#GOLD
$GOLD 1891 to 1912 😊 https://t.co/6gSSbdbEs3

I am reading through reams of late-1920s communist poetry and easily my favourite title so far is: "To a Lady who Rejected a Poem about Spring as a Petit-Bourgeois Deviation"

The last lines:
"So here's my hat into the air,
Three cheers for your amazing hair,
For coal mines, and for turbines, too,
For steel, the Comintern and you!"

A not exactly graceful (though possibly satirical) title: "Lines Disassociating Myself from Yessenin and Supporting the Otherwise Unfounded Legend that I am a Foremost Proletarian Writer"

An excerpt:
"Goodbye verses of Yessenin
Goodbye literary slop-
You are not the line of Lenin
You are not the line of WAPP

Never shall I moan a
simple lyric from the heart
I'll devote my new corona
to the proletarian art"

The poet was Joseph Freeman, who published much of his revolutionary verse in the New Masses, a stylish journal of the interwar American literary Left.

Many readers have asked me "why do so many pulp covers feature women in ripped red blouses standing in swamps while a man fights off an unusual animal attack?"

The answer is artist Will Hulsey...

Will Hulsey was the undisputed king of the animal attack pulp cover. You name it, he'd paint it attacking you in a pool of stagnant water.

Very little is known about Will Hulsey, but he worked on a number of men's pulp magazines in the 1950s and early 1960s including Man's Life, True Men, Guilty, Trapped and Peril.

Their audience was ex-GIs: during WWII the US Council of Books in Wartime had given away over 122 million books to American servicemen to read; this led to a post-war surge in paperback and magazine sales amongst these newly enthusiastic readers.

As a result the 1950s saw a raft of men's pulp magazines being published to tap into this market - almost 200 different titles!

one of the things i like about Batman is that it's fundamentally about being orphaned, and being an orphan — how this guy stays tethered to the world in his own weird, abstract, extrajudicial way when he feels that his link to it has been violently severed

Batman does this by permanently recapitulating his own trauma: solving crimes for other people, protecting them. But that's actually just the beginning; he also recapitulates his own experience of orphanness by essentially raising several orphans

Dick is an orphan in the traditional sense: dead parents. Batman sees it happen. Jason, less so: missing dad, known mom who eventually dies. Tim, even less so: parents are around a while, and involved, before both dying. Carrie, even less than that: negligent parents.

Steph: evil father, who openly works against her. And then there's Damian, whose parents are both alive and yet both have identities that totally obliterate their role as his parents. He doesn't relate to them as a mother and father; he can't, and neither can they.

In all these different cases, Batman tries all these different ways of making orphanness for them not what it was for him: Either by trying to teach them the (arguably poor) coping skills early that he learned over a very long time, or by literally legally adopting them, etc.