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The Story of An Hour

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وقت القراءة المقدر: 7 دقيقة (دقائق)

The Story of An Hour


Kate Chopin (1894)

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband’s death.

The Story of An Hour

part 1

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband’s death.
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It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband’s friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard’s name leading the list of “killed.” He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.

She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister’s arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.

There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.

She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.

There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.

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She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.

The Story of An Hour

Part 2

She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.

There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.

Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will–as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under hte breath: “free, free, free!” The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.

She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome.

There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.

The Story of An Hour

Part 3

And yet she had loved him–sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in the face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!
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“Free! Body and soul free!” she kept whispering.

Josephine was kneeling before the closed door with her lips to the keyhold, imploring for admission. “Louise, open the door! I beg; open the door–you will make yourself ill. What are you doing, Louise? For heaven’s sake open the door.”

“Go away. I am not making myself ill.” No; she was drinking in a very elixir of life through that open window.

Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long.

She arose at length and opened the door to her sister’s importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister’s waist, and together they descended the stairs. Richards stood waiting for them at the bottom.

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Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident, and did not even know there had been one. He stood amazed at Josephine’s piercing cry; at Richards’ quick motion to screen him from the view of his wife.

When the doctors came they said she had died of heart disease–of the joy that kills.

** The End **

 3,998 اجمالى المشاهدات,  3 اليوم

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horror

‘American Horror Stories’: Ryan Murphy Unveils New Chapters Of Fear & Frights In ‘AHS’ Spinoff Teaser

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وقت القراءة المقدر: 2 دقيقة (دقائق)

Ryan Murphy ushers in new chapters of the American Horror Story franchise in a teaser for the upcoming Hulu anthology series, American Horror Stories.

“Every episode brings you a different nightmare,” Murphy tweeted on Wednesday.

Murphy, who has been teasing American Horror Stories with posters on his social media accounts, dropped the teaser on Twitter. The brief snippet follows a rubber woman on a journey that revisits some of the most memorable locations in the AHS franchise.

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American Horror Stories is a weekly hourlong anthology series that will feature a different horror story in each contained episode. The spinoff will premiere exclusively on Hulu July 15. Earlier this month Murphy revealed that Kevin McHale, Dyllón Burnside, Charles Melton and Nico Greetham will star in the series.

During a panel for Ratched in August 2020, AHS and American Crime Story star Sarah Paulson said that she will direct some part of the series.

The tenth installment of the flagship series, American Horror Story: Double Feature, will debut on FX Wednesday, August 25.

During the May Upfront presentations, FX Chairman John Landgraf said that American Horror Stories will commence in July and conclude on Halloween. The series is executive produced by Ryan Murphy, Brad Falchuk, Alexis Martin Woodall, John J. Gray and Manny Coto.

New horrors and fears await viewers in the American Horror Stories teaser – watch it below.

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 1,151 اجمالى المشاهدات,  16 اليوم

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‘Descent Into Darkness: My European Nightmare’ Is the Most Messed Up Found Footage Gem You’ve Never Seen

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وقت القراءة المقدر: 8 دقيقة (دقائق)

I’m always looking to be shocked. I want to be shaken to my core, changed by what I’m seeing, and unable to keep off my brain once the imagery has seeped inside. That’s what I look for in my horror films—and to be honest, it’s been a while since I’ve been surprised or even genuinely scared while immersing myself in the genre. And then along came Rafaël Cherkaski’s Descent Into Darkness: My European Nightmare, a found footage nightmare he wrote, directed, and starred in.
I first saw the movie during the 2020 virtual edition of Unnamed Footage Festival — an incredible festival I encourage you to check out — and was immediately intrigued by its sharp spiral into depraved territory. It’s a great feeling (you know, as a horror die-hard) when a story keeps you anticipating how gruesome and debased it might become. I couldn’t stop watching until I knew. The terrifying French film is, without question, a found footage masterpiece. But the fact remains that it is highly under-watched. Because of its lack of exposure, a lot of genre fans have yet to experience the horror of this film, and what it seeks to teach us. Something tells me it would be on a lot more “best of” lists and the subject of even more essays if they had. It’s the most messed up found footage gem you’ve never seen, so strap the hell in.
Descent Into Darkness: My European Nightmare follows a bright young man named Sorgoi Prakov, a journalist from a fictional Eastern European country who has just arrived in Paris to film a documentary about the “European dream.” You know, like the American dream. Same difference, basically. However, a series of bad decisions and unfortunate incidents set Prakov on a path of self-destruction, mayhem, destitution, and madness as his project is devastatingly thrown off the rails.
The 2013 horror story has a pretty simple premise, yet its specificity is what sets it apart from just being your typical documentary-gone-wrong. The very real spiral its main character is forced down by the also very real circumstances of the film is something a lot of people are a stone’s throw away from. The tendency to imagine yourself in the same position while watching makes things infinitely more terrifying. Add the kind heart and specifically generous spirit Prakov brings to the piece and it’s hard not to sympathize with the disturbing turn of events he deals with.
The film is a cautionary tale that presents us with several lessons we can’t help but learn, mainly because the end is so brutal that no empathetic and sane human could justify the means, nor could they imagine how to make their way out of such a mental and emotional struggle unchanged. Unfiltered panic coupled with alienation can warp your brain and throw you off course, even more so if you have a mental illness you’re keeping at bay.
For an hour and a half, Descent Into Darkness fights to prove that a little kindness can go a long way— especially for those who are struggling in ways we have never and may never fully comprehend. Further, it’s an indictment on normal folks and the way we treat unhoused folks who have come onto hard times usually through no fault of their own. There is a specific and nearly existential horror in the way we alienate houseless and financially insecure people, making them feel less than for their struggles. Prakov’s sanity waxes and wanes on his descent into darkness. Those tides stem from whether or not he has been shown kindness as he struggles to get back onto his feet and make his way home.
Descent Into Darkness shows how the mental toll of those struggles and the alienation manifests inside him, and it really is far from pretty. It’s incredibly dark, but so is how we treat unhomed individuals in developed countries. Their plights are deeper and more insidious than we could imagine. But this film does a great job of helping us see that baseless physical and emotional destruction firsthand.
Aside from its smart yet simple story, Descent Into Darkness also shines through its more technical aspects. The directing—expertly tackled by lead actor Cherkaski—is incredibly smart. The filmmaker focuses on Prakov’s buttoned-up optimism at the beginning of the film and truly takes audiences down a spiral through more than just the script. The beginning of the movie definitely has a professional tinge to it to match Prakov’s initial intentions. But as we travel further down the rabbit hole, Cherkaski’s direction becomes more erratic and unpredictable. He uses quippy camerawork and fiercely smart editing by his editing team — one particularly beautiful cut between daylight and nighttime comes to mind—to support the main character’s degradation into psychosis. It’s done in such a way that the pacing of the film ends up feeling perfect, too.
You know when a film’s story feels like it’s moving unrealistically fast, or even just achingly slow? It takes you out of the story, where you need to be firmly planted throughout the runtime, and tends to ruin the experience. The way Descent Into Darkness is shot and edited, with an almost staccato mindset as the film progresses, aids in supporting the story and evens out its pace. The result is a perfectly timed, eerily orchestrated nosedive into hell.
Aside from the crucial behind-the-camera brilliance that makes this film an underappreciated gem, it’s important to highlight one of the main reasons to watch this movie if you haven’t yet: the acting. Cherkaski is electric as Prakov and perfectly balances the character’s desperate innocence—which quickly bleeds into wild depravity.
In 2010’s Black Swan, Vincent Cassel’s ballet company director character is unsure if he can trust Natalie Portman’s Nina Sayers with the lead role in “Swan Lake,” because she excels at the virtuous white swan, but may not have the bite to also play the black swan. Cherkaski doesn’t have that issue. He is the white swan and the black swan in equal measure, which makes you as sad for him as you are for the victims of his senseless violence. It’s a really natural performance. Cherkaski makes for one of the most convincing, menacing, and downright evil antagonists in found footage—maybe even horror in general.
There’s a lot to love in Descent Into Darkness, which feels like an oxymoron when you type it or say it out loud. But it’s truly a special horror film that both shocked and changed me when I was lucky enough to catch a special cut at a film festival. It’s a movie that proved to me there’s magic in horror, that it can do crazy things and that those crazy things can make you feel renewed. It’s a movie that made me appreciate filmmaking that much more. Descent Into Darkness is underappreciated, underseen, and undervalued in an oversaturated genre. So, it makes sense that it would’ve been overlooked. Do yourself a favor and change that. Pop a little popcorn, dim the lights. Just don’t expect to feel like you haven’t, too, descended into darkness when it’s all over.

 731 اجمالى المشاهدات,  14 اليوم

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‘Captive Audience: An American Horror Story’ Review: More Shocking Than Fiction

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وقت القراءة المقدر: 2 دقيقة (دقائق)

Too smart for “true crime” and far more artfully constructed than standard-issue nonfiction, “Captive Audience” revisits the case of Steven Stayner, who in 1972 disappeared without a trace and then resurfaced seven years later, with a fellow kidnap victim in tow. Those with long memories will know right off where else the Stayner family saga is going, but others will be utterly shocked—which is supportive evidence in the case being made by director Jessica Dimmock. “If you have an experience and it doesn’t become a story,” says Steven’s mother, Kay, “it dies.” Which, coming as it does near the end of episode 3, is a statement as startling as any other in this three-part series.
The word “story” is repeated at least a dozen times in the opening moments of “Captive Audience,” mostly by TV anchors and correspondents, framing the Stayner case as it led the news circa Dec. 4, 1972: a 7-year-old boy, vanishing on his way home from school in humble Merced, Calif., stoking the worst fears of parents, inspiring exhaustive searches and then, as all such stories do when they aren’t solved, going cold. The very sympathetic Kay Stayner, who says she never stopped believing her son would return, concedes that when the police contacted her in March 1980, she immediately expected the worst. “I had all this hope for all these years, and at the end I thought it was going to be bad news.”

 1,034 اجمالى المشاهدات,  12 اليوم

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متوسط ​​تقييم 5 / 5. عدد الأصوات: 1

لا أصوات حتى الآن! كن أول من يقيم هذا المنشور.

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