bookshelves: published-2013, boo-scary, librarything-giveaway, summer-2013, shortstory-shortstories-novellas, young-adult, recreational-drugs, ghosties-ghoulies, suicide, noir, poetry, next, mental-health, north-americas, slit-yer-wrists-gloomy, washyourmouthout-language, under-50-ratings, revenge

Hmm, I thought this was going to be straight forward BOO!, yet reading through the premise it looks a little too out there for my usual taste. Nevertheless, I have been happily surprised on many an occasion.

for Johnny & Cabera

“Infected minds to their deaf pillows will discharge their secrets.” William Shakespeare

Opening: I want to burn down his house. I will. He used Karen. I can’t stomach that. He was older than piss and uglier than a worm. He lived just down the street with his lights on until late at night. He had an artic fox that turned blue in the summer. But then he had to gouge his kitty’s eye out when it killed his pretty blue Alopex lagopus one dreary midnight.

National Geographic photo of Artic Fox alopex lagopus

LATER: An extended prose poem featuring Jack, the narrator:'I have a decade on most of the high school kids who work here. They live with their parents too, but for them it’s more natural.'

...who is mourning Karen's suicide, even though she was hardly his girlfriend:'Karen would never understand if I told her all about those dates I’d arranged on the beach only to break and sabotage them ten minutes before they were to begin. I am not in a good enough place to commit.

...because she had an sexual relationship with an older man:'What do you see in her, old man? Why do all these antediluvian douche bags want to rip off her panties with their dentures?'

Interspersed with macabre doodles and vomit-inducing passages this Romeo and Juliet story is not something for me, yet I can see in it a great appeal to mid-teen hipster/ goth types, and that seems to be the niche Patnaude is aiming for. And my distaste is an endorsement to the good for this genre.

bookshelves: published-2007, summer-2013, e-book, under-20, nonfiction, paris, france, art-forms, architecture, history, medieval5c-16c, reference-book, cults-societies-brotherhoods, ghosties-ghoulies, gothic, anti-semitic, mythology, philosophy, racism

Opening: There are many churches dedicated to Notre Dame but only one Notre-Dame de Paris. Located on the east end of the Île-de-la-Cité, the cathedral is the spiritual and geographic center not only of Paris, but of the whole of France. Built between 1163 and 1250, it remains one of the first and most innovative Gothic structures in Europe.

Le Stryge: the unique and the single most memorable creation of the nineteenth-century restorer and architectural theorist Viollet-le-Duc. Though not a gargoyle in the proper sense of the term (since he does not serve as a drainpipe) he has nonetheless become the very essence of gargoyleness, the quintessence of the modern idea of the medieval.

Charles Méryon Le Stryge.

Gargoyles remove 'all the body, filth, and foulness that is ejected from the edifice'



'Romanesque architecture died. . . . From now on, the cathedral itself, formerly so dogmatic an edifice, was invaded by the bourgeoisie, by the commons, by liberty; it escaped from the priest and came under the sway of the artist. The artist built to his own fancy. Farewell mystery, myth and law. Now it was fantasy and caprice. . . . The book of architecture no longer belonged to the priesthood, to religion and to Rome; it belonged to the imagination, to poetry and to the people. . . . Now architects took unimaginable liberties, even towards the Church. Monks and nuns coupled shamefully on capitals, as
in the Hall of Chimneys in the Palais de Justice in Paris. The story of Noah was carved in full, as beneath the great portal of Bourges. A bacchic monk with asses’ ears and glass in hand laughed a whole community to scorn, as above the lavabo in the Abbey of Boscherville. At that time, the thought that was inscribed in stone enjoyed a pivilege entirely comparable to our present freedom of the press. This was the freedom of architecture.' Victor Hugo