The Mumpsimus

Press Play recently posted a new video essay I created on Satan in cinema along with a brief text essay . Here's the beginning of the text essay, should you need some enticement... The character of Satan seems far more appealing to filmmakers than the character of God. This may be for reasons of propriety: one should not, perhaps, make too many images of God. But since when has Hollywood cared about anything other than money and stardom? God isn’t any good for either. Omnipotence is just too boring. There are devils in most films, because most films are melodramas of one sort of another, and no melodrama works very well without some embodiment of evil. But Satan himself (or herself or theirself or anyself — Satan, like every angel, fallen or not, is any gender and every gender) is a less common figure. One of the most powerful Satanic representations in film history wasn’t even technically of Satan: it was Mephistopheles in Murnau’s Faust , still one of the most visual

Dr. Parenti: We get the grant, we study the problem, we propose solutions. If they listen, they listen. If they don't, it still makes for great research. What we publish on this is gonna get a lot of attention. Colvin: From who? Dr. Parenti: From other researchers, academics. Colvin: Academics?! What, they gonna study your study? [chuckles and shakes head] When do this shit change? — The Wire, Season 4, Episode 13, "Final Grades" It is only within the last few years that I have reluctantly accepted that I deserve that noxious and disreputable label: an academic . Truly, I am doomed. But then, I've yet to meet an academic who isn't keenly aware of the doom. My sentences keep going off in various directions toward what I'm sure would be an incoherent 10,000-word rant about my love/hate relationship with academia. I delete those sentences because I'm not here to rant about academia, but rather to praise a book that serves as both

My name is Matthew and I am a Norton Critical Edition addict. Hardly a term has gone by without my assigning students at least one NCE, both when I was a high school teacher and especially now that I'm teaching college students. (This term, it's The Red Badge of Courage .) I have been known to change syllabi each term just to try out new NCEs with students. I have bought NCEs for myself even of books that I already owned in multiple other editions. I have all four editions of the NCE of Heart of Darkness because the changes between them fascinate me. (I've been meaning to write a blog post or essay of some sort about those changes. I'll get to it one day.) Anton Chekhov is my favorite writer, a writer whose work I've been reading and thinking about for all of my adult life. The Norton Critical Editions of Chekhov's stories and plays published in the late 1970s remained unchanged until Laurence Senelick's Selected Plays came out in 2004, and then, f