, 95) and King himself (quoted in Magistrale, Second Decade, 7). Pharr also describes Beverly as “high priestess of heroism itself,” a “living icon,” and “the Jeanne d’Arc of
the Losers,” even while recognizing that Beverly “is no one’s peer” and “fits a maledesigned mold” (30, 31).
16. After the deaths of both the Turtle and It, the “Other,” which is apparently more powerful than either of them, also refers to Bill as “son” (1094). The Other is not explicitly gendered, although its words and attitude would seem to align it with the male Turtle.
17. Bill’s mother gives him this formula to help him control his stuttering, and it is perhaps the only useful piece of information given by a mother in It. Of course, it is Bill, not his mother, who realizes that the formula can be used as a weapon against It. Mike also emphasizes the importance of his father’s voice (452).
18. Bosky describes this episode as “perhaps” a “symbolic castration.” She also notes the parallel between Sonia Kaspbrak and It as devouring mothers, and makes interesting points about Bill’s final attack on It, which “suggests both sexual violation and a kind of reverse, forced birth” (150).
19. Pharr suggests that It is “the only other significant “female’” (besides Beverly) in the book, although she describes It as essentially asexual (31). Magistrale’s insistence that “Beverly Marsh is the only human female in It’ (Moral Voyages, 94) and that
“{Beverly] and It are essentially the only females in the book” (Second Decade, 6) is simply inexplicable.
WORKS CITED
Abraham, Karl. Selected Papers of Karl Abraham. Translated by Douglas Bryan and Alix Strachey. Brunner/Mazel Classics in Psychoanalysis, 3. 1927. New York: Brunner/Mazel, 1979, 326-32.
Bosky, Bernadette Lynn. “Playing the Heavy: Weight, Appetite, and Embodiment in Three Novels by Stephen King.” The Dark Descent: Essays Defining Stephen King’s Horrorscape. Edited by Tony Magistrale. Westport, CT: Greenwood, 1992, 137-56.
Chodorow, Nancy. The Reproduction of Mothering: Psychoanalysis and the Sociology of Gender. Berkeley: University of California Press, 1978. :
Collings, Michael R. The Many Facets of Stephen King. Starmont Studies in Literary Criticism, 11. Mercer Island: Starmont, 1985.
—. Stephen King as Richard Bachman. Starmont Studies in Literary Criticism, 10. Mercer Island: Starmont, 1985.
—. The Stephen King Phenomenon. Starmont Studies in Literary Criticism, 14. Mercer Island: Starmont, 1987.
Collings, Michael R., and David Engebretson. The Shorter Works of Stephen King. Starmont Studies in Literary Criticism, 9. Mercer Island: Starmont, 1985.
Davis, Jonathan P. Stephen King’s America. Bowling Green: Bowling Green State University Popular Press, 1994.
Hanson, Clare. “Stephen King: Powers of Horror.” American Horror Fiction: From Brockden Brown to Stephen King. Edited by Brian Docherty. New York: St. Martin’s, 1990, 135-54.
Hatlen, Burton. Interview. Stephen King’s America. Edited by Jonathan P. Davis. Bowling Green: Bowling Green State University Popular Press, 1994, 141-60.
Heldreth. Leonard G. “Viewing ‘The Body’: King’s Portrait of the Artist as Survivor.” The Gothic World of Stephen King: Landscape of Nightmares. Edited by Gary Hoppenstand and Ray B. Browne. Bowling Green: Bowling Green State
University Popular Press, 1987, 64-74.
Herron, Don. “The Summation.” Reign of Fear: The Fiction and the Films of Stephen King. Edited by Don Herron. Novato: Underwood-Miller, 1992, 209-47.
Horney, Karen. “The Dread of Women.” The International Journal of Psycho-analysis 13 (1932): 348-60.
Irigaray, Luce. “Body Against Body: In Relation to the Mother.” In Sexes and Genealogies, translated by Gillian C. Gill. New York: Columbia University Press, 1993.
Kristeva, Julia. Powers of Horror; An Essay on Abjection. Translated by Leon S. Roudiez. New York: Columbia University Press, 1982.
Magistrale, Tony. Landscape of Fear: Stephen King’s American Gothic. Bowling Green: Bowling Green State University Popular Press, 1988.
——.. The Moral Voyages of Stephen King. Starmont Studies in Literary Criticism, 25. Mercer Island: Starmont, 1989.
——. Stephen King: The Second Decade, “Danse Macabre” to “The Dark Half.” New York: Twayne, 1992.
Neumann, Erich. The Great Mother: An Analysis of the Archetype. Translated by Ralph Manheim. Bollingen Ser. XLVII. 1963. Princeton: Princeton University Press, 1970.
Newhouse, Tom. “A Blind Date with Disaster: Adolescent Revolt in the Fiction of Stephen King.” The Gothic World of Stephen King: Landscape of Nightmares. Edited by Gary Hoppenstand and Ray B. Browne. Bowling Green: Bowling Green State University Popular Press, 1987, 49-55.
Pharr, Mary. “Partners in the Danse:. Women in Stephen King’s Fiction.” The Dark Descent: Essays Defining Stephen King’s Horrorscape. Edited by Tony Magistrale. Westport, CT: Greenwood, 1992, 19-32.
Slater, Philip. The Glory of Hera: Greek Mythology and the Greek Family. 1968. Boston: Beacon, 1971.
Underwood, Tim, and Chuck Miller, eds. Bare Bones: Conversations on Terror with Stephen King. New York: McGraw-Hill, 1988.
Winter, Douglas E. Stephen King: The Art of Darkness. 1984. New York: New American, 1986.
Wornom, Howard. “Terror in Toontown.” The Stephen King Companion. Edited by George Beahm. Kansas City: Andrews and McMeel, 1989, 155-60.
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behold…… every actor and va, according to the Tardis wiki etc., to portray the Doctor
technically there are spoilers here
1. Daniel Anthony
2. Rowan Atkinson
3. Christopher Baker
4. Colin Baker
5. Tom Baker
6. John Banks
7. Christopher Barry
8. Joe Bassett
9. Geoffrey Bayldon
10. Tim Bentinck
11. David Bradley
12. Nicholas Briggs
13. Jim Broadbent
14. Ian Brooker
15. Nicola Bryant
16. Bill Burridge
17. Douglas Camfield
18. Peter Capaldi
19. Jonathon Carley
20. Gail Clayton
21. David Coker
22. David Collings
23. Gordon Craig
24. Elliot Crossley
25. Jon Culshaw
26. Peter Davison
27. Jesse Deyi
28. Sacha Dhawan
29. Peter Diamond
30. Jacob Dudman
31. Christopher Eccleston
32. India Fisher
33. George Gallaccio
34. Ncuti Gatwa
35. Adrian Gibbs
36. John Guilor
37. Hugh Grant
38. Richard E Grant
39. Melvyn Hayes
40. Graeme Harper
41. William Hartnell
42. Philip Hinchcliffe
43. Frazer Hines
44. Kieran Hodgson
45. Robert Holmes
46. Anthony Howell
47. Geoffrey Hughes
48. Richard Hurndall
49. John Hurt
50. Derek Jacobi
51. Michael Jayston
52. Andy Jones
53. Jac Jones
54. Paul Kasey
55. Jack Kine
56. Tom Laird
57. Chris Laurens
58. Joanna Lumley
59. Damian Lynch
60. Katy Manning
61. Jo Martin
62. Trevor Martin
63. Sylvester McCoy
64. Paul McGann
65. Terry Molloy
66. Grace Nettle
67. Stephen Noonan
68. Jon Pertwee
69. Michael Pinder
70. Brian Proudfoot
71. Peter Puves
72. Colum Regan
73. Pat Ruins
74. William Russel
75. Matt Smith
76. Debra Stephenson
77. Robert Banks Stewart
78. Matthew Sweet
79. Leo Tang
80. Wink Taylor
81. David Tennant
82. Tim Treolar
83. Michael Troughton
84. Patrick Troughton
85. Unknown
86. Unknown
87. Unknown
88. Angus Villiers-Stuart
89. Chris Walker-Thomson
90. Pete Walsh
91. Terry Walsh
92. Albert Ward
93. David Warner
94. Edmund Warwick
95. Arabella Weir
96. Liz White
97. Jodie Whittaker
98. Anneke Wills
99. Michael Wisher
#if i count the doctor-donna can i make it 100?#doctor who#this is counting dhawan#as well as non-canon regens from the curse of fatal death#i don’t know where the line is on spoofs. if i took everyone who portrayed the doc EVER it would probably be at least a few thousand#because. fan content. yknow
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Holidays 8.30
Holidays
Constitution Day (Kazakhstan, Turks and Caicos Islands)
Festival of Charisteria (Day to Give Thanks; Ancient Rome)
Frankenstein Day
Gai Jatra (Cow Festival, in remembrance of people who died the previous year; Kathmandu Valley, Nepal)
Huey P. Long Day (Louisiana)
International Day of the Disappeared
International Day of the Victims of Enforced Disappearances (UN)
International Whale Shark Day
National Beach Day
National Grief Awareness Day
National Holistic Pet Day
Pinaglabanan Day (Philippines)
Popular Consultation Day (East Timor)
Rowboat Day
Saint Rose of Lima’s Day (Peru)
Slinky Day
Talk Intelligently Day
Victory Day (Turkey)
Food & Drink Celebrations
International Cabernet Sauvignon Day
National Mai Tai Day
National Toasted Marshmallow Day
5th & Last Tuesday in August
Lammas Fair Day (Ballycastle, Ireland) [Last Tuesday]
Touch-A-Heart Tuesday [Tuesday of Be Kind to Humankind Week]
Independence Days
Tatarstan (from Russia, 1990) [not recognized]
Feast Days
Agilus (a.k.a. Aile; Christian; Saint)
Alexander of Constantinople (Eastern Orthodoxy)
Alfredo Ildefonso Schuster (Christian; Blessed)
Black (Positivist; Saint)
Candle in a Wine Bottle Day (Pastafarian)
Charisteria (Old Roman Thanksgiving)
Day of Satisfying the Hearts of the Ennead (Nine Major Gods; Ancient Egypt)
Eustáquio van Lieshout (Christian; Blessed)
Stephen Nehmé, Blessed (Maronite Church / Catholic Church)
Charles Chapman Grafton (Episcopal Church)
Fantinus (Christian; Saint)
Felix and Adauctus (Christian; Martyrs)
Fiacre (Christian; Saint)
Jeanne Jugan (Christian; Saint)
Narcisa de Jesús (Christian; Saint)
Pammachius (Christian; Saint)
The Pullover Sweater (Muppetism)
Rose of Lima (Christian; Saint)
Thor Day (Church of the SubGenius; Saint)
Lucky & Unlucky Days
Dismal Day (Unlucky or Evil Day; Medieval Europe; 16 of 24)
Egyptian Day (Unlucky Day; Middle Ages Europe) [16 of 24]
Taian (大安 Japan) [Lucky all day.]
Unlucky Day (Grafton’s Manual of 1565) [39 of 60]
Premieres
Bad Girl, by The Miracles (Song; 1959)
Beer (Film; 1985)
Emma (Film; 1996)
The Good Girl (Film; 2002)
Heart-Shaped Box, by Nirvana (Song; 1993)
Highway 61 Revisited, by Bob Dylan (Album; 1965)
The Late Show with David Letterman (Talk Show; 1993)
Santana, by Carlos Santana (Album; 1969)
Surf’s Up, by The Beach Boys (Song; 1971)
What Happened to Monday (Film; 2017)
Today’s Name Days
Felix, Herbert (Austria)
Aleksandar, Aleksandra (Bulgaria)
Didak, Margarita, Petar (Croatia)
Vladěna (Czech Republic)
Albert, Benjamin (Denmark)
Emil, Meljo, Mello, Miljo (Estonia)
Eemeli, Eemi, Eemil (Finland)
Fiacre (France)
Alma, Felix, Heribert, Rebekka (Germany)
Alexandra, Alexandros, Evlalios, Filakas (Greece)
Rózsa (Hungary)
Donato, Fantino (Italy)
Alija, Alvis, Jolanta (Latvia)
Adauktas, Augūna, Gaudencija, Kintenis (Lithuania)
Ben, Benjamin (Norway)
Adaukt, Częstowoj, Gaudencja, Miron, Rebeka, Róża, Szczęsna, Szczęsny, Tekla (Poland)
Ružena (Slovakia)
Íngrid, Pedro (Spain)
Albert, Albertina (Sweden)
Raisa, Rhoda, Rosa, Rosabelle, Rosalie, Rosalind, Rosalinda, Roseanne, Rose, Rosemary, Rosetta, Rosie (USA)
Today is Also…
Day of Year: Day 242 of 2022; 123 days remaining in the year
ISO: Day 2 of week 35 of 2022
Celtic Tree Calendar: Coll (Hazel) [Day 25 of 28]
Chinese: Month 8 (Guìyuè), Day 4 (Yi-Mao)
Chinese Year of the: Tiger (until January 22, 2023)
Hebrew: 3 ʼĔlūl 5782
Islamic: 2 Ṣafar 1444
J Cal: 2 Aki; Oneday [2 of 30]
Julian: 17 August 2022
Moon: 11% Waxing Crescent
Positivist: 18 Gutenberg (9th Month) [Black]
Runic Half Month: Rad (Motion) [Day 5 of 15]
Season: Summer (Day 70 of 90)
Zodiac: Virgo (Day 7 of 31)
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Holidays 8.30
Holidays
Constitution Day (Kazakhstan, Turks and Caicos Islands)
Festival of Charisteria (Day to Give Thanks; Ancient Rome)
Frankenstein Day
Gai Jatra (Cow Festival, in remembrance of people who died the previous year; Kathmandu Valley, Nepal)
Huey P. Long Day (Louisiana)
International Day of the Disappeared
International Day of the Victims of Enforced Disappearances (UN)
International Whale Shark Day
National Beach Day
National Grief Awareness Day
National Holistic Pet Day
Pinaglabanan Day (Philippines)
Popular Consultation Day (East Timor)
Rowboat Day
Saint Rose of Lima’s Day (Peru)
Slinky Day
Talk Intelligently Day
Victory Day (Turkey)
Food & Drink Celebrations
International Cabernet Sauvignon Day
National Mai Tai Day
National Toasted Marshmallow Day
5th & Last Tuesday in August
Lammas Fair Day (Ballycastle, Ireland) [Last Tuesday]
Touch-A-Heart Tuesday [Tuesday of Be Kind to Humankind Week]
Independence Days
Tatarstan (from Russia, 1990) [not recognized]
Feast Days
Agilus (a.k.a. Aile; Christian; Saint)
Alexander of Constantinople (Eastern Orthodoxy)
Alfredo Ildefonso Schuster (Christian; Blessed)
Black (Positivist; Saint)
Candle in a Wine Bottle Day (Pastafarian)
Charisteria (Old Roman Thanksgiving)
Day of Satisfying the Hearts of the Ennead (Nine Major Gods; Ancient Egypt)
Eustáquio van Lieshout (Christian; Blessed)
Stephen Nehmé, Blessed (Maronite Church / Catholic Church)
Charles Chapman Grafton (Episcopal Church)
Fantinus (Christian; Saint)
Felix and Adauctus (Christian; Martyrs)
Fiacre (Christian; Saint)
Jeanne Jugan (Christian; Saint)
Narcisa de Jesús (Christian; Saint)
Pammachius (Christian; Saint)
The Pullover Sweater (Muppetism)
Rose of Lima (Christian; Saint)
Thor Day (Church of the SubGenius; Saint)
Lucky & Unlucky Days
Dismal Day (Unlucky or Evil Day; Medieval Europe; 16 of 24)
Egyptian Day (Unlucky Day; Middle Ages Europe) [16 of 24]
Taian (大安 Japan) [Lucky all day.]
Unlucky Day (Grafton’s Manual of 1565) [39 of 60]
Premieres
Bad Girl, by The Miracles (Song; 1959)
Beer (Film; 1985)
Emma (Film; 1996)
The Good Girl (Film; 2002)
Heart-Shaped Box, by Nirvana (Song; 1993)
Highway 61 Revisited, by Bob Dylan (Album; 1965)
The Late Show with David Letterman (Talk Show; 1993)
Santana, by Carlos Santana (Album; 1969)
Surf’s Up, by The Beach Boys (Song; 1971)
What Happened to Monday (Film; 2017)
Today’s Name Days
Felix, Herbert (Austria)
Aleksandar, Aleksandra (Bulgaria)
Didak, Margarita, Petar (Croatia)
Vladěna (Czech Republic)
Albert, Benjamin (Denmark)
Emil, Meljo, Mello, Miljo (Estonia)
Eemeli, Eemi, Eemil (Finland)
Fiacre (France)
Alma, Felix, Heribert, Rebekka (Germany)
Alexandra, Alexandros, Evlalios, Filakas (Greece)
Rózsa (Hungary)
Donato, Fantino (Italy)
Alija, Alvis, Jolanta (Latvia)
Adauktas, Augūna, Gaudencija, Kintenis (Lithuania)
Ben, Benjamin (Norway)
Adaukt, Częstowoj, Gaudencja, Miron, Rebeka, Róża, Szczęsna, Szczęsny, Tekla (Poland)
Ružena (Slovakia)
Íngrid, Pedro (Spain)
Albert, Albertina (Sweden)
Raisa, Rhoda, Rosa, Rosabelle, Rosalie, Rosalind, Rosalinda, Roseanne, Rose, Rosemary, Rosetta, Rosie (USA)
Today is Also…
Day of Year: Day 242 of 2022; 123 days remaining in the year
ISO: Day 2 of week 35 of 2022
Celtic Tree Calendar: Coll (Hazel) [Day 25 of 28]
Chinese: Month 8 (Guìyuè), Day 4 (Yi-Mao)
Chinese Year of the: Tiger (until January 22, 2023)
Hebrew: 3 ʼĔlūl 5782
Islamic: 2 Ṣafar 1444
J Cal: 2 Aki; Oneday [2 of 30]
Julian: 17 August 2022
Moon: 11% Waxing Crescent
Positivist: 18 Gutenberg (9th Month) [Black]
Runic Half Month: Rad (Motion) [Day 5 of 15]
Season: Summer (Day 70 of 90)
Zodiac: Virgo (Day 7 of 31)
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i made stephen stills in the sims 4 and he fucking looks like m*sha coll*ns 😭😭😭
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🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️
Me: someone time get more dream but enifing more get nightmare more and enifing heppynt a lot bit wirts edgy but more sowing fobia staws logic a sowing woring me a lot like
Numer dream is 55
Numer nightmare is 89
And more spid me on self lot a life
🤍⛓💙🤍⛓💙🤍⛓💙🤍⛓💙🤍⛓💙🤍⛓💙
Me: like a neber one a i dont knows say a bit play like wirts romance dead sowing persen but bit a bed dream and look a more be rezan a dys persen be star a rope's rose and nader chraing a nader help out but ploblem sowing hirding nose a run away a dys more be insaide dys rose and canda get a kill because someone close dys and pull out a fanely see only arm a enifing so drop Oli red robot staws and end here
And bit cut a lot dys more be radom frow finks but enifing cofuze wer puding me same a lot time role a fice galaxy room like same cofuze someone time be nice a toking enifing self see ploblem like me so enifing fine but only dys a radom glass dizaine a bit see a glass but not yet and role enifing roud and can't move but can toking same a rund enifing a hem push like more be jonger boy and canda rezan coll me a hellena and enifing code no Real bratcher in her plase enifing like dys
Or dys one code so lot sinbolizam but wery cofuze why say a code make wirts gore but not see blood but toking is bit spishens like dys code jonger woman a be fatazy animal human a be a deer female deer and be code help out a gril stella but more emo gril but suprazele bit expleing why here be on best frends kill a parents same a code chraing Stephen a realityship type's code testy or hide her but fell push away a wery angry a kill her and now a be a her and toking shiti her side a onesly testy her slowly a make insanety but so kill her reddy but not enifing do das so panik a enifing bit a be angry expleing her a dys woman deer someone time a more be a bitch move be a dys skull a head das dys deer woman say wellcome me emo same hazbet a radom rezan be more dead body deer eke: enifing blood finks or enifing dys more Real expleing life as dead enifing so enifing same spid time a onesly get spooky hem a look wall and bit not move and not look hem a dys dead deer hazbet only note finks and end here a more fix her and canda more pastel colors out her like but a sewing but still ok there was nothing like there are cherries or something more it's bad there is an explosion of something after that and then it calms down
Or neber one smole dream a enifing angel rund a sky enifing so cartoon look after a nader a look zodiak shooter a get shoot a self element a forw angel wing start burn the wing and more like clouds a fanely reality since he hit me, the face felt more like the ground and it was like a rotting bark toy and he's dead but more real it's that shattered face from the ground (and dys a more hide because i dont knows finks)
And radom more wirts one but more kidcore sinbolizm like enifing love finks name like enifing kiss you or spid time next you is real persen a dys kidcore name a dream and someone play tamagochi a say a dyfrent because gif me soda here a name is tamagochi and is gummy apple frever someone use a YW2 staws like old hip hop robot voice enifing like dys a dys a play tamagochi is after tuchberry's and only look a animal because wery frendly a enifing coll me poppy/dogo get pepsi or das dogo so enifing animal look more a normal like animal finks like Juliette/ wenesa/ morty and wolly but cofuze me a look radom animal mix a face a flowers sowing a enifing love say only howdy or enifing soda finks a testy like cute and pozitiwe but me bit ploblem a crisisam a bit problem a look canda simulator a nader out dream a dys a kidcore star lafing and finks a get sadeseda or enifing more make me canda sed a fanely do sowing like icecream staws and start a hem and me skriming because i testy water and he herb bucket a take me back a more better from and more dys a make gif body back
🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️
And get a radom dreamcore a canda bit wery old and bit cofuze because is wery old but
Enifing altcore is make a gril a wery look a get chess a hole hart radom smole a skirt and long treasure chests but they're starving for those sports pants and those trumpet heels and I think she wanted her plagues wife what would infect all those who supposedly hate cows because she was tied to a cow very much but it's bad that some people cut their lives because they couldn't stand on their feet anymore and gave cerpeni so she made people like if they killed cows it's like plagues wife would kill but I don't know why like a miszałan that it's 🐙or something logical like that I got a dead face of a killer whale but it was alive because it was zombie but the stomach turned upside down but it still moved its mouth amia and she was stroking the glass and more dys is fanely woman a dys white get out and radom rezan start click her face a get rip off but Stell love her
🤍⛓💙🤍⛓💙🤍⛓💙🤍⛓💙🤍⛓💙🤍⛓💙
Offical note: 24.07.2023.r
🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️🥥⚾️
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Imaan Hammam - Elle U.S. August 2023 Covers
Elle U.S. August 2023 CoversSource: elle.comPublished: August 2023
In this picture: Imaan HammamCredits for this picture: Nina Garcia (Editor-in-Chief), Chris Colls (Photographer), Stephen Gan (Creative Director), Alex White (Fashion Editor/Stylist), Hos Hounkpatin (Hair Stylist), Frank B (Makeup Artist), Maria Weinhoff (Set Designer), Maki Sakamoto (Manicurist)
All people in this work:
Nina…
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"Lest they should imbibe more exalted notions of their own importance than I could wish": The Incredible Fourteen Page Will
By: Lisa Timmerman, Executive Director
Thomson Mason (1733-1785) was born at Chopawamsic Plantation in Stafford County, VA to the powerful Mason family. Instead of deep delving into his political career, we focused on his fourteen page will, and the impressive amount of control he tried to exert even after his death. Over his lifetime, he accrued property in Stafford, Prince William, Loudoun, Richmond, and other regions and was most eager to dictate every detail. Below are some of the more interesting excerpts with our commentary.
(Aaron Arrowsmith (1750-1823) and Samuel Lewis (1754-1822) 1804 Map of Virginia via The David Rumsey Map Collection)
Thomson Mason married twice. First to Mary King Barnes (before 1758-1771). They had four children: Stevens Thomson Mason (1760-1803), Abram Barnes Thomson Mason (1763-1813), John Thomson Mason (1765-1824), and Ann Thomson Mason (1769-1817). Although originally buried at Gunston Hall, her body was later moved to Raspberry Plain in Loudoun County. Thomson Mason married Elizabeth Westwood (1740-1824) in 1777, previously married to Rev. James Wallace. She also had four children with Thomson Mason, Dorothea Anna Thomson Mason (1778-1822), Westwood Thomson Mason (1780-1826), William Temple Thomson Mason (1782-1862), and George Thomson Mason (d. 1873).
“…my body I wish to have interred upon my Son Stephen’s Plantation in Loudoun so that the foot of my Coffin may touch the head of my Son George’s, and that a Space may be left on each side of me, to receive those of my two Wives, if my present wife should desire that her remains may be beside mine, & I desire that my son Stephen will remove those of his Mother from the family burying Ground, at my brothers for that purpose, As to my worldly Estate I give of it as follows – Imprimis I give to my beloved wife Elizabeth, all the Estate of whatever nature that shall be remaining at my death, of what I gained by marriage with her. Item I give to my said Wife, during her natural life, clear of the Mortgages, and other Incumbrances on it, all my lands on Chappawamsick Run, in County of Stafford, which lye below the lands of the Revered. Mr. Harrison, & bounded by lands of the late Mr. Moncure, Mr. Adie, the Rev’d Mr. Harrison, & Chappawamsick Run, & all my lands on the said Run in the County of Prince William, which lye below the lands of Coll. Burr Harrison, Robert Carter, Esqr., Mr. John Hedges, & the said Chappawamsick Run, containing 1220 acres, in the two Tracts more or less, reserving out of the Lands, to my son John Thomson Mason, & his heirs, his choice of 50 acres, to be laid off in a Square for a Sear on which side the run he pleases, so that it does not include the gardens, Orchard, or any of the Housing, in County of Stafford, or any of the low grounds, in the same County, and after death of my Wife, I give the Reversion of all the said Lands, to my said son John Thomson Mason & Heirs, provided he attains the age of twenty one years; and I hereby declare that I intend this device to my wife, in Barr of her Dower of my other lands in Stafford and Prince William Counties, but not in Barr of her Dower of any other lands she may be entitled to elsewhere.”
Mason referenced participating in William Byrd’s (1728-1777) lottery. Byrd’s ostentatious lifestyle led to a considerable amount of debt, some of which he tried to pay in the form of a lottery. He prized most of his estate at the falls of the James River, hoping to raise 50,000 pounds by selling tickets in both Virginia and England. While his entire life deserves one or more blogs, it is sufficient for now to know he swore allegiance to the King of England during the Revolutionary War, and we can see some of the ramifications in Mason’s will.
“I give my son Stephens Thomson Mason & Heirs, the unimproved Lotts in the Town of Richmond & Manchester which was drawn in the late Collo. Byrd’s lottery, by Tickets marked with the Initials of his Mother’s or his Brother George’s name. Item, I give to my son Stephens Thomson Mason & Heirs, the Ground in the Town of Richmond, on which the Public Store House lately stood, together with the money due from the public for the valuation of the said Store House, and all the arrearages of Rent…which will appear from my books & all arrerages of Rent due from the public or Turner Southall, who took possession thereof immediately after the Death of Miles Taylor, with my knowledge or consent, and kept possession thereof until it was destroyed by General Arnold; and I think he is intitled to recover Damages of the said Turner Southall, he having converted the said House without my Leave into a public arsenal, by which means it was destroyed by the British under General Arnold…”
When it came to dividing his enormous landholdings, Mason devised that certain land be divided for his sons to do as they pleased after they reached the age of 21, leaving it uncleared for timber until then. He also had a mill set in motion.
“Item I direct that the Mill now begun, shall as soon as possible be finished off, a complete Merchant Mill, with two part of Stones, one pair of which at least shall be double Burr and that another set of Mills, with two parts of Stones, shall be built at the expence of my Estate upon the same run near the Mouth thereof as soon as may be & that the said Mills when finished, and all my Lands in Loudon County, between the Main County road, the Limestone Run & Potomach River, & the Cool Spring Run, together with the cleared lands on the Plantation, now rented by Fouchee, below the Mill run be also rented for the benefit of my Estate for twenty years, that four horses, four Mares, six Servant Men & one Servant woman be immediately purchased, & placed together with six Milch cows and twelve breeding sows, & worked thereon, for four years after my death, but that not more than 40 acres of fresh land shall be cleared within the bounds…”
He specified that his son Abraham would have sole management of the mills, but under strict instructions on how to divide the profit, what he could purchase (mainly enslaved persons and stock), and conditions if the mill was not profitable within a short period of time. Not surprisingly, he had similar rules for other mills.
“Item I direct that a Merchant Mill be built on Chappawamsic Run, on the lands given to my son John, where he shall direct, not to exceed the expence of four hundred pounds, which expence is to be repaid out of the profits of the Mill, in part of his Sister’s Nancy fortune…”
Here he specified everything from the names of the enslaved to the names of the prized riding horses, such as Rupert, along with other horses and colts. He also included,
“…that two indented farming white Sevants be purchased for John who have four or five years to serve, provided they do not exceed the price of thirty pounds each…”
For his wife, he left all his household furniture at Errol and Chopawamsic, stock of cattle, sheep, goats, cows, oxen, hogs, ewes, horses, his chariot and harness, and mares. For the enslaved,
“I give to my wife my negro girl Pegg till January 1789 and I direct that one Negro girl between age of sixteen and twenty be purchased by my Executor for my wife, within three years of my death and I direct that another Negro Girl and two Negro lads between age of 16 and 20 be purchased for my wife, by my Executor, within six years of my death and I give said Slaves, in Trust for use of my wife for her life and to uses she shall direct by her last Will and Testament…it being my intention that the four slaves with their increase shall be for the separate use of my Wife without the Interposition of any husband she may marry.”
She also received the promise of “geered Mill” to be constructed and maintained on Pearson’s Run. For his two youngest sons,
“…may be put to learning English, at one of their Guardians Houses till eight years of age, and that then they be kept at Writing, arithmetic, and reading elegant English Authors and modern languages till they are 12 years of age, and then to be kept at learning the Latin Language, Book keeping, Mathematicks, and other Useful branches of literature, till the age of 18, and then to be put out to such Business or profession as their Genius’s are best calculated for. Item I particularly direct that neither of my younger sons shall reside on the South side of James River, or below Williamsburgh, before they respectively attain age of 21 years, lest they should imbibe more exalted notions of their own importance than I could wish any child of mine, to possess.”
His thoroughness continued.
“Item I give the use of my Gold watch, to my wife till a new Gold watch with an embossed case and Equipage suitable for a Lady, of the price of 30 Guineas can be purchased for her out of my Estate, and as soon as such Gold watch and equipage is furnished for her I give my gold watch to my son Westwood. Item I give to my daughter Ann Thomson Mason the equipage that was her mother’s and direct that a gold Watch of twenty Guineas value be purchased for her. Item I give to my sons Abraham, John and Westwood and Temple such a horizontal Silver watch, when they arrive at the age of twenty one years, and I give to my son John Thomson Mason my brass barreled Pistols.”
Two of the enslaved persons received special accommodations.
“Item I direct that my Negro boy Jack be allowed to settle upon any of my land in Loudon Stafford or Prince William, and that my Executors lay off for him, 30 acres of good arable land 10 acres of pasturage, to tend a crop for himself, build him a barn of Loggs, 20 feet square and furnish him with 1 cow, 2 sows, 1 Ewe and a Mare of ten pounds value, one barshare plow, one Dutch plow, 1 broad Hooe, 1 narrow hooe, 1 axe, 1 mattock, 5 barrels of oats, 5 barrels Rye, 5 Bushels Wheat and 10 barrels of Corn, to stock his Plantation and set him forward, and let him have one month’s work of an able negro man and the loan of my ox cart, for the same time, to put his little farm in order with Liberty to get Rails and fire wood off my adjactent lands and I direct thr whole profits of his farm and the Stock given him be at his own Disposal and over and above the bore mentioned provisions. I also give him the annual sum of six pounds specie, the use of the lands I give him for life and the Stock forever; and I hereby direct that my Executors and Heirs all join in protecting of my said slave Jack, in all his just rights, and the he shall be subject to the control of no person whatsoever, and this provision I have made for him as a grateful acknowledgment of the Remarkable fidelity and Integrity, with which he has conducted himself to me for twenty years and upwards. I also give to my said Slave Jack, 300 weight of pork to be paid him in the year I shall dye.
Item I direct that if every my maid Catina should be parted from my Wife, that she also receive 200 weight of Pork, a White shift, and a Callico Gown and petticoat annually…”
Thomson Mason died on 02/26/1785. Interestingly, Elizabeth Mason appeared in front of Stafford County Court on 10/10/1785, to declare she would,
“not accept, receive, or take any Legacy, or Legacies or any part thereof, to me given by last will and Testament of my late Husband Thomson Mason Esquire, and do renounce all benefit and advantage which I might claim under the said Will.”
Why would she contest the will? Given that he had eight children, four with his former wife Mary King Barnes, she could have protested the distribution of inheritance or the rules concerning her dowry if she were to remarry or remain a widow. A will that went so far to specify who would determine the proportion of meat given to enslaved persons, could create chaos if the provisions were not desirable as Thomson Mason clearly tried to control his wife, children, and property from beyond the grave. He often noted the conditions of her dower, a crucial element to her livelihood as a widow. The legal rights of women in the 1780s solely depended upon their marital status. Different rules and rights applied to single, married, and widows, and often widowers experienced the most freedom. Almost immediately, Thomson Mason noted Elizabeth’s dower,
“and after death of my Wife, I give the Reversion of all the said Lands, to my said son John Thomson Mason & Heirs, provided he attains the age of twenty one years; and I hereby declare that I intend this device to my wife, in Barr of her Dower of my other lands in Stafford and Prince William Counties, but not in Barr of her Dower of any other lands she may be entitled to elsewhere.”
On 11/14/1797, a different Elizabeth Mason submitted a similar document to the Fairfax County court protesting her deceased husband, George Mason V’s, will. Scholars believe she renounced his will because of the consequences of remarriage and the inheritance of the two oldest children. Ultimately, she won with a 1799 deed that preserved most of the original document’s language but removed stipulations regarding her widowhood and/or remarriage and granted her more property at the expense of her son’s inheritance.
While the Mason family was extremely powerful, Thomson Mason’s attempts to control the years and decades following his death were remarkable, especially given the country’s emerging and still very fragile independence and identity. From an economic and moralistic perspective, Mason created a will that probably caused a few headaches.
Note: The Prince William Resolves Chapter, National Society Daughters of the American Revolution (NSDAR) will hold a Wreath Laying Ceremony honoring the 274th Anniversary of the Town of Dumfries and the 249th Anniversary of the signing of the Prince William County Resolves. The event will take place at the Weems-Botts Museum, Dumfries, VA at 11:00a.m. on Saturday, May 6, 2023. HDVI & The Weems-Botts Museum is honored and excited to help commemorate the many historical happenings in our community!
(Sources: Sparacio, Ruth and Sam Sparacio. Stafford County, Virginia. Order Book Abstracts, 1664-1668 & 1689-1690. Millsboro: Colonial Roots, 1987, Note: The enslaved names were often excluded from this transcription; The Mason Web: The Mason Descendants Database, Gunston Hall Library, https://gunstonhall.org/wp-content/uploads/masonweb/index.htm; Mason Family Papers: The Digital Edition: Exhibits: “I Elizabeth Mason … Do Hereby Declare That I Will Not Take or Accept [the] Provision for Me Made”: A Widow Asserts Her Independence, https://research.centerformasonslegacies.com/s/masonfamilypapers/page/elizabethmabmason; Evans, Emory, and Dictionary of Virginia Biography. "William Byrd (1728–1777)" Encyclopedia Virginia. Virginia Humanities, (22 Dec. 2021). Web. 19 Apr. 2023)
#historicrecords#courtrecords#archives#localhistory#virginiahistory#blackhistory#community#land#genealogy#familyrecords
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“SINGING HYMNS EWART WARREN WALKS TO DEATH,” Toronto Star. February 3, 1933. Page 1 & 7.
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"God Be Merciful" Are Last Words of Dentist's Slayer
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COURAGEOUS TO END
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"Behold God is my salvation" sang Ewart G. Warren, murderer of Dr. W. G. More, as be waited steadily toward the scaffold a few seconds before 8 am today at the Don jail.
Warren, short, dark and muscular, stood and walked erect, his hands pinioned behind his back. His eye was clear.
As he stepped on to the trap that was to drag him into eternity a few moments later, be recited the Lord's Prayer with Captain Wallace Rastenof the Salvation Army, his spiritual adviser. As the black cap blotted cut the last rays of morning light from his eyes. Warton whispered the prayer "God be merciful to me. is a sinner!”
An instant later the executioner pulled the lever, and the grim walls of Don jail echoed to the rattle st the springing trap. Thirteen minutes later Warren was pronounced dead by Dr. W. W. Parry, jail physician.
Gained Weight in Jail
Awake all night in the death cell where he had been confined since November 10, Warren waited calmly for his doom. As the hours ticked on he occasionally asked the time but, Recording to Captain Bunton, he teemed impatient to have he ordeal over with rather than being terrified of it.
"We talked and chatted his nerve was wonderful,” the chaplain said.
“There is a Fountain Filled with Blood," sang Warren as morning approached.
Shortly before the appointed time the condemned breakfasted on toast and tea.
"I asked him if he wanted any stimulant," said Captain Benton, "but his only reply was that Christ was the stimulant he required.”
Warren expressed goodwill for the prison officials.
"I am only sorry that I cannot repay their kindness," he told Captain Burton. He was twenty pounds heavier and apparently it perfect healh when he walked down the corridor to the scaffold," said the captain.
A few moments before 8 a.m. the key turned in the lock at the death cell and the executioner entered. With few movements he securely bound Warren's hands. Guards at their position on either side and the party started to the small room where a noose of new rope dangled from a cross-beams.
Unmoved at Scaffold
Warren betrayed not the slightest tremor as he caught sight of the scaffold. It was only a matter of seconds before the black cap and the noose had been slipped over his head. Carefully, the executioner tightened the net. A moment of silence - then the trap clattered.
Shortly after the body was set down the death notice was posted outside the massive jail door. It read:
We, the undersigned, hereby declare that judgment of death was duly executed this day as Ewert G Warren in the common jail at Toronto
(Signed)
A. H. Collings, acting deputy sheriff:
Stephen Wills, deputy sheriff.
H. G. Densing, governor
A few people who had waited and shivered outside the fall turned and went their way. The body was claimed by Warren's father. The funeral will be held at 2 pm. to-day.
"A Real Soldier"
“He was the most wonderful chap I have ever seen in the condemned cell,” declared Captain W. Bunton a few moments after the execution. “He was a real soldier: there was never an outcry, nor whimper.
"All through the night we chatted and sang hymns and read scriptures. His courage was magnificent.
"I'm ready to die. I want to meet my Maker!” the condemned man told the chaplain. “If a reprieve came I wouldn’t take it. My life is tied with Christ in God!"
He left messages to his father. mother, brother and sisters. Warren instructed Captain Bumton to tell Mrs. W. G. More. wife of the slain dentist: "I am very, very sorry. I hope God will guide you all through your life and I know your reward will be great."
To Harold Hicks, his companion in crime now under life sentence in Kingston penitentiary, Warren wrote: “If you think I have played the game pray that God will guide you and that you may accept Christ in person.”
His defence counsel, W. R. Horkins. was not forgotten. In a Bible, Warren wrote: To my dear friend Bill Horkins, God be with you till we meet again. God bless you, E. Warren.”
The Bible has been thumbed and read again and again. Here and there phrases have been crossed out with a red pencil phrases of Holy Writ with which the convicted man could not bring himself to agree.
Poignant and bitter are some of the quotations from Job that have been thus erased.
“If I sin. then Thou markest me and The will not acquit me from mine iniquity." (Job 14:4).
”My soul is weary of my life. I will leave my complaint upon myself. I will speak in the bitterness at my soul." (Job 10:1)
"Want To With Me Again"
"I have found salvation. I know I am going to heaven when I die tomorrow. I have seen myself standing among a multitude of peope, and I want you to save your soul and be with me again in the end."
With this assurance of his eternal peace, Warren bade farewell to his young wife 12 hours before he died. Mrs. Warren spent more than an hour with her husband in the death cell, separated from him by iron bars and with five guards in close attendance.
"Ewart told me he ww taking with him things that would be never known about the shooting." Mrs. Warren told The Star. "I begged them to let me be alone with him for a minute, to let me hold his hand for a while, but they would not. They let me kiss him good-by though, and I am glad they did.
"He knew was our last meeting. and he be it, but he wouldn't break down. ‘These fellows would think I hadn't faith, be said must see it through. Once he was on the verge at giving way, but he pulled himself up.
Didn't Want Wife at Funeral
“Let's change the subject,” he said, “Say,, how about a chicken sandwich go good now. Wouldn't a chicken sandwich go good now." “You only think about food, one of the guards kidded him.’ ‘Sure,' he said, what else have get to think about except food?’
‘I don't want you to come to the funeral,’ he told me. Fancy him making arrangements about his own funeral so calmly.
‘It is terrible enough as it to for Ewart to die in this way, but I can not think what it would be like if we had been together for the past five year. When we came together again because of this be was like a stranger.
“The people with whom I live, my friends whom I have made in the last five years, do not know that I am Ewart Warren's wife. I have had to bear my cross alone. If they discuss the case I have to be, no more interested nor affected than syn in my attitude.
"Everything is still like a bad dream, I would give anything to have jest ose more chance to start everything ever.
“It is strange that he should die this way, when he has been to near death so many times befero. Once he had to be rushed to hospital for an emergency operation to save his life, and they pulled him through. Another time he fell between two cars on a train and only barely escaped death. Another time the car he was driving turned completely over, and be escaped again.
“He didn't have to do what he did. A short time ago he got a cheque for $1,000 from the compensation board.’
#toronto#death sentence#capital punishment#sentenced to be hanged#hanging#robbery gone wrong#armed robbery#armed robbers#warren & hicks case#born again#great depression in canada#crime and punishment in canada#history of crime and punishment in canada
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Jeff Picker
Jeff Picker plays the bass.
As a youth, he gained national recognition as one of the most promising young jazz musicians of his generation. At age 18, he was named “Presidential Scholar for the Arts in Jazz” by the US Dept. of Education, and was awarded an artist grant by the National YoungArts Foundation, among other honors. He was also awarded a full tuition scholarship to the Manhattan School of Music, where he completed one year of coursework before matriculating at Columbia University.
For the past decade, Jeff has been touring and recording with many of the biggest names in bluegrass and folk music, including a 5-year run with Ricky Skaggs and Kentucky Thunder. He performs and records frequently with Sarah Jarosz, East Nash Grass, and others. In 2023, he began touring with legendary progressive bluegrass band Nickel Creek.
Jeff’s solo material, including his debut record, “With the Bass in Mind,” and his sophomore release, “Liquid Architecture,” reimagines the contemporary string band, drawing on the harmonic, metric, and improvisational intrigue of his jazz background, while never straying too far from the front porch.
When he’s not on the road, Jeff is Nashville based, where he works on the Grand Ole Opry and as an in-demand session player.
Eddie Barbash plays American roots music on alto saxophone. He is a founding member of Jon Batiste Stay Human, the house band for The Late Show with Stephen Colbert. He has performed with stars in almost every genre: jazz with Wynton Marsalis, classical with Yo-Yo Ma, rock with Lenny Kravitz, country with Vince Gill, bluegrass with Sierra Hull, funk with Parliament. He brings his horn and sensibility to Texas and Appalachian fiddle tunes, bluegrass, old time, R&B, soul, and classic New Orleans. He was raised in Oaxaca, Mexico, Atlanta, Georgia and Winston-Salem, North Carolina. He is 34 and lives in Brooklyn, but will soon move to Nashville.
Eli Bishop is an American violinist/mandolinist, composer, and arranger who is recognized for his virtuosity and versatility across multiple genres of music. Born in Nashville, Tennessee, Eli has performed with artists including Wynton Marsalis, Lee Ann Womack, Maddie & Tae, the Jazz at Lincoln Center Orchestra, The Video Game Orchestra, and as a member of the Grand Ole Opry’s house band. Eli has also worked as an arranger for Grammy-nominated video game composer Austin Wintory (composer of Journey, Assassin's Creed: Syndicate), and has recorded with Dolly Parton for Dollywood. His musical work spans many mediums of the entertainment industry, including Joseph Gordon-Levitt’s movie, Don Jon, as well as the upcoming Billy Crystal movie, Here Today. Minecraft: Pirates of the Caribbean features Eli’s solo violin work with orchestra. The Chicago Tribune has praised Eli’s “silken legato phrases, impeccable pitch and seemingly effortless technique in fast-moving passages…”
Frank Rische is a multi-talented musician and singer who grew up traveling and playing in a full-time family band since the age of 7. He frequently works alongside Jim Lauderdale and his sister Lillie Mae, and has been a choice touring and session musician/harmony singer to artists Tanya Tucker, Miranda Lambert, Lee Ann Womack, Aubrie Sellers, Jenny Lynn, Ahi, Milly Raccoon, Sierra Ferrell, Charles Butler, Logan Ledger, The Howling Brothers and many more. Frank proudly endorses D'Addario strings, L.R. Baggs electronics, and plays a Collings acoustic guitar.
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Buy Michael R. Colling’s Stephen King is Richard Bachman at Booksvenue.
Stephen King is Richard Bachman, the pseudonym under which Michael R. Collings wrote his novels during his Dark Tower years. This book tells the whole story of how it all came to pass. A must-read for any fan of Stephen King or anyone curious to understand more about this intriguing trivia of King's career.
The book includes the complete story of Stephen King's pseudonym, Richard Bachman. From the publication of his first novel, Rage, in 1977 to the author's confession that he was really Richard Bachman in 1986. This book is updated and revised with information on all of the novels released under this pseudonym since its original publication 25 years ago.
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This book is an in-depth look at the life of Stephen King's Richard Bachman. Michael R. Collings takes us back to the beginning of Bachman's career and chronicles everything released as Richard Bachman. With updated information and new releases, this is the most complete history ever written on the matter.
Who is the author of “Stephen King is Richard Bachman”?
Michael Collings has been a critic and writer of fiction and poetry for over forty years. His work has been recognized by the American Library Association as both one of the most important novels of the last century ("The Anatomy Lesson") and one of the ten most dangerous books in America.
Michael Collings is a writer of remarkable and accessible insight, who writes with love, humour, and a keen eye. He has been compared to such writers as Philip Roth, John Irving, Robertson Davies, and Kurt Vonnegut.
In this definitive biography “Stephen King is Richard Bachman”, Michael R. Collings tells the story of one of America's most popular authors. He describes how Stephen King first came up with the idea for Richard Bachman, and how he used the pseudonym for a number of years for his darker works until The Regulators was released, whereupon it was discovered that he was behind Richard Bachman.
From the beginning of his writing career, Stephen King wrote under various names and pseudonyms. "Richard Bachman" is one such pseudonym. With this non-fiction, Michael R. Collings reveals the true story behind Richard Bachman - who he really was and how, after years of secrecy, his identity became known. This revised edition includes details about other pseudonyms used by King, including John Swithen and Owen West.
Interesting Facts about the book
Stephen King is Richard Bachman by Michael R. Collings is the whole story of how Stephen King's Richard Bachman came to life, and when King finally had to give up the ghost and come forth with the truth that he was writing under the pseudonym of Richard Bachman. This of course came about when the fifth novel, Thinner, was released and a reader discovered King's pseudonym. Now Michael Collings takes us from the beginnings of this unusual fiction side-show of Stephen King's body of work, to what we thought would be the last Bachman release, The Regulators. Updated and completely revised with new information and Richard Bachman releases since its original publication almost twenty-five years ago.
Written by a former King researcher and collector, this is the definitive story of Stephen King's alternate identity. A must read and best book ever for all King fans and collectors.
From the mind of Stephen King comes a gripping story of two boys who want to go out into the world but must first confront the challenges of their past. In a haunted house called The View from The Window and outside on the streets of Bucksport, Maine, Richard Bachman's fictional world is as real to his readers as anything they have experienced. But when a bookstore clerk named Steve Brown discovers that Bachman is actually King, his life changes forever. With success comes fame and money... but also heartbreak for Brown.
This book is a look back at the life of Stephen King and his career as an author. From his humble beginnings to his rise to fame, and even his fall from grace when his secret was discovered, this book offers a powerful narrative about the man behind the stories - and all those who influenced him along the way.
Find out how King finally revealed himself as Bachman, how he got the idea, why he started writing under a pen name in the first place, and what happened to the books that were published as Bachman. Though Stephen King had a rough childhood and humble beginnings, he rose above it all to become an author whose stories will continue to impact future generations.
The Bachman book Thinner, the last of the Bachman books before being outed as King, sold 28,000 copies when it was originally published and then about ten times that amount when it was revealed to the public that Bachman was actually King.
Welcome to the world of Richard Bachman, a new name with a very dangerous past. The man you only know now as the author of Rage, The Long Walk and Roadwork actually died - or did he? - in 1985. But when his death was revealed as an elaborate hoax, one of King's most mysterious characters came to life.
Discover the story behind the pseudonym and find out why he chose it, how it began and how he executed it. Includes a listing of all Richard Bachman books and novellas, with an updated title listing for this book itself. Pre-sales begin at www.booksvenue.com
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Best online books websites in uae - Horror Plumd INTERNATIONAL STEPHEN KING BIBLIOGRAPHY & GUIDE 1960-2000 - Trade Edition
This is the only collection of every book, story, and ephemera published on and about Stephen King in the US and Internationally. Includes complete chapters on: Books, Novels, Short-Fiction Collections, Non-Fiction, Etc. Including Reprints and multimedia adaptations of book titles. Short Fiction, Screenplays, Anthologies, Audio and Video adaptations, etc. This volume, coming in at over 550 pages, also features many reproductions of novels from the US and Foreign editions. Over 100 cover and art reproductions. Thousands of listings that took Mr. Collings over fifteen years to collect. This is a one-of-a-kind volume, and invaluable to any King reader, library, and collector to discover the many volumes and listings of and about Stephen King.
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