Hobart Frolley

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The Illuminatus! ...
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The Woman Who Bor...
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  (page 25 of 283)
May 15, 2017 08:01PM

 
In the Fascist Ba...
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May 04, 2017 04:50PM

 
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The Idiot by Elif Batuman
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Hobart Frolley is on page 325 of 423 of The Idiot
The Idiot by Elif Batuman
The Idiot
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The Illuminatus! Trilogy by Robert Shea
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Heaven's Gate by Bill Hoffmann
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White Girls by Hilton Als
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Murderous Minds by Dean A. Haycock
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AIDS and Its Metaphors by Susan Sontag
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More of Hobart's books…
Angela Carter
“What are the butcherly delights of meat? These are not sensual but analytical. The satisfaction of scientific curiosity in dissection. A clinical pleasure in the precision with which the process of reducing the living, moving, vivid object to the dead status of thing is accomplished. The pleasure of watching the spectacle of the slaughter that derives from the knowledge one is disassociated from the spectacle; the bloody excitation of the audience in the abattoir, who watch the dramatic transformation act, from living flesh to dead meat, derives from the knowledge they are safe from the knife themselves. There is the technical pleasure of carving and the anticipatory pleasure of the prospect of eating the meat, of the assimilation of the dead stuff, after which it will be humanly transformed into flesh.”
Angela Carter, The Sadeian Woman: And the Ideology of Pornography

Diamanda Galás
“Robbery is not just the robbery of money or human flesh; it involves the soul murder of cultures which will soon die if they have no more songs to sing.”
Diamanda Galás

Romain Gary
“All men have a legend because of death. Humanity wasn't legendary any longer: it was a myth.”
Romain Gary, Hocus Bogus

Angela Carter
“In his diabolic solitude, only the possibility of love could awake the libertine to perfect, immaculate terror. It is in this holy terror of love that we find, in both men and women themselves, the source of all opposition to the emancipation of women.”
Angela Carter, The Sadeian Woman: And the Ideology of Pornography

Werner Herzog
“A vision had seized hold of me, like the demented fury of a hound that has sunk its teeth into the leg of a deer carcass and is shaking and tugging at the downed game so frantically that the hunter gives up trying to calm him. It was the vision of a large steamship scaling a hill under its own steam, working its way up a steep slope in the jungle, while above this natural landscape, which shatters the weak and the strong with equal ferocity, soars the voice of Caruso, silencing all the pain and all the voices of the primeval forest and drowning out all birdsong. To be more precise: bird cries, for in this setting, left unfinished and abandoned by God in wrath, the birds do not sing; they shriek in pain, and confused trees tangle with one another like battling Titans, from horizon to horizon, in a steaming creation still being formed. Fog-panting and exhausted they stand in this unreal misery - and I, like a stanza in a poem written in an unknown foreign tongue, am shaken to the core.”
Werner Herzog, Conquest of the Useless: Reflections from the Making of Fitzcarraldo

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