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Darkness and suicide in the work of Patricia Highsmith
Fiona Peters

protagonist Walter Stackhouse’s wife Clara in an unsympathetic and cold manner. This character is viewed as neurotic and unstable and is in part based on Ellen Hill, Highsmith’s own lover. She describes Clara’s drug-induced coma in a manner close to her own experience with Hill: Walter could not escape the fact that he had known that she was going to take the pills. He could tell himself that he hadn’t really thought she would take them, because she hadn’t the other time, but this time had been different and he knew it

in Suicide and the Gothic
Dreams and the dreamlike in Pose (2019)
Lydia Ayame Hiraide

violence and murder in the real world outside of the TV show. After these reflections, Candy coaxes Pray towards taking his own life by overdosing on the pills she places in his hand. However, it is within this dream, while he is asleep, that Pray decides to continue living. The dream, coming into existence through sleep, reveals itself to not only straddle consciousness and unconsciousness, then, but also life and death

in Dreams and atrocity
Fur, hair and subversive female lycanthropy
Jazmina Cininas

period pain, only to have this explanation repeatedly superseded by a series of ‘true’ purposes for the pill. Almost halfway through the novel, Micah confesses: I’m a werewolf. There, I’ve said it. The heart of all my lies. Of the family’s lies. You guessed it already, didn’t you? What with the fur I was born in

in She-wolf
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Horror production
Peter Hutchings

her a job. Just before he strangles her, he taunts her professional aspirations: ‘Sing for us. Sing!’ he shouts. A ribald joke made by Alan’s boss is revealing in this respect. As Alan leaves for a date with Nicole, he calls after him ‘Make sure she’s on the pill.’ The oral contraceptive, introduced in Britain in the late 1950s, had transformed the lives of many women. As Jeffrey Weeks notes: it opened up more decisively the possibility for the incorporation of the

in Hammer and beyond