All posts by Eric Robert Nolan

Eric Robert Nolan graduated from Mary Washington College in 1994 with a Bachelor of Science in Psychology. He spent several years a news reporter and editorial writer for the Culpeper Star Exponent in Culpeper, Virginia. His work has also appeared on the front pages of numerous newspapers in Virginia, including The Free Lance – Star and The Daily Progress. Eric entered the field of philanthropy in 1996, as a grant writer for nonprofit healthcare organizations. Eric’s poetry has been featured by Dead Beats Literary Blog, Dagda Publishing, The International War Veterans’ Poetry Archive, and elsewhere. His poetry will also be published by Illumen Magazine in its Spring 2014 issue.

“Despair,” Edvard Munch, 1894

Oil on canvas.

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Throwback Thursday: “The Monster Club” (1981)

I only saw one third of Roy Ward Baker’s “The Monster Club” (1981), when I was maybe in the third or fourth grade.  It was a typical 80’s horror anthology movie, and I walked in when my older brother was watching the third and final segment on television.  I’ll be damned if that segment alone didn’t creep me out, though.  (And the reviews of the film that I’ve read indeed name “The Ghouls” as the scariest entry in the trio.)

It’s pretty tame by today’s standards, or at least to my adult sensibilities.  It was definitely a lower-budget scary story, and probably pretty safe for television even back then.  But I watched it again the other night, and it still retains its creepiness after … about 35 years, I guess.  The titular monsters are indeed “ghouls” in the classical sense — they are human-looking fiends that are very much alive, but that feed on carrion (which actually makes them the reverse of zombies, I suppose.)

I can’t vouch for the rest of the movie, as I’ve only seen snippets, which seem pretty cheesy.  The wraparound segments star none other than Vincent Price and John Carradine, which will of course appeal to fans of classic horror.  (Carradine actually portrays a fictionalized version of R. Chetwynd – Hayes, the prominent British author who penned the stories on which the movie is based.)

If you saw this back in the day and “The Ghouls” got under your skin, then let me know.  I’d get a kick out of knowing that I wasn’t the only one.

 

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Legendary comic artist Norm Breyfogle passed away on Monday.

Rest in peace, Sir, and thank you for all the fun, magic and imagination that your pencils brought to the readers of “Batman.”  You made study breaks endlessly more enjoyable for a stressed-out 1990’s undergrad.  And you made weekend discoveries of your work at the shops in downtown Fredericksburg a pure joy.

 

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Is it too early for Halloween decorations?

Probably.  But these were too cool not to put up as soon as possible.  As you might remember from last year, they’re handmade by a sublimely talented craftswoman I know who has a truly macabre touch.  They’re much better than anything store-bought.

 

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“Ragazza alla Finestra,” Edvard Munch, 1893

“Girl at the Window.”

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MAKE IT WEIRD.

Care to hear the convoluted worldview of a pathological poet?  Then be sure to stop by this site’s My musings page.  I promise you that my random ravings are truly infused with strangeness.  (Or you get your money back.)

 

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“Anosia Megalippe,” Jacob Hubner, 1821

Plate 7 from Hubner’s “Collection of Exotic Butterflies Vol. 2.”

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“Yet, in an Autumn nightmare trembled …”

This isn’t the best reading of a poem, but I had fun last Fall when I recorded it.  I’m not sure why I sound like Christopher Walken at the start of the piece: “He WATCHED with all his organs of concern …”

 

“Lucifer, the Fallen Angel,” Gustave Dore, 1866

Engraving for John Milton’s “Paradise Lost.”

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“All Our Faults Are Fallen Leaves,” by Eric Robert Nolan

“All Our Faults Are Fallen Leaves”

Again an annual angled auburn hand
announces advancing Autumn —
fingers aflame, the first Fallen leaf,
As slow in its descent, and as red,
as flailing Lucifer.

Hell in our sylvan vision
begins with a single spark.
The sting of the prior winter
subsided in July,
eroded at August.
Now, as at every September,
let new and cooler winds
fan a temperate flame.

May this nascent season only
bring brick-tinted perdition
and carmine Abaddon.
Where flames should burn, may there be
only rose tones on wide wine canvasses,
tormentless florid scarlets,
griefs eased in garnet trees.

What I hold in my heart to be true
is Edict at every Autumn:
Magentas may not make
forgetful a distracted God,
unless we ourselves forget
or burn to overlook.

Auden told us “One Evening”
to “Stand, stand at the window,”
and that we would love our neighbor,
but he didn’t counsel at all
about how we should smolder there.

Outside my window, and yours,
if the Conflagration itself
acquits us all by claiming only
the trees upon the hill,
the Commonwealth a hearth,
Virginia an Inferno,

Then you and I
should burn in our hearts to absolve
ourselves and one another,
standing before the glass,
our curtains catching,
our beds combusting,
our bureaus each a pyre.
Take my hand, my friend, and smile,
there on the scorching floor,
beneath the searing ceiling and
beside the blackening mirror
that troubles us no longer,
for, about it, Auden was wrong.

God’s wrathful eye
will find you and I
incandescent. The damned
are yet consigned to kindness.
All our faults are Fallen leaves.
Forgive where God will not.

Out of our purgatory
of injury’s daily indifference,
let our Lake of Fire
be but blush squadrons of oaks,
cerise seas of cedar, fed
running ruby by sycamore rivers,
their shores reassured
by calm copper sequoias,
all their banks ablaze
in yellowing eucalyptus.

Let the demons we hold
harden into bark
holding up Inferno.
All their hands are branches now;
all their palms are burning.

There, then, softly burning, you and I,
may our Autumn find
judgmentless russets,
vermilion for our sins,
dahlia forgiveness,
a red for every error,
every man a love,
every love infernal,
and friends where devils would reign.

(c) Eric Robert Nolan 2015

— Author’s note: the poem to which I’ve responded above, with its images of standing at the window and the mirror, is W. H. Auden’s “As I Walked Out One Evening.”

 

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